MEL BAY

UP THE NECK, BANJO, JANET DAVIS. 144 pagine. SHEET MUSIC BOOK & DVD - with BANJO TABLATURE.

LIBRO METODO PER BANJO CON DVD.

SPARTITI PER BANJO CON TABLATURE.

Janet Davis has created a superb instructional video for five-string banjo dealing with the 5th through the 22nd fret. Roll Patterns, chords, songs, licks, chord progressions, improvising, melodic style, chromatic style, and back-up are some of the exciting techniques included in this educational video.

Product Number: 94820DVD
Format: DVD
ISBN: 0786671963
UPC: 796279096324
ISBN13: 9780786671960
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 12/31/2003 

"Up the neck" of the banjo involves playing between the 5th and the 22nd frets of the fingerboard. This book is intended to provide you with the basic principles and techniques for developing the ability to play any song in the three-finger style of playing in the up-the-neck area of the banjo. People often find it difficult to read the double-digit numbers involved in playing up the neck. However, just as it was difficult to read tablature for the first time, you will find that you will see the same numbers over and over, and you will begin to recognize the same patterns up the neck, just as you do when playing down the neck. Because these are related to chord positions, it will help to concentrate on°the numbers involved with playing each chord, particularly the G, C, and D chords from which the left hand will work. These will become familiar to you within a very short time, and will be easy to relate to the fingerboard. This book is divided into chapters, with each chapter building upon the information presented in the previous one. The songs presented in each section demonstrate the particular technique(s) discussed in that chapter. However, the songs are also intended as playable arrangements. The more you play up the neck using these techniques, the easier it will be to develop your own arrangements using these techniques. I have used these techniques for many years with my banjo students, and they seem to have worked well. I hope they will work well for you, also. Happy Pickin'! Janet Davis

The three-finger style of playing was popularized in the early 1940s primarily by Earl Scruggs and Don Reno, and has continued to be one of the foremost styles for playing the five-string banjo. In this style ofplaying, the melody notes for a song are surrounded by background notes, which are determined by the chords to the song. Patterns are involved in playing up the neck, just as they are involved with playing on the deeper tones of the banjo. Many of the same patterns (fo11sand licks) can be used in many different songs for the same chord. As you begin to work with these patterns in songs and learn how they are used, the fact that they are played in the up-the-neck area will begin to seem natura!. In fact, you should find it fairly easy to begin working out your own up-the-neck arrangements fairly early in the book. As this book progresses, you willlearn how to connect up-the-neck and down-the-neck licks smoothly, how to switch a lick for a lick for single chords, how to create variations, incorporate the melody, etc. The final sections of this book involve techniques developed by Bill Keith, Bela Fleck, Scott Vestal, and other influential banjo players of the 1990s. It is important to realize that the techniques which are used in the advanced sections are developed from the techniques covered in the earlier sections of the book. Therefore, it is important to understand the basics, first.

UP-THE-NECK ARRANGEMENTS
It will help to realize that up-the-neck arrangements are often played as second variations and, therefore, there is more freedom to deviate from the basic melody. (The first arrangement usually establishes the melody in the mind of the listener, so that he or she can appreciate the various techniques employed as the basic tune is expanded upon in subsequent variations.)
Up-the-neck arrangements are frequently of two basic types:
1. An arrangement with a strong sense of melody. This type of arrangement is generally based upon the standard roll patterns, where one finger of the right hand is used to pick the melody notes, while the other two right-hand fingers play background notes based upon the chords to the song. Licks are often used as fill, rather than as the basis for this type of arrangement. Songs which have words often fall within this category.
2. An arrangement which. deviates from the basic melody. This type of arrangement is comprised primarily of licks (patterns or motifs). Arrangements which are comprised primarily of licks can be absolutely void of the tune for the song and still work, as long as the licks are played for the correct chords to the song. Generally, these songs will have a specific motif which will serve as the identifying factor for a listener, such as the intro to "Bugle Call Rag." Breakdowns usually fall within this category.
The following chapters of this book will take you through the development of arrangements which fall within Type I and Type II, as well as arrangements which use a combination of these techniques.

Format: Book/2-CD Set

Contents:

