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About This Course

Learn to make your banjo drive the band or play sweet melodies, with solos to well-known songs and tunes, backup techniques, and more.


Bill Evans is an internationally recognized five-string banjo life force. As a performer, teacher, writer, and composer, he brings a deep knowledge, intense virtuosity, and contagious passion to all things banjo, with thousands of music fans and banjo students all over the world, the product of a music career that spans more than 35 years. As heard in his live performances and recordings, Bill successfully bridges traditional and contemporary sounds and playing techniques, creating music firmly within the bluegrass tradition while drawing on a broad knowledge of classical, jazz, and world music.


Since the 1980s, Bill has been in the center of the progressive bluegrass/new acoustic music movement, beginning with his Virginia-based band Cloud Valley featuring Missy Raines and Steve Smith. Over three decades, Bill has appeared with David Grisman, Peter Rowan, Tony Trischka, Dry Branch Fire Squad, Mike Seeger, Hazel Dickens and Alice Gerrard, Laurie Lewis, Jody Stecher, the DePue Brothers, the Contribution, Jim Hurst, and Lynn Morris, to name just a few. Bill also assembles first-rate progressive acoustic ensembles to perform his own music in the Bill Evans String Summit, which has included Scott Nygaard, Todd Phillips, Josh Williams, Don Rigsby, Matt Flinner, Chad Manning, Joe Walsh, Tashina and Tristan Clarridge, Mike Witcher, and Sharon Gilchrist.

Bill is also an expert player of mid-19th century minstrel and late-19th and early-20th century classic banjo styles, authentically performing these styles on historical instruments in his solo performance concert "The Banjo in America."

Bill has a master’s degree in music from the University of California, Berkeley, with a specialization in American music history and he has been a scholar/artist in residence at many universities across the United States. He has served as a consultant to the National Endowment for the Arts and is the former associate director of the International Bluegrass Music Museum in Owensboro, Kentucky.

Bill is the author of Banjo for Dummies, the most popular banjo book in the world; has produced six critically acclaimed instructional DVDs for AcuTab Publications, Homespun Tapes, and the Murphy Method; and is the co-author of Parking Lot Picker’s Songbook: Banjo Edition from Mel Bay. Bill has been a mainstay at many of the most important banjo and bluegrass music camps around the world for the last decade, including Steve Kaufman’s Acoustic Kamp (Tennessee), Sore Fingers Bluegrass Week (England), Midwest Banjo Camp (Michigan), and the California Bluegrass Association Music Camps. Bill hosts his own annual California Banjo Extravaganza and the NashCamp Sonny Osborne Banjo Camp.

Bill learned one-on-one from an impressive list of banjo gurus: Tony Trischka, Alan Munde, Bill Keith, Ben Eldridge, Sonny Osborne, and J. D. Crowe. In turn, he has probably taught more one-on-one banjo lessons than anyone else in the world. His list of former students is impressive: Chris Pandolfi (Infamous Stringdusters), Greg Liszt (Crooked Still), Wes Corbett (Joy Kills Sorrow), and many others. But Bill is just as adept at instructing old and young learners who just want to have fun in a jam session or local band.


Bluegrass Banjo Course Overview

Latest Bluegrass Banjo Lesson

Melodic Style in A: “June Apple”

Learn to play melodic style in the key of A without a capo using the popular fiddle tune “June Apple.” With Tablature and Play-Along Track

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Let Bill know what you think of the course and interact with fellow Peghead Nation banjo students.

Peghead Play-Along Tracks

Peghead Nation is creating a library of accompaniment videos (and downloadable MP3s) for songs and tunes that are taught on the site, classics that you'll find at many jams and picking parties. As a subscriber, you have access to this library and can use the tracks to practice playing tunes and songs at a slow or medium tempo with guitar accompaniment. New songs will be added regularly. 

Bluegrass Banjo Lessons

Subscribe to Bluegrass Banjo today for access to all of these banjo lessons and new material every month! All bluegrass banjo lessons include tablature.


