CONTENTS. About the Author 3 Introduction 4 Chapter 1: Music Review 5. Chapter 7: Using Single-String Scales to Work Out Melodic-Style Tunes 29

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1 ONENS but the uthr Intrductin hapter : Music Review Lessn : w t Read ablature... Lessn : ime... Lessn : anj Fretbard... hapter : Music hery Lessn : Intervals... Lessn : he ircle f ths... hapter : hrd nstructin Lessn : Majr, Minr, ugmented, and iminished riads... Lessn : iatnic riads... Lessn : iatnic th hrds... Lessn : Mre hrds... Lessn : utting the hrds t Use... Red River Valley... hapter : Majr Scales in lsed sitins Lessn : lsed-sitin Majr Scales... Lessn : lsed-sitin Majr-Scale Eercises... Lessn : lsed-sitin Fiddle unes... lackberry lssm... rkansas raveler... hapter : Minr Scales in lsed sitins Lessn : hree Minr Scales... Lessn : Minr-Scale Eercises... Lessn : Minr-Scale unes... retty Little g... hapter : Meldic Scale atterns Lessn : Meldic-Style Majr-Scale Eercises... Lessn : Meldic-Style Minr-Scale Eercises... Lessn : mbining Meldic Style and Single-String Style... hapter : Using Single-String Scales t Wrk Out Meldic-Style unes Lessn : ecnstructing lackberry lssm... lackberry lssm (art )... lackberry lssm (art )... hapter : mbining Rlls with Meldic and Single-String Style Lessn : ecnstructing rilliancy... rilliancy... Lessn : ecnstructing Frked eer... hapter : entatnic and lues Scales Lessn : he Majr entatnic Scale... Lessn : he Minr entatnic Scale... Lessn : he lues Scale... Lessn : Using lues Scales... Lessn : lues Licks ver,, and hrds... Lessn : Meldic-Style entatnic and lues Scales... Katy ill... Nine und ammer... Lessn : Mdal unes... Kitchen irl... June pple... hapter : Strategies fr laying in Keys Other han,, and Lessn : he Key f F... anks f the Ohi... Lessn : he Key f E... Wreck f the Old... Lessn : he Key f b... New River rain... ne ne... ppendi anj Mutes... Mdes... anj mplificatin... nclusin... dditinal Resurces... Mastering anj

2 LESSON : UIN E ORS O USE MJOR N MINOR ORS Yu may have nticed hw jazzy majr and minr th chrds sund. While nt cmmnly used in bluegrass, these th chrds are ften used in place f regular majr and minr chrds in jazz. We ll use them t jazz up a few bluegrass and flk standards. E URNROUN turnarund in music is a shrt passage at the end f ne sectin that leads t the net sectin that fllws. Smetimes a turnarund is als used as an intr t a sng. he chrd prgressin f is very cmmn in many kinds f music. In bluegrass, this is the chrd prgressin fr the sng Salty g lues. ry it in the key f : () E() () () () Let me be yur salty dg r I wn t be yur man at all. ney let me be yur salty dg. In this bluegrass sng, the chrds are played as majr chrds, but try playing them as majr th and minr th chrds and yu ll hear hw it culd be used as the final passage in sngs like Misty r ake the rain, r pretty much the whle sng fr I ve t Rhythm. maj Emin min maj lay Salty g lues but with majr th and minr th chrds fr the jazziest versin ever! UMENE N IMINISE ORS ugmented and diminished chrds bth sund like they want t reslve int anther chrd, and that s the way t use them. ry playing + after in this jazzy versin f Salty g lues. maj Emin min + maj Let me be yur sal - ty dg r I wn't be yur man at all. -ney let me be yur sal - ty dg. nther trick is t try a # º ( # diminished th) in place f a, like here in Lnesme Rad lues. - ing dwn this rad feel - ing bad. I'm g - ing dwn this rad feel - ing # bad. hapter : hrd nstructin

3 LESSON : MELOI-SYLE MINOR-SLE EXERISES We learned in hapter that the natural minr scale uses the same ntes as its relative majr. S, fr eample, when yu play the E Natural Minr scale, yu ll be playing the same ntes as the Majr scale. We als learned that the meldic minr scale is played differently ascending than it is descending. Fllwing are a few eamples f meldic minr scales played in meldic style. Remember t revert t the natural minr scale when yu re descending. Meldic Minr I I M I M I M I M M Meldic Minr I M I M M I M I M M E Meldic Minr I I I M I M I M M Meldic Minr I I I M M I M I M M Let s see hw ne-ctave and Meldic Minr scales can be easily played in meldic style. Meldic Minr Meldic Minr M I M I M I M I M M LESSON : OMININ MELOI SYLE N SINLE-SRIN SYLE he net step is t cmbine meldic style with single-string scales. ry E., which is a Majr scale pattern in meldic style ging up the neck, switching t single-string style when meldic style is n lnger cnvenient. I M I M I I M I M I M I M I M I M M I I M I M I M M I I I I I I I I I I I I I hapter : Meldic Scale atterns

