• Exercises For Three-Finger Banjo By Jack Hatfield

    Pacific, Mo. Mel Bay Publications has announced the release of Exercises For Three-Finger Banjo By Jack Hatfield, a unique collection of drills for all three popular three-finger banjo styles: Scruggs, Single String and Melodic.

    There are over two hundred sixty exercises ranging from beginner to advanced levels. The physical exercises include finger strengthening, increasing position changing speed, agility and hand-eye coordination.

    The Techniques presented include pick depth control, controlling the pick angle for the best tone, stabilizing the right hand and improving economy of motion in both hands. Musical exercises include roll exercises, roll combinations, modern (post-Scruggs) rolls, scales and scale patterns in both single-string and melodic styles, chord scales, fretboard positions for the G scale over the entire fretboard and triad and seventh chord formations.

    Location of root, seventh and minor tonal centers are shown in chord formations and in the fretboard patterns. Melodic quasi-chord formations are revealed which have never been codified in any other book. Mental tips which enhance focus and dozens of theory tidbits are featured.

    Sample pages are available for viewing at the Mel Bay link below.

    Contents

    About the Author
    About this Book
    PART ONE - PHYSICAL EXERCISES
    General Health and Well-Being
    Scheduling the Practice Session, The Practice Schedule
    The Practice Studio
    Top Ten Errors
    Holding the Banjo
    Proper Right Hand Position
    Ex. 1: Proper Finger Motion of the Picking Hand
    Ex. 2: Proper Thumb Motion of the Picking Hand
    Anchoring the Right Hand
    Efficient Right Hand Finger Movement
    Ex. 3: Correcting Excess Finger Movement
    Efficient Right Hand Thumb Movement
    Ex. 4: Correcting Excess Thumb Movement in the Third Joint
    Ex. 5: Correcting Excess Thumb Movement in the Second Joint
    Ex. 6: Playing "Air Banjo"
    Depth Control
    Ex. 7: Depth control - Seeing the String Plane
    Ex. 8: Depth Control - Using Training Picks
    The Release
    Ex. 9: Perpendicular Striking
    The Downward Attack
    The Arc of the Pick Blade
    Tonal Variation
    Ex. 10: Tonal Variation
    Proper Left Hand Position
    Ex. 11: Left Hand Fingering Pressure
    Ex. 12: Left Hand Fingering Pressure
    Left Hand Finger Placement
    Maintaining the Left Thumb Anchor Point in the First Position
    Ex. 13: Maintaining the Left Thumb Anchor Point
    Ex. 14: Maintaining the Left Thumb Anchor Point
    Assigning Left Hand Fingers
    Using a Metronome
    Ex. 15: Metronome Training, Quarter Notes
    Ex. 16: Metronome Training, Eighth Notes
    Ex. 17: Metronome Training, Alternating Thumb Roll
    Ex. 18: Metronome Training, Forward Roll #1
    Ex. 19: Metronome Training, Mixing Values with the Alternating Thumb Roll
    Ex. 20: Metronome Training, Mixing Values with the Alternating Thumb and Forward Rolls
    Ex. 21: Metronome Training, Mixing Values with Sixteenth Note Ornamentation
    Ex. 22: Metronome Training, Two-measure Forward Roll, One Click per Measure
    Assigning Left Hand Fingers
    Ex. 23: Assigning Left-hand Fingers
    Fast Position Changing
    The Eye Leading the Hand
    The Guide Finger
    Ex. 24: Thumb Anchor and Assigning Left-hand Fingers, Sequential
    Ex. 25: Thumb Anchor and Assigning Left-hand Fingers-Up Four, Down Three/Down Four, Up Three
    Ex. 26: Position Changing,, Far to Near/Near to Far
    Ex. 27: The Guide Finger/Fast Position Changing, You Are My Sunshine
    Ex. 28: The Guide Finger/Fast Position Changing, The Girl I Left Behind Me
    The Index and Ring System for Playing Upper Neck Scruggs Style