  • Bluegrass Roll Patterns, Part 1: Basic Patterns and Mumford Roll Get started with a few basic roll patterns: a pinch pattern, the alternating thumb roll, and the forward reverse roll.
  • Bluegrass Roll Patterns, Part 2: The Forward Roll Learn the pattern responsible for the classic bluegrass drive: the forward roll. There are numerous variations on the forward roll, all of which move “forward” or down and across the strings.
  • Bluegrass Roll Patterns, Part 3: The Lick Roll Another classic Earl Scruggs roll is called the “lick roll,” because it’s used to play one of the most common fill-in licks in bluegrass.
  • Man of Constant Sorrow, Part 1: The Modal Scale The classic bluegrass song “Man of Constant Sorrow” uses a scale called the modal scale or minor pentatonic scale. Get familiar with the G modal scale so you’re ready to learn a solo for “Man of Constant Sorrow.” 
  • Man of Constant Sorrow, Part 2: Learning the Melody Learn the melody to “Man of Constant Sorrow” so can you move on to adding rolls and other bluegrass techniques.
  • Man of Constant Sorrow, Part 3: A Solo Based on the Melody Here’s what you came for: a complete solo to “Man of Constant Sorrow” based on the melody of the song. 
  • Whiskey Before Breakfast, Part 1: Simple Fiddle Tune Solo The fiddle tune “Whiskey Before Breakfast” is a jam favorite of mandolin and fiddle players, but doesn’t lay out as well on the banjo. Learn an easy solo that follows the chords. 
  • Whiskey Before Breakfast, Part 2: Backup “Whiskey Before Breakfast” has a lot of chords. Here are some ways to back up the tune when fiddle or mandolin players are taking a solo. 
  • Intro to Melodic Style, Part 1: Playing a Major Scale Melodic Style Melodic-style banjo involves playing a scale by alternating notes on adjacent strings, allowing the notes of the scale to sustain into one another and thus creating a very smooth sound.
  • Intro to Melodic Style, Part 2: “Devil’s Dream” After learning the basics of melodic style, learn how to use this technique to play the well-known fiddle tune “Devil’s Dream.” 
  • Melodic Style in the Key of D, Part 1: D Major Scale Explore melodic style in the key of D using the fiddle tune “Whiskey Before Breakfast.” Bill gets you started by showing you the D major scale.
  • Melodic Style in the Key of D, Part 2: “Whiskey Before Breakfast” Use the D major scale to play the fiddle tune “Whiskey Before Breakfast.” Bill walks you through each part slowly. 
  • “Whiskey Before Breakfast” Play-Along Track Use this video to practice “Whiskey Before Breakfast” at slow and medium tempos with guitar accompaniment.
  • Melodic Style in the Key of A: “June Apple” In this lesson, you’ll learn to play melodic style in the key of A without a capo using the popular fiddle tune “June Apple.” “June Apple” uses an A Mixolydian scale, which is the same as the major scale but with flatted seventh. 
  • “June Apple” Play-Along Track Use this video to play “June Apple” in the key of A at slow and medium tempos with guitar accompaniment. 
  • Intros and Endings, Part 1: Classic Intros It’s important to kick-off a song or break with a good solid rhythm. In this lesson, Bill shows you classic intros played by Earl Scruggs, J.D. Crowe, and other greats. 
  • Intros and Endings, Part 2: Endings Learn a few classic endings, including the double-tag ending and the classic “shave and a haircut” ending. 
  • Blue Ridge Cabin Home, Part 1: Finding the Melody Learn to work up great Scruggs-style solos using the classic “Blue Ridge Cabin Home.” Bill starts you out with the chord progression and shows you how to find the melody within the notes of the chord. 
  • Blue Ridge Cabin Home, Part 2: Embellishments Once you’ve got the melody down, you can embellish it with hammer-ons, slides, and pull-offs.
  • Blue Ridge Cabin Home, Part 3: Adding RollsSample Lesson Start adding roll patterns to the melody of “Blue Ridge Cabin Home.” Bill shows you ideas for choosing rolls and walks you through an entire solo. 
  • J.D. Crowe, Part 1: “Blue Ridge Cabin Home” The great J.D. Crowe played a couple of classic solos to “Blue Ridge Cabin Home” with the Bluegrass Album Band.
  • J.D. Crowe, Part 2: “Blue Ridge Cabin Home” First Solo Learning J.D. Crowe’s solos to “Blue Ridge Cabin Home,” along with the Scruggs-style solo from last month, gives you a great look at the possibilities for negotiating melodies on bluegrass tunes. 
  • J.D. Crowe, Part 3: “Blue Ridge Cabin Home” Second Solo (Improv) J.D. Crowe’s second solo to “Blue Ridge Cabin Home” with the Bluegrass Album Band demonstrates his approach to improvising. 
Earl Scruggs 
    Essential Earl
  • Essential Earl: Classic Scruggs-Style Licks, Part 1 Learn essential licks played by Earl Scruggs that come from classic songs, like “Foggy Mountain Breakdown,” “Shuckin’ the Corn,” and “Earl’s Breakdown.” 
  • Essential Earl: Classic Scruggs-Style Licks, Part 2 Learn five essential Earl Scruggs more in this video, including some backup licks on C and D chords and a classic ending lick for a solo. 
  • Essential Earl: Up the Neck, Part 1 Venture up the neck for another series of essential Earl Scruggs licks. You’ll learn licks that Earl played in “Lonesome Road Blues,” “Foggy Mt. Breakdown,” and many other songs. 
  • Essential Earl: Up the Neck, Part 2 One of the classic up-the-neck licks from  “Foggy Mt. Breakdown” uses a “choke” or bend. You’ll also learn two more great licks from “Salty Dog Blues” and “Six White Horses.” 

