[EXPLAIN bar reference numbers] start of phrases are denoted in an ever increaing rate, e.g. in a 4/4 tune: 3.2.1 means the note at the 3rd pulse Generally I will use lower letter for notes and capital letters for chords.

There are 3 more pages covering different aspects of the 5 string banjo:

• Banjo Construction, Setup and Physics
• The Five String Banjo - general topics
• Celtic music for the 5 string banjo

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55.3 - 55.4

Note this lick fits over the whole progression

Part C

improvisation. Not hard but difficult to remember at fast tempo

Watch 44.3 - 45.2

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Slip Jig in D

16.1 - 17.1

Lots of left arm movement but not difficult

17.2 - 17.4

Can bar 1st finger on 7th fret throughout

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Reel in G - Bela Fleck Arrangement Example on using Gm licks in G tuning. Usually in situations like this the gDGCD tuning would be used (as does Dave Hum for example http://www.youtube.com/watch?v=c0Ul8QCZvng). Bars 3 and 5 Don Reno style picking.

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Slip Jig in Em Aeolian (G) This medley is an exercise in ornamentation. The LH functions pretty much as it would on a tenor banjo. Many POs and HOs, with extensive 5th finger usage.

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A very popular jig I learned from a mandolin player, a loong time ago. Key of Em

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Also referred to as Farewell to Ireland. Quirky Reel. Complexity lies in its structure rather than the execution. Bars 9 and 10 can be played in various ways - I decided, after trying several different combinations, on the fingering shown.

Dave Hum plays a great version of this tune. However the melody is made to fit A major instead of the standard Am. Nevertheless I transcribed his version for open G tuning. [Permission needed]

Note that when replacing the m3rd with the 4th (as Dave Hum does), the tonality becomes ambiguous (M or m?). This gives the characteristic 'mountain tuning' sound, as achieved with clawhammer tuning gDGCD

It really helps to ignore the last bar ornamentation of each section until the rest is learned properly.

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Reel in G ( Em aeolian) The B part of this tune is quite confusing, especially if you just switched to a banjo that has an inlay at the 9th instead of the 10th fret!

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Reel in G ( A dorian or D mixolydian)., There's also a D version that plays c# instead of c in the beginning phrases.

General difficulty: LH needs to be clear from the fretboard so as not to dampen the 1st string.

Two particular areas of difficulty: prelim ex 1 - bar 10 At fast tempo, the HO tends to weaken. prelim ex 2 - bar 12 at fast tempo, the trill tends to become indistitinguishable

In the B part there's one thing to watch out for at 18.3: press both 2nd and 3rd strings on the 5th fret. This to avoid the open 2nd (c) clashing with the c. It also properly prepare yo u for playing that note in 19.1.2

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Reel in D There's quite some jumping around the neck on this one. Trick is to keep it smooth at faster tempos.

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Jig in G

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Slip Jig in Em Aeolian (G)

21.1 to 21.3

Attention to where the LH is actually hammering-on and pulling-off and the RH is playing. This tends to get blurred at greater speeeds. Again, I use lots of RH to strengthen the sound.

30.1 - 30.2

tricky combination of pull-off and slide

33.2

Watch the rhythm. Tendency is to play first note before the beat.

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Jig in G mixolydian (C)

Part A[2] is the regular version, though I prefer Part A[1].

27.1 - 28.2

rapid change of LH

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Jig in D

FEATURES: 977 shape RH TI crossing LH Double note ornamentation RH Double note ornamentation

50 - 53

  alternatevily [show example], but to maintain consistency with 46 - 49
  2 areas: I on 51.2.2: RH 

           T on 52.1.2: LH - play 9 before forming the 779 shape

  first step: 51.2.2 to 52.2.1
  then: 51.1.1 to 52.2.1
  etc

Bars 60, 61 constitute a peculiar phrase that occurs throughout this section. The 5 at 61.1.2 is not actually played, but used as a springboard to sound the d.

In the B part, from bars 62 to 68, the first notes of the POs should be barely touched, the effect should be that of a tweety bird.