    Ex. 29: Two-String G Formations, Four-beat Changes
    Ex. 30: Two-String G Formations, Two-beat Changes
    Ex. 31: Two-String G, C and D Formations, Two-beat Changes
    Ex. 32: Two-String Formations, G Major Scale with Flatted Thirds and Sevenths
    Ex. 33: First Position to Eighth Position Change
    Ex. 34: Fast Position Changing, G, C, D Triads, Sequential
    Ex. 35: Fast Position Changing, G, C, D Triads, Patterns
    Ex. 36: Fast Position Changing, F Formation Vamp, G, C, D
    Ex. 37: Fast Position Changing, F Formation/D Formation Split-Bar Vamp, G, C, D
    Ex. 38: Fast Position Changing, F Formation/Bar Formation Split-Bar Vamp, G, C, D
    Ex. 39: Fast Position Changing, F Formation/D Formation Pinch/Roll Split-Bar Vamp, G, C, D
    Ex. 40: Fast Position Changing, Bugle Call Rag vamp lick
    Developing Finger and Hand Strength
    Ex. 41: Left-hand Finger Strengthening
    Ex. 42: Individual Left-hand Finger Strengthening
    Ex. 43: Right-hand Finger Strengthening
    Ex. 44: Right Thumb Strengthening
    Ex. 45: Finger Sequences
    Using Right Hand Digits on Unfamiliar Strings
    Ex. 46: Crossing Over
    Ex. 47: Crossing Over with Melody Line Added (Pedal Point Technique)
    Ex. 48: Crossing Over on Ascending Strings
    Ex. 49: Crossing Over on Descending Strings
    Ex. 50: Crossing Over, Open String Arbitrary String Selection
    Ex. 51: Crossing Over, Descending Diatonic Triads, Ascending Diatinoc Triads
    Ex. 52: Crossing Over, Descending Arpeggios, Ascending Diatinoc Triads
    Ex. 53: Crossing Over, Ascending Seventh Chords
    Ex. 54: Crossing Over, Descending Seventh Chords
    Changing Among Chord Formations Efficiently
    The Collapsed Ring Finger Bar
    Ex. 55: Changing Between the F Formation and Bar Formation
    Ex. 56: F Formation/Bar Formation 1-4-5 Vamping Pattern
    Ex. 57: Changing Between the D Formation and Bar Formation
    Ex. 58: D Formation/Bar Formation 1-4-5 Vamping Pattern
    Ex. 59: Bar Formation/D Formation 1-4-5 Vamping Pattern
    Ex. 60: Changing Between the F Formation and D Formation
    Ex. 62: F Formation/D Formation 1-4-5 Vamping Pattern
    Ex. 63: Changing Among the F, D and Bar Formations at the Same Position
    Shape-Coded Diagrams for Diatonic Triads
    Chord Numbering for Easy Reference
    The Major Chord Formation Map, Chord Numbering, The Consecutive Major Chord Formation Formula
    Ex. 64: All G C and D Formations in Sequence
    PART TWO - MUSICAL EXERCISES
    Three-finger Banjo Styles Defined
    Basic Scruggs Rolls
    Ex. 65: Basic Scruggs Rolls, Gaining Speed
    Ex. 66: Basic Scruggs Rolls, Focusing on Every Note, Equal Emphasis
    Ex. 67: Basic Scruggs Rolls, Emphasis on First Downbeat
    Ex. 68: Basic Scruggs Rolls, Emphasis on First and Fourth Downbeat
    Ex. 69: Basic Scruggs Rolls, Emphasis on First, Third and Fourth Downbeat - Forward Roll #1
    Ex. 70: Basic Scruggs Rolls, Emphasis on First, Third and Fourth Downbeat - Forward Roll #2
    Ex. 71: Basic Scruggs Rolls, Emphasis on First Upbeat
    Common Rhythms in Scruggs Style
    Ex. 72: Basic Scruggs Rolls, Second Note of Roll Omitted
    Ex. 73: Basic Scruggs Rolls, Eighth Note of Roll Omitted
    Ex. 74: Basic Scruggs Rolls, Second and Eighth Note of Roll Omitted
    Ex. 75: Basic Scruggs Rolls, Alternating Thumb Roll, Second Note of Roll Omitted
    Two-Measure Scruggs Rolls
    Ex. 76: Two-measure Rolls
    Post- Scruggs Rolls
    Rolls in 3/4 Meter
    Syncopation
    Ex. 77: Syncopation, Three-note Forward Roll Repeated
    Ex. 78: Syncopation, Foggy Mountain Roll
    Ex. 79: Syncopation, Foggy Mountain Lick
    Ex. 80: Syncopation, Two Measure Forward-Backward Roll
    Bounce Spacing
    Ex. 81: Bounce Spacing, Alternating Thumb Roll