Foreword
Introduction
Up-the-Neck Arrangements
The Y Position
Bluegrass Roll Patterns
The Standard Roll Patterns
"Bile 'Em Cabbage Down"
"Salty Dog Blues"
Summary: Roll Patterns
Chords: Introduction
Chords
The Standard Chord Patterns
"Cumberland Gap"
"Train 45"
"John Hardy"
"Little Maggie"
"Don't Let the Deal Go Down"
"Wildwood Flower"
"House of the Rising Sun"
Summary: Chords
Licks: Introduction
Basic Up-the-Neck Licks
"Train 45"
"Little Maggie"
"John Hardy"
"Mama Don't Allow"
"Crying Holy Unto the Lord"
The "Identity Factor"
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
"Roll in My Sweet Baby's Arms"
Additional Licks: Interchangeable Licks by Chord
Pick-Up Notes
G Licks
C Licks
D Licks
A Licks
F Licks
E Licks
B Licks
B-flat Licks
F-sharp Licks
Am Licks
Bm Licks
Cm Licks
Em Licks
Dm Licks
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
"Little Maggie"
"Salty Dog Blues"
"Roll in My Sweet Baby's Arms"
"Jesse James"
Summary: Licks
Incorporating the Melody
Harmony Notes
Accentuating the Melody
"Worried Man Blues"
"Red River Valley"
"Hand Me Down My Walking Cane"
"Wreck of the Old 97"
Improvising: Advanced Section
Advanced Expression: The X or the Y Position?
Connecting Links: Up and Down the Neck
"Lost Indian"
"Sitting on Top of the World"
Altered Roll Patterns
"Blackberry Blossom"
"Wildwood Flower"
"Sally Goodin"
Second Variations
"Sally Ann"
"Don't Let the Deal Go Down"
"Look Down, Look Down"
Melodic Licks
"Dixie"
"Cuckoo's Nest"
"Crazy Creek"
"Limerock"
"Gray Eagle"
Using Chromatic Licks
"Hamilton County Breakdown"
"Cumberland Gap"
"Lonesome Road Blues"
"Working on a Building"
"Salt River"
Single-String Licks
Moveable Licks: Fingerboard Patterns
"She'll Be Coming Around the Mountain"
"Dill Pickle Rag"
"Black and White Rag"
"Salty Dog Blues"
"Salt River"
Using Back-Up Licks for Up-the-Neck Lead Arrangements
"12-Bar Blues"
"Hear Jerusalem Moan"
"I Don't Love Nobody"
Summary: Improvising
Ending a Song
Chord Charts

Disc 1
Tuning
Bluegrass Roll Patterns
The Forward Roll Pattern
The Mixed Roll Pattern
The Forward-Reverse Pattern
The Backward Roll
"Bile 'Em Cabbage Down"
Forward Roll
Backward Roll
Forward-Reverse Roll
"Salty Dog Blues"
Backward/Alt. Forward Roll
The Standard Chord Patterns
F-Position Pattern
D-Position Pattern
Barre-Position Pattern
E-Minor Chord Pattern
"Cumberland Gap"
Alternate Part B
"Train 45"
"John Hardy"
Alternate Forward Roll
Variation
"Little Maggie"
Up-the-neck Arrangement
1st Arrangement
2nd Arrangement
3rd Arrangement
"Don't Let the Deal Go Down"
Variation #2
Variation #3
"Wildwood Flower"
"House of the Rising Sun"
Basic Up-the-Neck Licks
Lick #3, #4, #5, & #6
"Train 45"
"Little Maggie"
"John Hardy"
"Mama Don't Allow"
"Crying Holy Unto the Lord"
The "Identity Factor"
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
Substitute Licks
"Roll in My Sweet Baby's Arms"
Variation #2
Pick-Up Notes
G Licks
C Licks
D Licks - 1st-4th lines
D Licks - 5th-8th lines
A Licks
F Licks
E Licks
B Licks
B-flat Licks
F-sharp Licks
Am Licks
Bm Licks
Cm Licks
Em Licks
Dm Licks

Disc 2
Chord Progression #1
Alternate Licks
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
Substitute (Alt.) Lick
Variation #2
"Little Maggie"
Substitute Licks
"Salty Dog Blues"
Variation #2
"Roll in My Sweet Baby's Arms"
Alternate Licks
"Jesse James"
Harmony Notes
"Worried Man Blues"
Forward Roll Pattern
Chord Positions
Other Roll Patterns
Substitute Licks
"Red River Valley"
Variation #1
Variation #2
"Hand Me Down My Walking Cane"
Forward Roll Pattern
Substitute Licks
"Wreck of the Old 97"
Alternate Forward Roll
Variation #2
Variation #3
The Ending
Connecting Links: Up and Down the Neck
"Lost Indian"
"Sitting on Top of the World"
Variation #2
Altered Roll Patterns & "Blackberry Blossom"
"Wildwood Flower"
Variation #2
"Sally Goodin"
Variation #2
Variation #3
"Sally Ann"
Variation #2
"Don't Let the Deal Go Down"
Variation #2
Variation #3
"Look Down, Look Down"
Variation #2
Melodic Licks
"Dixie"
"Cuckoo's Nest"
"Crazy Creek"
"Limerock"
"Gray Eagle"
Using Chromatic Licks
"Hamilton County Breakdown"
Variation #2
Variation #3
"Cumberland Gap"
Variation #2
"Lonesome Road Blues"
"Working on a Building"
Variation #2
"Salt River"
Moveable Licks
F-Position Licks
F-Position Licks Continued
Barre-Position Licks
"She'll Be Coming Around the Mountain"
"Dill Pickle Rag"
"Black and White Rag"
"Salty Dog Blues"
"Salt River"
Part B
Using Back-Up Licks for Up-the-Neck Lead Arrangements
"12-Bar Blues"
"Hear Jerusalem Moan"
"I Don't Love Nobody"
Endings-Group 1
Endings Continued
Group II

COMPLETE BLUEGRASS BANJO METHOD. Neil Griffin. CD TABLATURE

Product Description:
One of the very best G tuning five-string bluegrass banjo methods available! The book teaches how to pick out tunes single-string style (one note at a time), how to play chord accompaniment, and how to play solos in the full three-finger, bluegrass style. Topics include note and tab reading, chord background styles, traditional bluegrass techniques, fills and endings, use of the capo, rolls, slides, hammers, pull-offs, choking, harmonics, and up-the-neck playing. In notation and tablature. The CD includes acoustic bass, acoustic guitar, and a rhythm track as well as the 5-string banjo. All songs and most exercises are included in this teaching recording, performed at a tempo that the student should be able to maintain in short order.