    Foggy Mountain Special

  • Foggy Mountain Special On May 19, 1954, six months before Elvis Presley made his first records, Earl Scruggs recorded the first rock ’n’ roll banjo tune, “Foggy Mountain Special,” which you’ll learn in this lesson. 
  • “Foggy Mountain Special” Play-Along Track Use this video to practice “Foggy Mountain Special” at a medium tempo with guitar accompaniment. 

    Sally Goodin

  • Sally Goodin “Sally Goodin” is one of the classics of the bluegrass and old-time fiddle repertoire, and Earl Scruggs recorded a great version on Foggy Mountain Banjo that’s an essential part of Scruggs’ repertoire. It’s played up the neck using some techniques that you can use in other tunes, like “Lonesome Road Blues,” “Sally Ann,” etc. 
J.D. Crowe
  • The Banjo Style of J.D. Crowe Explore the great J.D. Crowe’s banjo style by learning some of his typical licks from his classic recordings of “Old Home Place,” “Blue Ridge Cabin Home,” “You Don’t Know My Mind,”  “Hold Whatcha Got,” “Ocean of Diamonds,” and “Crying Holy.”
  • JD Crowe’s “Gonna Settle Down” Solo The solo JD Crowe played on the Bluegrass Album Band’s recording of the Flatt and Scruggs song “Gonna Settle Down” is classic, and contains a lot of licks you can use in other songs. Bill plays the solo through, and sings a verse and chorus of the song, and then takes it apart, phrase by phrase, showing you how each phrase of JD’s solo mirrors the melody. 
Bill Keith
  • Bill Keith’s “Santa Claus” The great melodic banjo pioneer Bill Keith recorded his tune “Santa Claus” with Bill Monroe in 1963. The chord progressions bears some resemblance to the song “I Don’t Love Nobody,” but it’s definitely its own tune. It’s not as challenging as some of Bill Keith’s melodic tunes, with a lot of Scruggs-oriented rolls as well as some of Keith’s signature melodic licks. 

Alan Munde

  • Alan Munde Interview, Part 1 Bill joins the great Alan Munde for an exclusive interview in the Peghead Nation studio. Alan gained fame as one of the leaders of contemporary bluegrass banjo as member of Country Gazette and for his albums with Sam Bush and the Kentucky Colonels, as well his own highly influential solo albums. Bill and Alan get started by playing Alan’s tune “Peaches and Cream” and then they discuss his banjo playing and music, with advice about practicing with a metronome, improvising, creating melodies on the banjo and more.
  • Alan Munde Interview, Part 2 In the second part of Bill’s interview with Alan Munde, they talk about melodic style banjo, arranging fiddle tunes, etc., and finish up by playing a medley of three fiddle tunes in D: “Whiskey Before Breakfast,” “Angeline the Baker,” and “St. Anne’s Reel,” (the tab for which is included).

Ralph Stanley

  • Ralph Stanley’s “How Mountain Girls Can Love” Solo The great bluegrass singer and banjo player Ralph Stanley passed away this summer. In this lesson you’ll learn Ralph’s solo on the Stanley Brothers classic “How Mountain Girls Can Love,” recorded in 1962. Bill plays the solo through slowly and talks about Ralph’s use of the forward roll, relying heavily on his index finger, which often plays the melody on the fourth string. Then Bill takes the solo apart, phrase by phrase. He also shows you a couple of Ralph’s signature licks, an ending lick and a fill-in lick with a tenth-fret choke. 
  • Vamping, Part 1: The F Shape The accompaniment technique called “vamping” involves using movable chords. Learn the F shape and a vamping pattern you can use in a jam session when you want to get out of the way of the other instruments, but still provide some rhythmic support. 
  • Vamping, Part 2: The D Shape The other chord shape you can use in vamping is the D shape. Bill shows you this shape and  two ways to alternate between the F shape and D shape as you vamp behind “Roll In My Sweet Baby’s Arms.” 