    Ex. 82: Bounce Spacing, Forward Roll #1
    Ex. 83: Bounce Spacing, Two-measure Forward Roll #1
    Ex. 84: Bounce Spacing, Two-measure Forward Roll #2
    Ex. 85: Bounce Spacing, Playing an Arrangement with a Bounce
    Basic Left Hand Techniques
    Ex. 86: AvoidingExcess Finger Pressure
    Ex. 87: Minimizingt Finger Pressure
    Slides
    Ex. 88: The Slide Maneuver
    Ex. 89: Common Slides
    Ex. 90: Controlling the Duration of the Slide Maneuver
    Ex. 91: Common First Position Slide Licks
    Lone Slides
    Ex. 92: Lone Quarter Note Slides
    Ex. 93: Other Common Lone Quarter-note Slides
    Ex. 94: Lone Eighth-note Slides, All G Chord Tones
    Common Sixteenth-note Slides
    Ex. 95: First Position Sixteenth-note Slides with Fills
    Ex. 96: Other Common Slide Licks
    Ex. 97: Double Slides
    Descending Slides
    Ex. 98: Ascending/Descending Double Slides
    Ornamental Slides
    Ex. 99: Ornamental Slide into D Formation Fill Lick
    Ex. 100: Ornamental Slide with Split-bar Vamping
    Ex. 101: Mixing Common Slide Licks
    Hammers
    Ex. 102: Common Lone Eighth-note Hammers
    Ex. 103: Mixing Lone Eighth-note and Sixteenth-note Hammers
    Ex. 104: First Position Eighth-note Hammers with Fills
    Ex. 105: First Position Sixteenth-note Hammers with Fills
    Ex. 106: Eighth-note Hammers, All G Major Chord Tones
    Ex. 107: Hammers with Two-string G, C and D Formations
    Ex. 108: Drill: Left Hand Maneuvers, Golden Slippers with Slides and Hammers
    Ex. 109: Common Hammer Licks Repeated
    Double Hammers
    Ex. 110: First Position Double Hammers
    Ex. 111: Mixing Common Hammer Licks
    Pulls
    Ex. 112: First Position Lone Eighth-note Pulls
    Ex. 113: First Position Eighth-note Pulls with Fills
    Ex. 114: First Position Sixteenth-note Pulls with Fills
    Ex. 115: Eighth-note Pulls, All G Major Chord Tones
    Ex. 116: First Position Double Pulls
    Ex. 117: Common Pull Licks Repeated
    Ex. 118: Mixing Left-hand Maneuvers to Create Common Scruggs Ornamental Licks
    Ex. 119: Playing an Arrangement with Left-hand Maneuvers, Amazing Grace
    Bends
    Ex. 120: Foggy Mountain Bend Lick
    Ex. 121: Foggy Mountain Bend Lick, Extrapolated
    Bending wth Multiple Fingers
    Whole Tone Bends
    Ex. 122: A to B Bend
    Half Tone Bends
    Ex. 123: A to Bb Bend
    Ex. 124: Controlling the Release
    Ex. 125: Third String Bend Drill
    Ex. 126: Triplet Bend/Release Drill
    Half Tone Quarter Note Bends
    Ex. 127: G Major Scale Using Bends
    Ex. 128: Blues Guitar Whole Tone Bend Lick in A
    Ex. 129 Blues Guitar Bend Lick Extended
    Ex. 130: Playing an Arrangement with Bends, Auld Lang Syne
    Changing Chords Efficiently
    Changing Positions with the F Formation
    Ex. 131: Locating F Formation Chords using Fourth String Roots
    Transposing Between Keys
    Ex. 132: 1-4-5 Progression in Seven Major Keys using F Formation and Bar Formation
    Ex. 133: 1-4-2-5 Progression in Seven Major Keys using F Formation and Bar Formation
    Ex. 134: 1-6-2-5 Progression in Seven Major Keys using F Formation and Bar Formation
    Ex. 135: 1-3-6-2-5 Progression in Seven Major Keys using F Formation and Bar Formation
    Altering the Major Forms to Create Minor and Seventh Chords
    Ex. 136: Using Minor and Dominant Seventh Voicings for the 2, 3 and 6 Functions
    Ex. 137: Using Major Seventh and Minor Seventh Voicings For All Functions
    Single String Technique
    Ex. 138: Pike County Breakdown Lick Extended
    Ex. 139: F Formation Single String Fill Lick, Twelve Bar Blues Progression
    Basic Scales in Single String Technique
    Ex. 140: The G Major Scale
    Ex. 141: One Octave Major Scale in all Twelve Keys