Product Description:
One of the very best G-tuning five-string bluegrass banjo methods available. Contents include note reading, tablature, chord background styles, three finger picking, rolls, licks, runs, fills, and endings, use of the capo, easy solos, and advanced up-the-neck solos in three-finger style! CD is a stereo play-along recording.

Neil Griffin was born and still resides in Charlotte, North Carolina. Music has always been his prime interest, starting wtih clarinet instruction in the fifth grade and learning guitar on his own. He performed as a member of the Charlotte Symphony Orchestra at age 15 playing bass clarinet. He also began performing with area dance bands on saxophone, clarinet, and guitar.

He studied music at the Univeristy of North Carolina at Chapel Hill, playing First Chair Alto Sax as a freshman in the UNC Concert Band. Neil taught as Band Director at three county schools for several years and at the same time privately for Kidd-Frix Music Co. in their Charlotte accordion school. When the School was purchased by Music Inc. Neil went into management and retail music sales for them. At the same time, Neil played regularly with his own band for wedding receptions, office parties, etc., and gained valuable experience from playing summer theater for many well-known stars as well as being called on a regular basis to play banjo, guitar, and clarinet for traveling Broadway shows appearing in the area.

Neil was very active in the Charlotte Musicians Association and served as president for approximately 13 years as well as holding other executive offices.

Some of the first professional jobs Neil played were good old southern square dances, which at that time weren't as fancy as they are today but provided him with an appreciation for country and bluegrass music that was never forgotten. He enjoyed doin 5 radio shows and two TV shows per week at WBT and WBTV in Charlotte for over a year.

In the early 60's Neil was hired to manage Tillman Music Co. in Charlotte. There he helped in starting the Aria Pro II line of instruments. Neil and his brother Steve, who also writes for Mel Bay Publications, went into the music-school business tohether in the 70's and later expanded as a retail music store. During this period Neil met Mel Bay and began to write material for 5-string banjo which was pretty scarce at the time. He has thoroughly enjoyed writing and teaching.

Currently, Neil is a performing musician, band leader and co-owner of the Neil Griffin Studios of Music in Charlotte, North Carolina where his instructional books are field tested and proven effective with students of all ages. He has authored or co-authored several books for Mel Bay Publications on the subjects of 5-string banjo, rock guitar, and accordion.

THE AUTHOR
Neil Griffin is a performing musician and teacher with many years of experience. He is co-owner of Griffin Music Scene in Charlotte, North Carolina, where this method has been field-tested and proven with students of all ages. Neil is the author of Mel Bay Publications' Easiest Banjo Book, Anthology of 5-String Banjo Styles, The Complete Banjo Book, and several other publications from Mel Bay.

ABOUT PART ONE A WORD FROM THE AUTHOR
I have attempted to set forth a basic, "from-the-beginning" system of five-string banjo instruction in the G or bluegrass tuning for the use of both teachers and students. Through the use of this method, the student should expect to learn the following:

1. How to pick out tunes single-string style (one note at a time).
2. How to play chord accompaniment.
3. How to play solos in the full three-finger, bluegrass style that is so popular today.

All the songs and solos in Part One are written in two simple keys (Gand C). All the playing
is done in the basic position (the first few frets).
The student will learn to play rolls, slides, hammers, and pull-offs. Techniques such as choking, playing harmonics, and high solo playing up the neck are purposely omitted in Part One. These will be covered in Part Two, as I believe that a thorough knowledge and facility should be gained in the basic position before moving on.
All of the songs in the first part are written two ways - one simple version showing the single-note melody as well as the chord strums and words - one complete three-finger, bluegrass solo that matches. Ifyou have a friend who plays a few chords on the guitar, it will be fun to play the song together, swapping back and forth with one playing the melody and the other strumming the chords. Later, when you can handle full solos, the music will still work together.
Daily practice is essential in order to master the material in this method and is one thing you must discipline yourself to do. No one else can do it for you.
If you are not taking regular instruction from a banjo teacher or if there are no banjo teachers in your town and you feel you need extra help, any competent guitar teacher will understand the material in this book and willbe able to help you to understand the things that cause you trouble.
Good luck and, above all, have fun with your music!
Neil Griffin

PART TWO FOREWORD
Iwant to thank the many thousands of banjo enthusiasts who have purchased the Mel Bay books I have written. It is certainly gratifying to receive letters and phone calls from all over the world commenting on my books and requesting more advanced material for the fivestring banjo.
There is quite a bit of good music available now for the five-string banjo, but as I study all that I can obtain, my feeling remains the same as when I wrote my first book. There seems to be a lack of actual teaching material that systematically acquaints the aspiring banjo player with the techniques necessary to become an accomplished banjoist. A banjo player must utilize his or her own talents and imagination in playing exciting music. In order to achieve what your musical ear wants to hear, you must know just where to find the sounds that you are looking for on your instrument. I sincerely hope that this book will help those who use it correctly, not only just to play the songs as they are written here, but to learn your way around the banjo so well that you can extend the solos, improve upon them, and create your own versions.
Included in this part are information on chords and chord progressions, scales and keys, single-string picking, melodic or chromatic style, back-up, blues and boogie, various technical exercises, and standard tunes as well as some original material to help demonstrate their use. It is very important that you understand and can play the material in Part One of this method in order to get the most out of this volume. It would also be helpful if you would read through and play the supplementary material that I have written previously - Mel Bay's Easiest Banjo Book, Complete Banjo Book, and Anthology of 5-String Banjo Styles. Again, many thanks for your interest and support, and best wishes for many hours of 'Happy Pickin'

