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Learn the style of contemporary three-finger banjo used by Béla Fleck, Noam Pikelny, Ron Block, and others. With lessons on single-string and melodic style, fingerboard theory, improvisation, and more. For intermediate to advanced players.
A banjo player of uncommon grace and facility, Wesley Corbett began classical piano at the age of two. He began playing banjo in high school and has spent the last 17 years studying, touring, and teaching. Wes has recorded and performed with numerous musicians, including Joy Kills Sorrow, the Bee Eaters, the Biscuit Burners, the David Grisman Quintet, Molly Tuttle, Sierra Hull, Sarah Jarosz, and many others. After a few years touring with the Molly Tuttle Band, he recently joined the Sam Bush Band.
Wes shows you some ways to vary the melody of “Cripple Creek” and introduces the concept of “melodic style” banjo. With Notation/Tab
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WES CORBETT’S HAWTHORN TOP-TENSION BANJO AND GEAR Wes talks about his banjo, a Hawthorn top-tension. He explains what top-tension banjos are, how they’re different, and why he likes them. He also talks about a few of the features of his banjo, including the radius fingerboard, Price tailpiece, Snuffy Smith bridge, and fifth-string “spikes.” He talks about tuning the head, which he tunes to F#, the same note Béla Fleck tunes his banjo to and a bit lower than some people tune the banjo to. He also talks about the picks and string gauges he uses.
ROLL PATTERNS If you’re taking this intermediate to advanced level banjo course, we assume you know some basic roll patterns, but to make sure you know the most important roll patterns, and the ones you’ll use most in this course, Wes shows you three basic patterns, starting with the forward roll. He shows you the forward roll starting with the thumb as well as on the index and middle fingers. He follows that with the backward roll (starting on all three fingers), the thumb alternating roll, and the “zigzag” roll.
CHORDS To become fluent in finding and creating chord shapes, it’s important to understand how chords are created, so Wes starts this lesson by talking about how basic major chords are built. Then he shows you three major chord shapes, giving you advice on fingering each of the shapes. He also gives you an accompaniment pattern to play with the picking hand, often known as vamping, and shows you how to move the shapes to different places around the neck. You’ll also learn about the seventh chord, which has four notes—adding a seventh to the root, third, and fifth of the major chord—and the minor chord, in which the third of the major chord is flatted.
VARIATIONS ON “CRIPPLE CREEK” In this lesson, Wes give you lots of ideas on creating variations to standard arrangements of a tune, using the banjo classic “Cripple Creek.” For those who may have never learned “Cripple Creek,” Wes provides a basic Scruggs-style version of the tune that includes the essential techniques of slides, pull-offs, and hammer-ons. The he shows you some ways to vary the melody of “Cripple Creek” and introduces the concept of “melodic style” banjo, which was invented by banjoist Bill Keith, who devised a way to play linear note-for-note melodies where you never play the same string consecutively.
HARMONIZED SCALES Wes introduces the concept of harmonized scales and explains how they are essential to learning to play melodies on the banjo, or any instrument. He shows you to play a major scale starting on the root and starting on the third and combine them to create a major scale harmonized in thirds. He walks you through the thirds on the second and third strings, pointing out how the shapes of the thirds change as they move up the neck, and how to play them within a roll pattern. You’ll also learn the harmonized scale in thirds on the top two strings and a version of “Mary Had a Little Lamb” using these shapes with the melody on the top string.
HARMONIZED SCALES IN C AND D Continuing with the lessons on harmonized scales, Wes shows you how to take the patterns you learned in the last lessons and move them to different keys, specifically the keys of C and D. He starts by showing you the harmonized thirds patterns in the keys of C and D, and then how to play “The Banks of the Ohio” using harmonized thirds in C.
