Theoretically this could go on orever, but the frets would get awfully close together and your fat fingers wouldn’t fit anyway, so the clever designers of the banjo decided enough was enough and ended the neck at around fret number 22 (some banjos have a few more or a few less than 22 frets). So now I want to make life much more difficult for you (Just kidding!). The same is true for the 4th string 3rd fret, since they are both tuned to the same note an octave apart. And the best news of all is. In a future post we will learn how to do two octave scales so we can begin playing up the neck of the banjo. This squeeze-relax-squeeze-relax rhythm will become the basis for some good back-up techniques a little later. Think of squeezing the neck between your fingertips and your thumb. Let your fingers relax, just touching the strings but not squeezing the neck yet. He has produced numerous instructional DVDs and hosted hundreds of instructional workshops. Relax your fretting hand between strums, so that your hand does not get tired and cramp up. The secret to playing a melodic banjo G-major scale is to relocate the fretted notes in the tab to a lower string on your banjo (these are notes two, four, six, and seven of the G-major scale). Slide it up another fret and it becomes a G Major. This ability to slide the closed chord shapes up and down, using the Chromatic Scale as a reference, gives us the ability to create any Major chord we need using these same, soon-to-be-familiar shapes. Download a free PDF of major scales on every root for the banjo. This allows the left hand to get ready for the next fretted position. For those of you who have not yet seen or understood the Chromatic scale, take a look at this: If you’re not already aware, the note between G and A can be referred to either as G# (G sharp) or Ab (A flat). If playing the banjo was really that simple, all of us world-famous banjo teachers wouldn’t be as fabulously wealthy as we are. For those of you who have not yet seen or understood the Chromatic scale, take a look at this: If you’re not already aware, the note between G and A can be referred to either as G# (G sharp) or Ab (A flat). With the melodic banjo approach, you play the same pitches, but you locate each consecutive note on a different string, using a different right-hand picking finger to play each string, as you can see in the following sections. In this position, the 2nd string fretted on the 3rd fret is a D note, and therefore this is a D Major chord. Fret the 2nd string at the 5th fret with the left-hand middle finger and pick this string with the right-hand index finger. This is powerful, because as you will see, closed chord shapes can be moved up and down the neck freely to create different chords without changing the basic shape your fretting hand makes. Therefore, it is commonly referred to as the “F Shape.” You may find it difficult to get your fretting hand to cleanly fret all four of these notes, but it will get easier with time and practice. This tab shows you how you can play the G-major scale using melodic banjo technique. Now, squeeze the chord momentarily and pick the 4th string with the thumb of your picking hand, and as soon as the note sounds, relax your fretting hand to dampen the sound quickly. When you master these, you will free yourself from being tied to the low-neck, open chord positions introduced in the prior lessons. It will serve you well if you will take the time and effort to memorize it. Consider the open G chord at “fret 0.” The third string is a G note, right? In fact, if you know the repeating twelve-tone Chromatic Scale, you can now play every Major chord on the banjo neck – with one finger! Fret the 3rd string at the 5th fret with the left-hand index finger and pick this string with the right-hand thumb. For our purposes, it is only necessary to understand that a Major chord consists of the first, third, and fifth notes of a Major scale, and that the first note of the scale (known as the root) names the scale and the chord. And if you understand how to apply the shapes to the Chromatic Scale, you can move the shapes up and down the neck to get any Major chord you might need, with each of the three shapes. The pad of your thumb should be near the back (rounded) part of the neck or slightly up the side of the neck nearest your face, but it should not stick up above the fretboard. *NEW – “Banjo Chord & Neck Diagrams” – APACHE – GoogleDrive – 2018 3 Blank Banjo Neck Diagrams – 2019 6 Major Scales & Their Harmonized Counterparts – 2019 It is admittedly somewhat of an awkward shape to put your hand into, but again I ask you to trust me – it will become very easy after a few million iterations. You will also be able to play in any key just as easily as G or C. Now that’s what I call powerful! Amazing, huh? Go slowly, and make the interval of time between each bump and chick as perfectly equal as you can. You can then play different strings consecutively as you climb up the scale, using right-hand roll patterns that are related to Scruggs’s rolls. For example, the second note of the G scale (called an A note) is not only found on the 2nd fret of the 3rd string, but also at the 7th fret of the 4th string. The fourth note of the G scale, the C note, is at the 1st fret of the 2nd string, but you can also find it at the 5th fret of the 3rd string. I call it the “root 3” shape because the root note of the chord, for which the chord is named, is the third string note. This sound complicated as I see it written out verbally, but it is actually quite easy to execute once you get the idea. If you have been following along successfully to this point, you are making GREAT progress! r = ring finger Using the same three closed chord positions and Bump-Chick picking pattern, play two measures of G, then two measures of C, then 2 measures of D, then 2 measures of G, repeating the sequence over and over at a slow, smooth rhythm. SOLD #162 Gibson RB 250 Mastertone . Serial #127175. Slide the barre up two more frets to the 4th fret. Move it along two more (7th position) to make a B chord. This note is an A note, the second note of the G-major scale. I sometimes call the F Shape the “root 1-4 shape.” Any guesses why? I hope you are getting as much out of reading and practicing these lessons as I am writing them. I have another favorite name for the chord shape I’ve been calling the Barre. I apologize for the delay between lessons, but my real job and other activities limit how much time and energy I have been able to devote to this. 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