"MELODIC" OR "CHROMATIC" PICKING
THE NEXT FEW PAGES WILL INTRODUCE YOU TO THE "MELODIC" OR "CHROMATIC" STYLE OF BANJO PLAYING. THE MAJOR PART OF THE MATERIAL IS IN G BECAUSE YOU ARE SO FAMILIAR WITH THE KEY, BUT SEVERAL OTHER KEYS ARE SHOWN.
THIS STYLE IS SOMETIMES CALLED "FIDDLE SCALE PLAYING" BECAUSE IT IS DESIGNED TO ALLOW THE BANJO PLAYER TO PLAY RAPID RUNS AND FILL-INS AS WELL AS THE OLD-TIME FIDDLE AND MANDOLIN TUNES THAT HAVE SO MANY NOTES IN EACH MEASURE OF THE MUSIC. MOST OF THE OLD FIDDLE TUNES HAVE ABOUT EIGHT NOTES PER MEASURE AND DO NOT ADAPT WELL TO THE "SCRUGGS" STYLE.
MOST GOOD BANJO PLAYERS USE A MIXTURE OF THE TWO STYLES IN ORDER TO AVOID BEING MONOTONOUS.
IF YOU READ MUSIC AND HAVE A THOROUGH KNOWLEDGE OF THE MELODIC SCALE PATTERNS, YOU CAN READ FIDDLE AND MANDOLIN TUNES DIRECTLY FROM FIDDLE AND MANDOLIN MUSIC. THIS ABILITY ALONE WILL OPEN UP THE OPPORTUNITY TO PLAY LITERALLYTHOUSANDS OF TUNES YOU ARE NOT FAMILIAR WITH. YOU WILL NOTICE THAT IN THIS STYLE OF PLAYING THE RIGHT-HAND FINGERING REQUIRES YOU TO PICK THE SECOND STRING WITH THE MIDDLE FINGER. THIS TAKES SOME PRACTICE BUT WILL ENABLE YOU TO PLAY RUNS THAT WERE VERY DIFFICULT TO FINGER BEFORE.
BE PATIENT, AS YOU WILL PROBABLY FEEL LIKE AN AWKWARD BEGINNER FOR A WHILE. BUT DON'T GIVE UP - IT'S WORTH THE EFFORT .... MEMORIZE ONE SCALE PATTERN AT A TIME AND DON'T MOVE ON TO THE NEXT ONE UNTIL YOU CAN PLAY IT QUITE SMOOTHLY.
 

ADVANCED SOLO SONG SECTION
BE SURE TO READ THE NEXT FOUR PAGES ON "CHORD DIAGRAMS," "CIRCLED TAB NUMBERS," "THE CHOKE," AND "CHIMES" BEFORE YOU START PLAYING THE SOLOS. THIS INFORMATION WILL HELP YOU TO UNDERSTAND THE SOLOS MUCH BETTER.
INCLUDED IN THIS SECTION IS A WIDE VARIETY OF MATERIAL.
THERE ARE SEVERAL SONGS THAT YOU LEARNED IN PART ONE IN THE BASIC POSITION THAT ARE PRESENTED HERE IN THE HIGHER OCTAVE (UP THE NECK). THESE MAY BE CONNECTED TO THE PREVIOUS SOLOS YOU HAVE LEARNED TO EXPAND THE NUMBER OF CHORUSES YOU CAN PLAY.
MANY OF THE SONGS HAVE BOTH LOW AND HIGH VERSIONS WITH A MIXTURE OF "SCRUGGS" AND "MELODIC." THERE ARE SEVERAL ORIGINAL TUNES INCLUDED. IN SOME INSTANCES THE STYLE USES THE HOLDING OF COMPLETE CHORDS WHERE I OBVIOUSLY COULD HAVE MADE THE PlAYING MORE FLOWING AND OPEN TO SUIT MORE ADVANCED PlAYERS, BUT I DID NOT SET OUT TO WRITE JUST ANOTHER "SOLO BOOK. " IT IS MY HONEST HOPE THAT YOU WILL, THROUGH THE USE OF THIS BOOK, REALLY BEGIN TO SEE WHERE THINGS ARE COMING FROM THAT YOU DID NOT UNDERSTAND BEFORE. STUDYING THIS MATERIAL THOROUGHLY WILL ENABLE YOU TO READ AND UNDERSTAND SOLOS WRITTEN BY MUCH GREATER BANJO PLAYERS THAN MYSELF.