Forward-Roll Backup

  • Forward-Roll Backup, Part 1 You’ve probably heard bluegrass banjo players playing rolls behind the singer in a bluegrass band, or behind another instrument’s solo. You’ll learn how to do that in this lesson, using forward rolls in open position and something new called the “escape roll.” Bill starts by reminding you of the one-measure forward roll patterns on G, C, and D chords, and then he puts those patterns together with a fill-in lick to play the chords to “Blue Ridge Cabin Home.”
  • Forward-Roll Backup, Part 2 In this lesson, you’ll learn a two-measure forward-roll pattern with a two-beat “escape roll” at the end of the pattern. Bill shows you the forward roll with the escape roll on G, C, and D chords and then puts them together to play the “Blue Ridge Cabin Home” progression. He finishes by playing through the patterns with guitarist Scott Nygaard and singing and playing “Blue Ridge Cabin Home.”

Up-the-Neck Backup

  • Up-the-Neck Backup In this lesson, you’ll learn some of the classic up-the-neck backup licks you’ve heard players like Earl Scruggs, JD Crowe, and Sonny Osborne play behind singers. Bill starts by showing you one-measure and two-measure “In the Mood” patterns using a forward roll and starting on an F shape up the neck. Then he shows you how to play backup to “Blue Ridge Cabin Home” using the two-measure “In the Mood” pattern in the keys of G and C. You’ll also learn a backup lick using the D chord shape, and Bill shows you how to combine the two patterns to play backup on “Blue Ridge Cabin Home.” 
  • “Blue Ridge Cabin Home” Play-Along Track Use this video to practice playing backup to “Blue Ridge Cabin Home” at slow and medium tempos with guitar accompaniment.


    Single-String Exercises

  • Single-String Style: Picking-Hand Exercises Players like Béla Fleck and Noam Pikelny are known for their single-string style of playing scalar melodies. Bill explains the technique, with tips on picking-hand position, and shows you a series of picking-hand exercises that cover many of the moves you’ll need to master to get comfortable with single-string style. 
  • Single-String Style: Fretting-Hand Exercises Learn some guitar-like scalar fretting-hand exercises for playing single-string style. You’ll learn four different positions for playing a G major scale, including three closed positions that can be transposed to other keys. 

    Red-Haired Boy

  • Red-Haired Boy, Part 1 If you’ve checked out the single-string style lessons, you’ll be ready to play your first tune in this style: the jam session favorite “Red-Haired Boy.” Bill plays both parts of the tune phrase by phrase slowly, showing you where to use “crossovers” etc. 
  • “Red-Haired Boy” Play-Along Track If you’ve got “Red-Haired Boy” under your fingers, you can use this video to play it along with Bill. He plays it through two times at a slow tempo and once at close to a performance speed.
  • Red-Haired Boy, Version 2 In this video, you’ll learn a slightly more elaborate version of  “Red-Haired Boy,” fleshing out the melody with a few additional notes for a version that a flatpicker like Doc Watson might play. 