INTRO TO SINGLE STRING Single-string style on the banjo is a way of emulating flatpicking or single-line melody playing, using your thumb for downstrokes and index finger for upstrokes. The style was pioneered in bluegrass by Don Reno in the 1950s and developed by Béla Fleck and other contemporary banjo players. In this lesson, Wes shows you the basics of the technique and gives you a series of exercises with various string crossings and groups of four, three, and two eighth notes. You’ll also learn the fiddle tune “Leather Britches,” with the first part played single-string style, and the second part melodic style.
GUIDE-TONE SHAPES In this lesson, Wes shows you how he uses guide tones in his chord voicings. Guide tones are the most import notes in a chord, the notes that really define the chord and create a sense of movement from chord to chord. He shows you how to construct two voicings of seventh chords using the third, seventh, and fifth of the chord, and how to use them to play Earl Scruggs’s “Foggy Mountain Special” and “Salty Dog Blues.”
FORWARD-ROLL STYLE In the forward-roll style of banjo playing, melodies are played primarily by the index finger on the inside strings—second, third, or fourth strings—using forward and backward rolls. It’s a style you can hear in the playing of contemporary banjo players like Ron Block, who plays with Alison Krauss and Union Station. Wes gets you started with an exercise that combines the G major scale played entirely on the third string with forward rolls, followed by similar exercises using the G major scale on the second and fourth strings. He also shows you how to play the folk standard “You Are My Sunshine” using the forward-roll style.
“ARKANSAS TRAVELER” MELODIC STYLE Learn a melodic-style arrangement of the classic fiddle tune “Arkansas Traveler” in the key of D. “Arkansas Traveler,” like many fiddle tunes, is very notey, but it’s also quite melodic. Wes walks you through each part of “Arkansas Traveler” phrase by phrase, showing you his rolls and positions on the neck and pointing out phrases that can be used in other tunes or played in other keys.
MAPPING THE FINGERBOARD FOR SINGLE STRING Wes shows you his concept of mapping the fingerboard for single-string playing, which involves wide scale positions that include three notes on the fourth string, three notes on the third string, two notes on the second string, and three notes on the first string (3–3–2–3). Wes shows you how to play a G major scale with this concept running from the fourth string to the first and using positions that start on each note of the G major scale. He also gives you advice on playing scales smoothly, so that each note sustains into the following note.
BRUSHY RUN “Brushy Run” is one of Wes’s favorite old-time fiddle tunes, and his arrangement follows the fiddle melody exactly, which means that there are a few tricky sections for both hands. It’s in the key of G, and Wes plays it mostly melodic style with a touch of single string.
ALTERNATIVE ROLLS In this lesson you’ll learn a couple of rolls that will be familiar to fans of Béla Fleck, Tony Trischka, Alison Brown, and other contemporary bluegrass banjo players. The first is the bounce roll, which involves bouncing off a drone string (which can be an open or fretted string) and playing double stops with the index and middle fingers. After explaining the bounce roll, Wes gives you a number of exercises using the harmonized major scale with different string sets. The Shelton roll is named after banjoist Alan Shelton and has a tricky maneuver in which you play the first string with your middle finger and then with your index finger. To practice it, Wes gives you some exercises that use the harmonized major scale, diatonic triads, and the circle of fifths.
ROLLING THROUGH CHORD CHANGES In this lesson, you’ll learn how to roll through chord progressions. Wes starts by talking about the Nashville number system, the harmonized major scale, and the most common chords used in bluegrass. Then he shows you a couple of common rolls used to roll through chord changes and gives you some examples of chord progressions to use them on.
SINGLE-STRING EXERCISES Wes gives you some great single-string exercises using the 3–3–2–3 fingerboard mapping positions. He starts by showing you a “half position” for playing in G that corresponds to the seventh position in the fingerboard mapping scheme, and then shows you a common melodic pattern exercise in this position. Then he shows you two other half positions in G, which correspond to the third and fourth positions in the fingerboard mapping scheme, and the same melodic pattern exercise in both of those positions. Wes also gives you another couple of pattern exercises: a thirds in doubles pattern that corresponds to the harmonized scale shapes you’ve previously learned and a scale pattern played on the top two strings in which you shift upward through all the patterns and pick with all three fingers.