INDEX OF ADVANCED SOLOS II
ARKANSAS TRAVELER
BANJO BLUES
BICENTENNIAL BREAKDOWN
BILL BAILEY.
BlACK EYED SUSIE .
BLUE MOUNTAIN TRAIN
BLUEGRASS JOE
BUFFALO GALS (MELODIC STYLE)
BUFFALO GALS (3-FINGER STYLE) .
BULLY OF THE TOWN
BURY ME BENEATH THE WILLOW .
CARELESS LOVE .
CARRY ME BACK TO OLD VIRGINIA
CATFISH CREEK.
CHIME TIME
FRANKIE AND JOHNNY
GEORGIA GALLOP
GRANDFATHER'S CLOCK
HARD AND IT'S HARD
JOHN HARDY (HIGH CHORUS)
JOHN HENRY .
LONDONDERRY AIR
MAMA DON'T 'LOW
NINE POUND HAMMER
NUEGRASS
OLD TIME RELIGION (HIGH CHORUS)
PICKIN' AROUND
ST. ANNE'S REEL
SALTY DOG
STOCKADE BLUES
UNDER THE DOUBLE EAGLE
WABASH CANNONBALL
WILDWOOD FLOWER
WILL THE CIRCLE BE UNBROKEN
WRECK OF THE OLD 97 

MEL BAY'S COMPLETE BLUEGRASS BANJO METHOD
Cover photo courtesy of Liberty Banjo Company, Bridgeport, Connecticut.

CD CONTENTS:
1 Introduction (:21]
2 Tuning the Banjo/page 11 (:56]
3 Notes on the D String Plus 4 Songs/page 13 (1:38)
4 More Songs With Addftional Notes/page 18 (1:48)
5 G Major Songs/page 23 [1:01]
6 Chord Background & The Bugle-Call Pinch/page 31& 32 (:34)
7 Pinch Chords With Alternating Bass Notes in 4/4 Time/page 33 (:35)
8 Pinch Chords With Alternating Bass Notes in 3/4 Time/page 34 {:27]
9 Melody and Pinch Chords Together/page 35 {:40]
10 3-Finger Picking· Forward Rolls/page 44 (:52)
11 Backward Rolls/page 45 (:50]
12 Thumb-Alternating Rolls/page 46 {1:11]
13 Combination Rolls/page 47 {l:04]
14 Rolls on the D & D7 Chords/page 48 [:34]
15 Right-Hand Patterns/page 50 {l: 18]
16 County Line/page 51 (:32]
17 Frog Pond / page 52
18 Haystack/page 53 [:25)
19 Fiesta/page 54 (:31)
20 Backing Up/page 55 (:25)
21 Moving On/page 56 {:25]
22 Big Dipper/page 57 (:25]
23 The Basic Banjo Picking Effects· The Slide/page 60 {:54}
24 Slide and Pinch/page 60 {:26]
25 Slides and Rolls/page 61 {:40]
26 Hammering, Hammer & Pinch, Hammer & Roll / page 62 {:51]
27 The Pull-Off, Pulling Off, Pull-Off & Pinch, Pull-Off & Roll/ page 63 (:56]
28 Mixed Effects/page 64 (:59]

Solo Section
29 Fills& Endings/page 65 {2:15]
30 Bile 'Dem Cabbage Down/page 70 [:28)
31 Criple Creek /page 72 (:29]
32 Old Dan Tucker /page 74 (:52]
33 I've Got Peace Like a River /page 76 [:28)
34 Old Time Religion /page 78 {:27]
35 Hand Me Down My Walking Cane /page 80 {:28}
36 Careless love /page 82 {:56]
37 When the Saints GoMarching In / page 84 {:54]
38 This Train / page 90 {:30]
39 Banks of the Ohio / page 92 {:27]
40 The Yellow Rose of Texas / page 94 {:55]
41 Pickin' on the Old Banjo / page 98 [:30)
42 Li'l Liza Jane / page 100 (:29]
43 The lonesome Road page 102 [:29)
44 Mama Don't 'low / page 104 (:27]
45 She'll Be Coming 'Round the Mountain / page 106
46 Worried Man Blues / page 108 (:28)
47 Red River Valley / page 110 {:28]
48 Old Joe Clark / page 112 {:52]
49 John Hardy / page 114 {:33]
50 Pickin' Trip / page 116 {:30]
51 Oh Susanna / page 118 {:29]
52 Cindy / page 122 {:33]
53 The ER-I·E Canal / page 122 [:33]
54 Ballad of Jesse James /page 124 (:52]
55 Home Sweet Home /page 128 (:55]
56 Battle Hymn of the Republic /page 132 {:58]
57 Come and Gowdh Me /page 136 (:30]
58 Part 2·She'll Be Coming 'Round the Mountain / page 148 {:37)
59 Little Brown Jug /page 155 {:49]
60 Bile 'Dem Cabbage Down (:58]

Advanced Solo Section
61 Blue Mountain Train /page 182 {l:06}
62 Chime Time /page 184 [1: 16]
63 Georgia Gallop /page 186 [:52]
64 Pickin' Around /page 188 [:32]
65 Wabash Cannonball /page 189 {:30]
66 Bury Me Beneath the Willow/page 190 {:56}
67 Wildwood Flower/page 192 (1:00)
68 Will the Circle Be Unbroken/page 194 (:59]
69 Arkansas Traveler/page 196 {:31]
70 Wreck of the Old 91/page 191 {:30]
71 Nine Pound Hammer/page 198 (:56]
72 CarryMe Back to Old Virginia/page 200 (:57]
73 Banjo Blues /page 202 (:56)
74 Bluegrass Joe /page 204 [:43]
75 Mama Don't 'low /page 205 [:27]
76 Stockade Blues /page 206 [:53]
77 Salty Dog /page 208 [l:23]
78 Catfish Creek/page 210 [:54]
79 Gandlather's Clock/page 212 [1:20]
80 Frankie and JohnnJohnny / Page 214 [1:05]
81 Careless love/page 215 [:31)
82 Bill Bailey/page 216 [:56]
83 Hard and It's Hard/page 218 (:31)
84 Old Time Religion/page 219 [:31]
85 Bully of the Town/page 220 [1:06]
86 Bicentennial Breakdown/page 222 [2:01]
87 John Henry/page 226 [1:11]
88 londonderry Air/page 228 [l:21]
89 Under the Double Eagle/page 230 [1:42]
90 Outro [:33] 