    Forked Deer 

  • Forked Deer, Part 1: Single-String D Major Scales In this lesson you’ll learn to play the fiddle tune favorite “Forked Deer” in the key of D in open position using single-string technique. Bill starts by showing you the D major scale in open position using some open strings and also in a closed position where you fret every note so you can move the position around the neck. Bill also shows you how he chose to finger the first phrase of “Forked Deer” and why he made those choices.
  • Forked Deer, Part 2: Single-String Melody You’ll learn the entire single-string arrangement of “Forked Deer” in this video. Bill plays each part slowly and then takes them apart, phrase by phrase. He also gives you advice on getting a smooth legato sound while playing single-string style. Bill finishes by playing the whole tune through a couple times at a medium tempo with guitarist Scott Nygaard so can play along. 
  • “Forked Deer” Play-Along Track Use this video to practice playing “Forked Deer” at slow and medium tempos with guitar accompaniment.
Cherokee Shuffle
  • Cherokee Shuffle, Part 1: Getting in Tune with a Capo On The jam-session favorite “Cherokee Shuffle” can be played Scruggs style or melodic style. You’ll learn both in this lesson. “Cherokee Shuffle” is played in the key of A, but is played on the banjo in G position, so you’ll need to play it with the capo on the second fret. Bill starts by giving you some tips on keeping your banjo in tune after putting the capo on.
  • Cherokee Shuffle, Part 2: Scruggs Style Learn a Scruggs-style version of “Cherokee Shuffle.” Bill talks about adapting fiddle tune melodies to Scruggs style and then plays the arrangement through slowly and up to tempo. 
  • Cherokee Shuffle, Part 3: Melodic Style If you’ve got the Scruggs-style version of “Cherokee Shuffle” down you can add some more notes that a fiddler or mandolinist would play. 
  • “Cherokee Shuffle” Play-Along Track Use this video to practice playing “Cherokee Shuffle” at slow and medium tempos with guitar accompaniment.

Dixie Breakdown

  • Dixie Breakdown, Part 1 The Don Reno banjo classic “Dixie Breakdown” features a series of up-the-neck passing chords, which are great for moving from one place to another on the banjo. 
  • Dixie Breakdown, Part 2 The first part of “Dixie Breakdown” has the same basic chord progression as the second part, but is played mostly in first position, using a lot of forward rolls. 
  • “Dixie Breakdown” Play-Along Track Use this video to practice playing “Dixie Breakdown” at slow and medium tempos with guitar accompaniment. 

Follow the Leader

  • Follow the Leader, Part 1: Single-String Solo Don Reno’s “Follow the Leader” is a classic bluegrass banjo instrumental. You’ll learn two versions, Reno’s single-string solo and a roll-based solo. Bill starts by playing both through and then takes apart the single-string solo, measure by measure, showing you how to finger the single-string lick that gets repeated through the chord changes. 
  • Follow the Leader, Part 2: Roll-Based Solo Don Reno’s roll-pattern solo is the first solo he plays on “Follow the Leader.” You’ll learn Bill’s version of that solo in this lesson. It captures the flavor of what Don plays without being an exact note-for-note transcription. 

Fireball Mail

  • Fireball Mail, Part 1 Earl Scruggs included “Fireball Mail” on his groundbreaking 1961 recording Foggy Mountain Banjo, and it’s one of the all-time great banjo tunes. You’ll learn Earl’s way of playing “Fireball Mail” down the neck in this lesson. 
  • Fireball Mail, Part 2 Bill breaks down “Fireball Mail” measure by measure in this video. He also talks about manipulating the forward roll to grab higher or lower melody notes and how Earl includes the melody note even while continuing the roll pattern he’s started. 
  • “Fireball Mail” Play-Along Track Use this video to practice playing “Fireball Mail” at slow and medium tempos with guitar accompaniment. 
  • “Fireball Mail” Up the Neck, Part 1 Earl Scruggs’ up-the-neck solo to “Fireball Mail”  is another bluegrass banjo classic. Learning it will help you get used to the up-the-neck fingering you’ll use for many other tunes as well. Bill starts by showing you the barebones version of the melody up the neck, and explains the positions you’ll use to play the solo.
  • “Fireball Mail” Up the Neck, Part 2 Bill plays the solo through slowly before taking it apart for you phrase by phrase. Then he plays it though slowly, at a medium tempo, and up to speed. He ends by playing both the down-the-neck and up-the-neck versions at tempo with guitarist Scott Nygaard. 

Gold Rush

  • Gold Rush, Part 1: Scruggs Style The fiddle tune “Gold Rush” is a jam session favorite that can be played at different speeds. You’ll learn two versions in this lesson: a Scruggs-style solo for when the tempo is blazing and a melodic-style solo when the tempo is a little more relaxed and you have time to throw in a few more melodic fiddle-like scalar runs. You’ll learn the Scruggs-style version in this video.
  • Gold Rush, Part 2: Melodic Style In this video, you’ll learn Bill’s melodic version of “Gold Rush.” Bill talks about getting the fiddle version in your head when you’re arranging a tune like this, and then plays the melodic version through at a slow tempo. Before breaking down the arrangement phrase by phrase, Bill reminds you of how to play the G major scale melodic style, and gives you a couple of short melodic exercises based on something you’ll play in the tune.
  • “Gold Rush” Play-Along Track Use this video to practice playing “Gold Rush” at slow and medium tempos with guitar accompaniment. 