    Ex. 142-149: One Octave G - rooted Scales
    Ex. 150: G Major Scale, Two Octaves
    Ex. 151: G Natural Minor Scale, Two Octaves
    Ex. 152: G Harmonic Minor Scale, Two Octaves
    Ex. 153: G Melodic Minor Scale, Two Octaves
    Ex. 154: G Dominant Seventh Scale, Two Octaves
    Ex. 155: G Chromatic Scale, Two Octaves
    Ex. 156: G Diminished Scale, Two Octaves
    Ex. 157: G Augmented Scale, Two Octaves
    Ex. 158: G Blues Scale, Two Octaves
    Fretboard Forms for G Major Scale Tones
    Ex. 159: Tablature: Fretboad Forms for G Major Scale Tones
    Ex. 160: Locating Major, Minor and Seventh Roots in the Fretboard Forms
    Ex. 161: Visualizing the Diatonic Triads within the Fretboard Forms
    Ex. 162: Visualizing Seventh Chords within the Fretboard Forms
    Ex. 163: One Octave Major Scale, Ascending and Descending, Shift One Scale Degree.
    Ex. 164: 1234, Shift Sequence up One Scale Degree
    Ex. 165: 4321, Shift Sequence Down One Scale Degree
    Ex. 166: 1231, Shift Sequence up One Scale Degree
    Ex. 167: 3213, Shift Sequence Down One Scale Degree
    Ex. 168: 132435 etc. Ascending/534231 etc. Descending
    Ex. 169: Eighth-note Triplets Ascending and Descending
    Vertical Scales
    Ex. 170-172: G Major Scale, G Minor Scale, G Seventh Scale, All Strings, Vertical
    Dyads and Double Stops
    Ex. 173-175: Dyads in Thirds, All Strings, Vertical
    Plotting Scales Vertically
    Ex. 176-180: Plotting G Major Scale on all Strings Vertically.
    The Collapsed-finger Bar
    Ex. 181-182: Collapsed-finger - Double-stop, Blues Dyad F Formation Drill
    Ex. 183-185: 1234, 4321 Shift One Scale Degree, Vertical, All Strings
    Ex. 186-189: 1231 Shift One Scale Degree, Vertical, All Strings
    Ex. 190-192: 1231 Shift One Scale Degree, Vertical, with Variations, Pedal Point
    Ex. 193-194: G Major Scale Sequences, Ascending and Descending, using Pedal Point Technique
    Modes
    Ex. 195-196: Modes of G Major, Plotted Horizontally and Vertically
    Integrating Scales and Chords
    Ex. 197-198: Major Scales with Diatonic Triads, Diatonic Triads on all Chord Tones
    Ex. 199-200: Major Scales with Seventh Chords, Seventh Chords on all Chord Tones
    Ex. 201-202: Minor Scales with Diatonic Triads, Diatonic Triads on all Chord Tones
    Ex. 203-205: G AugumentedArpeggio, Whole Tone Scales w/Aug. 5th Chords, Aug 5th on Chord Tones
    Ex. 206-208: G Dim. 7th Arpeggio, Dim. 7th Scales with Chords, Blues Scales with Triads
    Single String Licks Based on Chord Formations
    Ex. 209-211: Sidestepping G, C, D Chord Progressions - Major Formations
    Extrapolating Single String Licks Based on Chord Formations
    Ex. 212-214: Sidestepping G, C, D Chords-Major Formations
    Ex. 215-217: Up One, G, C, D Chord - Bar, F and D Formations
    Ex. 218-220: Up One, G, C, D Chords
    Ex. 221-222: Moveable Licks Based on F and D Formations
    Ex. 223-224: Moveable Licks Based on Bar Formations and Multiple Formations
    Chord Scales
    Ex. 225-227: Chord Scale Drills, Diatonic Triads
    Ex. 228-229: Chord Scale Drills, Seventh Chords
    The Carroll Best Formation
    Ex. 230-235: Carroll Best Formation Drills
    Melodic Style
    Ex. 236-251: Melodic Style Scale Fragments, Scale Fragments Extended
    Scales in Melodic Style, Using a Capo in Melodic Style
    Ex. 252-258: One Octave Major Scales
    Ex. 259: Major Scales, Two-Octaves in Melodic Style
    Ex. 260: G Major Scale, Shift One Scale Degree
    Ex. 261: 1234/4321, Shift One Scale Degree
    Ex. 262: 1231/3213, Shift One Scale Degree
    Ex. 263: 12345432, Shift Two Scale Degrees
    Ex. 264: 123432, Shift Two Scale Degrees
    Mental Exercises
    Other Publications by Jack Hatfield

    Additional Information