Product Number: 93345BCD
Format: Book/CD Set
ISBN: 0786665211
UPC: 796279085458
ISBN13: 9780786665211
Series: Complete
Publisher: Publications, Inc.
Date Published: 11/4/2002

Contents:

Part One
About Part One
The Author
Left-Hand Position
Right-Hand Position and Fingering
The Picks
The Quickest Way to Learn
Music-Reading Section
The Rudiments of Music
Other Musical Signs and Terms
Tuning the Banjo
Reading Tablature
Time Values of Notes and Rests
Counting Time in Tablature
Counting Time
Playing Songs on the First, Second, and Fifth Strings
Playing a Song on the Second and Third Strings
Chord Background
The Chord Symbol
The Basic Chords
Down and Up Strumming
Pinching the Chords
Melody and Pinch Chords Together
Chromatics
Key Signatures
Counting Review
3-Finger Picking Section
Counting Bluegrass Style
The Basic Rolls
Forward Rolls
Backward Rolls
Thumb-Alternating Rolls
Combination Rolls Rolls on the D and D7 Chords
Daily Practice Patterns
Right-Hand Patterns
The Basic Banjo Picking Effects
Fills and Endings
The Capo
Solo Section
The Banjo and Its Parts

Part Two
Foreword
Chord Studies
Mixing the Major Chord Forms
The I, IV, and V Chords
The I, IV, V, I Progression
Other Movable Chord Forms
The Dominant Seventh Chord
The Diminished Seventh Chord
The Augmented Seventh Chord
Right-Hand Chord Background Patterns
Blues & Boogie Back-Up Section
Blues Rock Back-Up
5-String Boogie
Melodic Thirds and Sixths
Melodic Thirds and Sixths Mixed
Blues-Rock Chorus
"Melodic" or "Chromatic" Picking
Advanced Solo Song Section
Chord Diagrams for Solo Section
Circled Tab Numbers
The Choke
Chimes
Endings

RENBOURN JOHN, COMPLETE ANTHOLOGY OF MEDIEVAL & RENAISSANCE MUSIC FOR GUITAR. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA MEDIEVALE E RINASCIMENTALE CON CD .

SPARTITI PER CHITARRA CON TABLATURE . 

Product Description:
A collection of 28 fingerstyle guitar solos and duets by fingerstyle guitarist John Renbourn. These solos are drawn from Medieval and Renaissance lute dance tunes and solos. All solos are in notation and tablature. The online audio contains 17 of the solos from the book. 176 PAGES

The title of this collection - Mel Bay's Complete Anthology of Medieval and Renaissance Music for the Guitar - may be somewhat misleading. The guitar as we know it, with six single strings, did not emerge until the end of the eighteenth century, so, strictly speaking I suppose, there really isn't any music specifically for the instrument before that time. Also, of course, the body of early music is vast and this volume contains only a small number of selected pieces. However, for some time now I have periodically made transcriptions of early pieces mainly for my own enjoyment and, since virtually all of these are contained here, in effect this book represents the "complete collection" of my medieval and Renaissance arrangements. My own interest in early music runs parallel to my interest in western folk music. It was, and still is, intriguing to consider the characteristics that are common in both - the same old modal framework and the recurrence of particular note groupings, as well as strong metric and rhythmic similarities. I discovered that even whole pieces, thought to exist only in manuscript, occasionally cropped up remarkably intact in current folk playing, and instruments long assumed silent were found to be still sounding in remote areas of Europe. At some point I began trying out the application of one approach to the other, by taking a medieval dance tune and treating it as I would a jig or reel, or drawing on contrapuntal practice in making arrangements of folk songs. After a while I found myself with arrangements of a variety of pieces from the Middle Ages and the Renaissance. These were ones that appealed to me for their inherent musical characteristics, not simply because they were old and venerable. Quite often the attraction lay in the use of scale or mode - the arresting rise to the minor seventh at the opening of "Lamento di Tristan" for example, or the freshness of the major mode in "Stantipes" and "English Dance," that must at the time have had a heady effect. Or again, in contrast to these, the almost bizarre melodic content of "Der Judentanz." Others I liked largely for their phrasing and rhythmic makeup - the sneaky additive measures of the second "Saltarello" which contributes so much to the construction of the piece, and the underlying patterns of "Trotto," asymmetrical yet still eminently danceable. Then there were the developing concepts of early part-writing, the great period of Guillaume de Machaut, whose three-part canonic ballade maintains a spacious sense of modality while employing almost an entire chromatic scale, and later the schools of Renaissance counterpoint with works by Byrd and Dowland, both of whom made settings of popular tunes that have endured in the folk tradition. Pieces of this type are all included here, not as dry examples of period style but because each one has its own particular magic. As to the o~iginal instrumentation of the pieces, the earlier dance tunes would probably have been played--on whatever came to hand; blown, plucked or bowed. A number of the arrangements, though, are specificallyfor plucked instruments, such as the gittern, vihuela, bandora and lute. Others are keyboard pieces and even reductions of consort settings. I like to play them on the steel-string guitar. Metal-strung instruments have a long pedigree, going back to the medieval harp, and include the bandora, orpharion and cittern. I find that the balance and sustain of steel strings can be effective both for the dance tunes and for the more intricate contrapuntal pieces. This is not meant to deter the classical guitarist, who is probably already aware of at least some of the pieces, but rather to put forward the steel-string as being well-suited to music of this type~ The nylon-strung guitar has already inherited a good deal from the lute and vihuela repertoire but nearly all of the other arrangements here should work equally well.  