Angeline the Baker

  • Angeline the Baker, Part 1 The fiddle tune “Angeline the Baker” is a popular jam session tune among fiddlers and mandolin players, so it’s good to have your own version at the ready when it’s called in a jam. You’ll learn a melodic arrangement of “Angeline the Baker” in the key of D (with the fifth string up to A) in this lesson. Bill plays his arrangement through and then shows you the barebones melody of  “Angeline the Baker” before walking you through the arrangement, phrase by phrase. You’ll learn the A part of “Angeline the Baker” in this video.
  • Angeline the Baker, Part 2 The B part of “Angeline the Baker” is the part that is sometimes sung. In this video, Bill walks you through his arrangement of the B part, which was inspired by a version played by Chris Pandolfi of the Infamous Stringdusters. 
  • “Angeline the Baker” Play-Along Track Use this video to practice playing “Angeline the Baker” at slow and medium tempos with guitar accompaniment.

The Old Spinning Wheel

  • The Old Spinning Wheel, Part 1 The 1930s melody “The Old Spinning Wheel” makes a great bluegrass banjo tune in the key of C. You’ll learn the basic melody, to which you’ll add roll patterns, and you’ll also learn a more embellished version. Bill begins by playing the basic bluegrass version of “The Old Spinning Wheel” through, and then breaks down the simple melody, phrase by phrase. He also shows you how the C major scale relates to the chords in the key of C and shows you how to add rolls, mostly forward rolls, to the melody.
  • The Old Spinning Wheel, Part 2 In this video, Bill shows you some of the embellishments (slides, hammer-ons, pull-offs) he adds to the basic bluegrass version of “The Old Spinning Wheel.” He also shows you how to accent melody notes to bring them out above the roll patterns.

Turkey in the Straw

  • Turkey in the Straw The old-time fiddle favorite “Turkey in the Straw” makes a good melodic-style banjo tune. After playing the tune at a medium tempo, Bill shows you some of the up-the-neck positions you’ll use to play “Turkey in the Straw,” giving you advice on reaching some of the trickier positions. Then he breaks each part of the tune down slowly, phrase by phrase. 
  • “Turkey in the Straw” Play-Along Track Use this video to practice playing “Turkey in the Straw” at a medium tempo with Bill and guitarist Scott Nygaard.

Big Sciota

  • Big Sciota, Part 1 The old-time fiddle tune “Big Sciota” has become popular in bluegrass jam circles in recent years. It can be played on the banjo in Scruggs style or melodic style. In this lesson, you’ll learn Bill’s arrangement, which combines a bit of both. He starts by showing you a few melodic-style exercises that use the middle finger of the picking hand on the inside string. 
  • Big Sciota, Part 2 The melody of the B part of “Big Sciota” is tied to the chord progression. Bill plays his arrangement through and then breaks it down, pointing out how the melody fits the underlying chords and giving you a few fingering choices. 
  • “Big Sciota” Play-Along Track Use this video to practice playing “Big Sciota” at slow and medium tempos with guitar accompaniment.


Long Journey Home

  • Building Solos: “Long Journey Home,” Part 1 In this lesson, you’ll learn to build a Scruggs-style solo on any song, using the bluegrass classic “Long Journey Home.” You’ll learn three different solos, starting with one that just adds roll patterns to the melody. Bill gets started by showing you the chords to “Long Journey Home,” the first step in building a solo. Then he shows you how to start finding roll patterns that fit the melody of the song. The first solo to “Long Journey Home” uses the forward-reverse roll. Bill plays it through slowly, showing you how the melody fits with the chords and roll patterns. The second solo adds some classic Scruggs-style licks that stand in for parts of the melody. Bill shows you the individual licks and how they correspond to bits of the melody of “Long Journey Home” and finishes by playing the whole solo at a slow tempo.
  • Building Solos: “Long Journey Home,” Part 2 The second solo you learned for “Long Journey Home” uses a lot of pinch patterns. In this lesson you’ll learn a third solo that replaces the pinch patterns with roll patterns. You’ll also learn an intro to kick-off the solo. Bill plays the solo through slowly and then shows you the roll patterns and intro he’s added.
  • “Long Journey Home” Play-Along TrackUse this video to practice playing “Long Journey Home” at a medium tempo with guitar accompaniment.

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