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Bluegrass tune in G.

First 4 sections based on arrangement by Schlange, see tef file. Last 4 sections based on Sam Bush and Benny Martin mandolin solos

53.3 - 55.4

Watch LH especially index on 53.4.2 and 54.1.2

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Hornpipe

Based on Art Rosenbaum's haunting clawhammer version on his album 'The art of the mountain banjo' The LH fingering is a little odd, but interesting. Learn 51 - 52.1 first. It's a very useful phrase. The first part is all in position 7, only straying briefy to postition 6 at the end. It's importsnt to stsrt the first part with the right LH fingering (2nd finger).

In the B part, keep the Left index finger on the 3rd string 2nd fret wherever possible.

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Jig in Am, also known as Banshee's Lament. To get some idea on the variety out there, this tune is also known as Ballinasloe Fair, Bobby Casey's, The Butcher's March, Fallon's, The Glanmire Miller, John Conroy's, Killaloe Boat, The Killaloe Boat, The Miller Of Glanmire, The Moyasta, Paddy In London, Rita Keane's, Ryan's, Ryan's Favourite, The Sligo , and more ...

A 'banshee', in Irish legend, is a female spirit whose wailing warns of an impending death in a house. The term 'lilting' aludes to the wailing.

Not usually played with this many 'double note' ornamentation but I think it suits the music.

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Beautiful American Hornpipe [CHECK]. Based on David Hum's version. I particularly like the little trill in 5.2

2.1.2 - 7.3

keep the pinky on 3rd string 9th fret

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Slip Jig in Em Aeolian (G)

A good place to start is bar 19, then bar 17

17.1 to 17.3

can be played in many ways, though I prefer lots of RH as it strengtens the sound

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A John Hartford tune as played on the fiddle from his solo album "Mark Twang". Transcribed fot the 5 string, it doesn't quite capture the classic fiddle style double stops, but nevertheless it's a great example of a free improvisation in D using very effective licks.

Demonstrates how a complex melody can be played using just the one position.

There are various ways to play the riff at bar 83. The one that is shown is a nice compromise between technique and keeping the phrasing right. [SEE 'for web.tef']

2.3 - 3.3

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Also called the Glasgow Reel, inspired by the Scottish ballad, composed and credited to Davey Arthur. The banjo part is mainly taken from Dave Hum's version, with some hight register variation thrown in by me. Dave Hum has a Celtic bluegrass banjo website which has some very nice playing. There's also his YouTube channel featuring many video clips..

bar 25

Quite a stretch for the LH, but works well once mastered.

42 - 44

High register notes. Easiest to place LH R and M on strings 1 and 2 before placing I on the third string for the first 6 notes

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Reel in G - Dave Hum Great tune, executed flawlessly by Dave Hum on YouTube. Note the position change to the fourth fret at 2.2.2 until 4.2.1 Bar 5 is one of the most difficult ones

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This lightning fast reel from the band Shooglenifty (not sure if it's based on a traditional reel or not) is an ideal tune to practice synchronisation between the 2 hands at high speed. It's a great jam tune, based on the progression A - A - C - G. This tune demonstrates how particular notes can be selected to fit over all the chords, which is handy for those occasions were you get lost. [display 0-5-7-0 lick]

For the LH, the hardest part is possibly from 10.3 to 11.2. It may seem that the RH is having difficulty with this, but try playing the same RH pattern with open strings and you'll probably have no problem.

This also illustrates how the brain finds shortcuts for the LH: sometimes notes are held because they fit the pattern, while releasing them makes playing more fluent at the cost of more LH complexity.

The (7) note on the third string in 12.4.2 is used instead of the open d string when going to the 3rd section. That just makes it a little easier on the RH at fast tempos.

Bars 10-11

LH prepare notes example. Try LH change fingers on alternate bars. Place finger one pulse before it's played. Practice at tempo!

10.2 - 11.1.1

LH on 10.2.1 (6) don't linger, otherwise you need to change 2 fingers on 11.1.1

12.4.1 -

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