10. Se lo M'Accorgo

The authorship of this attractive Renaissance ltalian Iute piece is uncertain. It has been tentatively Iinked to the Fiorentine composer Vincenzo Galilei, father of the astronomer Galileo. The old Fiorentine language is certainly used for the title which can be translated as "Had I But Known." The piece opens on the subdominant before finally settling on the home key and bears comparison with "The Irish Ho-Hoane" in this respeet. The descending imitative passages in the second part seem to reflect the title and transfer well onto the guitar.

Recording:

Davey Graham, The Complete Guitarist

Kicking Mule SNKF 138.

11& 12. Bransle qay and Bransle de Bourgogne

These are both from the Donseries of Claude Gervaise, comprehensive collectiQ.ns of dance tunes set in four and fìve parts published in the mfèl-fifteen hundreds. Frequendy drawing on folk material, Gervaise produced working arrangements for the enaissance band which are often catehy as well as practical. the bransle was, I believe, a French country dance originally - taking its name from "branler" meaning to gyrate. The dance enjoyed widespread popularity, catehing on in England where it became known as the "brawl" and continuing as a firm favorite in Scotland. Many of the pieces in the Danseries are still colored by the old modes - "Bransle Gay," in section one. has a mixolydian feel before settling on d-dorian. "Bransle de Bourgogne" begins squarely in D major but shifts to e-dorian after eight barS. This piece too has some subtle touches - the attractive figure at measures thirteen and fourteen, for example, and the choice of E minor for the final dose rather than a retum te D major. Recordings:

Medievol ond Renaissance Music for the lrish and Medieval

Horps - VièJe,Recorders ond Tombourin.

Tumabout TV430 19S. John Renbourn, The Lady ond the UnicornoShanachie 97022.

13. The lrish Ho-Hoane

One of a number of attractive short anonymous keyboard pieces in the Fitzwilliom Virginal book. "Ho-Hoane" is evidently a variation of "Och-One," the Irish lament for the dead. The arrangement is rather plain but works well that way. However, there is certainly room for melodie ornamentation on the repeats.

14. Bandora lullaby

The bandora, together with the orpharion, were metalstrung plucked instruments that shared the solo repertoire of the lute as wel/ as being consort instruments. The larger bandora had seven courses tuned G c d g c'e' a', the top five courses being equivalent to the modern guitar tuning, having the interval of a third between strings two and three. A small amount of specific bandora music has survived. One source is William Barley's New book of Tablature of 1596. This charming piece is by the Elizabethan composer Anthony Holborne. I have had to alter a few notes here and there to suit the guitar. The originai can be found in The Complete Works ofAnthony Holbome - Music for Lute ond Bandoro. (Harvard Publications in Music.)

15. Pavanne d'Espagne

This piece, known in England as the "Spanish Pavin," enjoyed immense popularity throughout the reigns of Queen Elizabeth and James I. Brisker in tempo, its more ornate dance steps set it apart from the conventional stately pavan. The setting here is by French lutenist Nicholas Vailet, from Le Secret Des Muses, Book Il, 1616. I have been tempted to include three pieces by Val/et. The part writing is sparse but with strong c1ear Iines which transpose well onto the guitar. By using the tuning C G c g c' f, which extends the normal range of the guitar by a fourth, it is possible to duplicate the Iute para and retaitl the distinction between bass and treble. Other settings for the Iute are included in William Ballet's Lute Book and Thomas Robinson's Schoole of Musidce. An arrangement for keyboard by Dr. John Bull is te be found in the Frtzwilliom Virginal book.

16. Bouree I and Bouree "

Aiso from Nieholas Val/et's Le Secret Oes Muses, Book Il, a colleetion of popular songs and dance tunes arranged for solo Iute. 80th these pieces appeared earlier in the Terpsichore of Michael Praeterius and later, as variants, in Playford's The English Dandng Master.

Recordings:

Eugene M. Dombois, Iute, Michoel Proetorius

Terpsichore 1612. EMI C063-3Q-117.

James Tyler, Music ofthe Renaissance Virtuoso. Saga 5438.

John Renbourn, The B1ack Balloon. Shanachie 97009.