4 ER mbining Rlls with Meldic and Single -String Style LESSON : EONSRUN RILLINY rilliancy is a fiddle tune in three parts. We ll wrk thrugh the meldy in each part and shw hw rlls, meldic style, and single-string style cmbine t create the arrangement. RILLINY: R he beginning f rilliancy starts with a th-string slide, a pinch, and a rd-string slide int a chrd, s it s very banj-y s far. SL SL M I M M I M M I M he meldy f the net tw measures plays ver Minr and Majr chrds and fllws their respective scales. E. shwcases the meldy eclusively in single-string style, while E. shws hw t play the same meldy ver the first measure (in min) in meldic style. In the secnd measure f E., a hammer-n is used t play the pen th string t the th fret. his hammer-n will enable yu t switch yur right-hand fingering t end with instead f I, helping t set up the net line f the sng in E.. min I I I I I I I I min I I M I I I I I he net fur measures restate the meldy in the first fur measures but with sme variatins. Yu ll start with a turnarund n the rd and th strings instead f the slide and pinch that intrduces the sng. ls, we ll be playing the chrd in a new psitin. Instead f playing it at the st and nd frets, the same ntes are available at the th fret, s we ll use that ptin t play the chrd in E.. min I I M I M I M I M I M I I M I I I I hat cvers art f rilliancy. Like many fiddle tunes, each part f this sng is repeated, s pay clse attentin t the repeat signs and the first and secnd endings when yu get t the full arrangement n page. Nw, n t art. hapter : mbining Rlls with Meldic and Single-String Style

5 LESSON : LUES LIKS OVER,, N ORS he real magic f the pentatnic and blues scales happens when yu play them ver ur standard,, and chrd prgressin. he ntes f the minr pentatnic r blues scale can be played ver all three chrds! In the eample belw (which is a basic -bar blues chrd prgressin), yu ll see that all f the ntes are frm the Minr entatnic and Minr lues scale. ut, this desn t mean we have t play in the key f Minr. When yu play the b rd r b th f yur key ver a majr chrd, thse ntes are called blue ntes and they give the blues its character and flavr. he -bar blues is a very cmmn chrd prgressin. It can be played in any key, usually featuring the,, and chrds, and is a fundatin f blues music. ut, it is als widely fund in rck, cuntry, bluegrass, flk, and many ther types f music. ry the eample belw (watch the cmpanin vide if yu need help with the rhythm). -R LUES IN ( ) I I I M I I M I M M M I I ( ) I I I M I I M I I M I M I I M M M M M I I I I M M I I We als have the ptin f playing the and Majr entatnic scales ver the and chrds. Let s see hw that sunds in E.. ( ) I I I I I I I I M I M I M I M I I M I M I I I I M I I I I M I M I M I M M I I I I M M I I I I I I M I hapter : entatnic and lues Scales

NJO MLIFIION t sme pint in yur banj playing career, yu may be asked t play n stage.

ere are a few tips n using micrphnes, pickups, and amplifiers. MIROONES When playing n stage, with r withut a band, yu ll prbably be using micrphnes.

he mics used fr this setup usually have a wide pickup pattern (which means they pick up frm a wide area). pprach this setup the same way as yu wuld playing in a living rm.

ere, individual instruments r singers have their wn mic. gain, step clser (maybe inches) t the mic when it s time t sl and back up a little ( inches) when playing backup.

accidentally bumping int it. band playing int ne micrphne. uthr Ned Luberecki is n the far left; banjist ny rischka is n the far right. band playing with individual micrphnes.

6 NJO MLIFIION t sme pint in yur banj playing career, yu may be asked t play n stage. When that happens, yu ll mst likely need t amplify yur banj with either a micrphne r an electrnic device called a pickup (nt t be cnfused with pickup ntes). ere are a few tips n using micrphnes, pickups, and amplifiers. MIROONES When playing n stage, with r withut a band, yu ll prbably be using micrphnes. here are a few cmmn setups fr micrphnes, r mics.. S ingle mic setup: his is reminiscent f the ld days when everyne played and sang int ne mic. he mics used fr this setup usually have a wide pickup pattern (which means they pick up frm a wide area). pprach this setup the same way as yu wuld playing in a living rm. When the singer is singing, play quieter, and then get clser t the mic when it s time fr yu t sl.. M ultiple mic setup: his is the mst cmmn setup. ere, individual instruments r singers have their wn mic. gain, step clser (maybe inches) t the mic when it s time t sl and back up a little ( inches) when playing backup. Yu can try pinting the mic t varius parts f the frnt f yur banj t find a tne yu like, but placing the mic in frnt f the banj head where yu can see it will prevent yu frm accidentally bumping int it. band playing int ne micrphne. uthr Ned Luberecki is n the far left; banjist ny rischka is n the far right. band playing with individual micrphnes. Ned Luberecki is n the far right. OW E ROS WORK MI he net time yu watch a band perfrm live, spend sme time bserving hw the banj player wrks the mic. ay attentin t where the mic is placed during sls and backup playing, and listen fr the difference in their sund. Micrphne pinted tward head near the junctin f neck and bdy. Mastering anj Micrphne pinted tward lwer end f head. lip-n micrphne.

ABOUT THE AUTHORS... 4 INTRODUCTION... 5

ABOUT THE AUTHORS... 4 INTRODUCTION... 5 ONENS OU HE UHORS INRODUION HPER he Wrld hrding t Uke Lessn : hery and Majr riad Inversins Lessn : Minr Inversins Lessn : Diminished and ugmented riads 8 Lessn : Dminant th hrds 8 Lessn : Diminished th