17. Mal Sirns

This piece has come down to us in a number of settings. It seems likely to have been a popular song and was known as the "English Echo" presumably from the imitative passages or chorus. Nicholas Val/et included a "Malsimmes, Bai Anglais" for solo Iute in Le Secret Oes Muses, Book " 1615, and yet another version in his second col/ection. There is also a keyboard setting by Giles Farnaby in the Fitzwilliom Virginal Book.

18. The Earle of Salisbury

The stately pavan was the most enduring of the court dances. The name is said to derive from "Padoana," the ancient dance of Padua, and the earliest noted version is from the beginning of the fifteen hundreds. This fine keyboard pavan is by one of· the outstanding English composers of the sixteenth century, William Byrd. Byrd included the piece in his colleetion Porthenio published in 161 l, the title page of which bears the inscription "the fìrst musicke that was ever printed for the virginalls." In spite of some necessary reductions in the outlay of the parts the piece as a whole, I think, transfers successfully onto the guitar.

Recording: John Renbourn, Sir John Alot Shanachie 97021.

19. Courante

Robert Ballard, lutenist to the French court, was a contemporary of Nicholas Vallet. His exceptional arrangements are contained in two· collections of Oiverses Pièces Mises sur le Luth, and include a number of pieces that appeared later in ...

Song Title: Composer/Source:

Alman - John Renbourn
Bandora Lullaby - John Renbourn
Bourree I - Bourree Ii - Nicolas Vallet
Bransle De Bourgogne - Claude Gervaise
Bransle Gay - Claude Gervaise
Courante - Robert Ballard
Fantasia - Alonso Mudarra
Gipsy Dance-Jew's Dance - Hans Neusiedler
Gittern Pavan - John Renbourn
Lachrimae Antiquae - John Dowland
Lamento Di Tristan-Rotta - John Renbourn
Mal Sims - John Renbourn
My Lord Willobie's Welcome Home - John Renbourn
Pavanne D'espagne - Nicolas Vallet
Redford's Meane - John Redford
Saltarello - John Renbourn
Salterello - John Renbourn
Se Lo M'accorgo - John Renbourn
Stantipes - John Renbourn
The Earl Of Salisbury - William Byrd
The English Dance - John Renbourn
The Irish Ho-Hoane - John Renbourn
The Moon Shines Bright - John Renbourn
Toy For Two Lutes - Thomas Robinson
Triple Ballarde - Guillaume De Machaut
Trotto - John Renbourn
Veri Floris - John Renbourn
Westron Wynde

MASTER ANTHOLOGY OF FINGERSTYLE GUITAR SOLOS, VOLUME 2. Accufuse, Preston Reed -Amico Mio, Andrea Benzoni -Celtic Overs, Jim Goodin -Clover, Colin Reid -Karla's Song, Larry Pattis -Only My Heart, Bill Piburn -Son Of A Gun, Tommy Emmanuel -Spirit Of Brother Marcel, Michael O'dorn -Stringin' The Blues, Michael Fix -Temptation Rag, Henry Lodge; arr. by Lars (Lasse) Johansson -The End Of The Beginning, Jody Fisher -The Return Of The Flute, Rick Ruskin. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO DI MUSICA CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Product Description:
This collection of twelve challenging fingerstyle guitar solos in notation and tablature presents works by both relative newcomers and seasoned world-class performers. This eclectic group of compositions should appeal to players and listeners alike, be it country, blues, ragtime, jazz, Celtic, or gorgeous ballads that suit your fancy. It will require serious practice for most guitarists to master these tunes, but the rewards should be commensurate whether you play strictly for your own enjoyment or make your living in whole or in part as a guitarist.

Featured artists include: Andrea Benzoni, Tommy Emmanuel, Jody Fisher, Michael Fix, Jim Goodin, Lars Johansson, Michael O'Dorn, Larry Pattis, Bill Piburn, Preston Reed, Colin Reid, and Rick Ruskin.

Song Title: Composer/Source:

Accufuse - Preston Reed
Amico Mio - Andrea Benzoni
Celtic Overs - Jim Goodin
Clover - Colin Reid
Karla's Song - Larry Pattis
Only My Heart - Bill Piburn
Son Of A Gun - Tommy Emmanuel
Spirit Of Brother - Marcel Michael O'dorn
Stringin' The Blues - Michael Fix
Temptation Rag - Henry Lodge; arr. by Lars (Lasse) Johansson
The End Of The Beginning - Jody Fisher
The Return Of The Flute - Rick Ruskin

EMMANUEL TOMMY, FINGERSTYLE GUITAR METHOD. CD TABLATURE

LIBRO METODO PER CHITARRA ACUSTICA, CON CD. 

SPARTITI PER CHITARRA:

ACCORDI, PENTAGRAMMA E TABLATURE. 

The incomparable Australian guitarist Tommy Emmanuel presents four fingerstyle exercises plus an arrangement of the classic tune Freight Train and two signature compositions- Mister Guitar and Dixie McGuire. This book would serve either as a reference text for one of Tommy's workshops or as a helpful guide to developing fingerstyle guitarists working on their own. All selections are written in notation and tablature for the guitar in standard tuning. A convenient chord chart is provided in the appendix. All of the selections in the book appear on the companion CD.

Intermediate to advanced in difficulty, playing these tunes literally involves the thumbs of both hands! Gaining flexibility and control of your left thumb, you too can play like TE!

Dictation Notes with Tommy Emmanuel Getting Started on Fingerstyle ...

GETTING PREPARED