Many musicians, including some that are technically quite advanced, never break away from the printed page to learn by simply listening and re-creating. The common name for this process is "playing by ear". With some basic guidelines, any musician with rudimentary skills can teach himself or herself to play by ear, adding a new dimension to their playing skills. This book teaches the 5-string banjoist to listen and play solos and chord progressions by ear, providing essential ear training and techniques needed to participate in jam sessions of all types! Chapters include: Learning Chord Progressions by Ear; Faking a Solo; Playing the Melody by Ear; and Using Licks. Written in tablature only. The companion recording is in split-track format with the melody track on the left and the rhythm on the right.
How to Read Tablature
Chapter 1 LEARNING CHORD PROGRESSIONS BY EAR
Elements of Music
Counting Time and Determining the Location of Chord Changes
Exercise 1 - DETERMINING METER
Locating Chord Changes
Exercise 2 - LOCATING SIMPLE CHORD CHANGES
Exercise 3 - HEARING CHORD CHANGES WITHIN THE MEASURE
Simplifying the Trial-and-Error Procedure
The Diatonic Triads
The Three Basic Chords
Listening for Repetition
Listening to the Bass Player
Exercise 4 - LEARNING "BASIC THREE" PROGRESSIONS BY EAR
The Supporting Chords
Functions of the Supporting Chords
Embellishment
Substitutions
Transitions
Using the Law of Probabilities
CHORD FUNCTION PROBABILITY CHART
Exercise 5 - LEARNING PROGRESSIONS CONTAINING ONE SUPPORTING CHORD
Exercise 6 - LEARNING PROGRESSIONS CONTAINING TWO SUPPORTING CHORDS
Recognizing Chord Types
Emotional Characteristics
Consonance and Dissonance
Exercise 7 - IDENTIFYING MAJOR, MINOR, AND SEVENTH CHORD TYPES
Movement in Fourths and the Dominant Seventh Chord
Using Chord Type as a Clue 26
CHORD TYPE PROBABILITY CHART
Chapter 2 FAKING A SOLO
Exercise 8 - FAKING SOLOS BASED ON "BASIC THREE" PROGRESSIONS
Using Phrasing Licks
Listening to the Banjo Player
Exercise 9 - USING PHRASING LICKS
Faking Solos Based on Quickly Changing Progressions
One-Beat Phrasing Licks
Exercise 10 - FAKING A SOLO BASED ON A QUICKLY CHANGING PROGRESSION
Faking a Solo in 3/4 Time
Exercise 11 - FAKING SOLOS BASED ON 3/4 TIME PROGRESSIONS
Faking Solos Based on Complex Progressions
Exercise 12- FAKING SOLOS BASED ON COMPLEX PROGRESSIONS
Blank Tablature
Chapter 3 PLAYING THE MELODY
The Structure of Three-Finger Style
Identifying the Melody
The Scale
The Trial-and-Error Procedure
Exercise 13 - IDENTIFYING SIMPLE MELODY LINES
Learning Songs by Ear from Recordings
Instrumental Introductions, Turnarounds and Solos
Pickup Notes
Endings
Intro Endings, Turnaround Endings, and Tag Line Endings
Locating First-beat Melody Notes
Exercise 14 - LOCATING FIRST-BEAT MELODY NOTES
Altering the Faked Solo to Create a Melody Oriented Solo
Exercise 15 - ALTERING A FAKED SOLO TO CREATE A MELODY ORIENTED SOLO
Identifying Last-beat Melody Notes
Exercise 16 - CREATING A FIRST-BEAT AND LAST-BEAT MELODY ARRANGEMENT 61 Locating Internal Melody Notes
Exercise 17 - CREATING A SOLO INCLUDING ALL ACCESSIBLE MELODY NOTES
Emphasizing the Melody
Omitting Fill Notes to Create Quarter Notes
Exercise 18- USING QUARTER NOTES
Using Slurs
Exercise 19 - ADDING SLURS
Creating Solos for Quickly Changing Melodies
Exercise 20 - CREATING A QUICKLY CHANGING MELODY SOLO BY EAR
Creating Melody Oriented Solos in 3/4 Time
Exercise 21 - CREATING A MELODY ORIENTED SOLO IN 3/4 TIME
Chapter 4 USING LICKS
Expanding Your Lickabulary
G LICKS 81
Exercise 22 - INSERTING G LICKS
CLICKS 83
Exercise 23 - INSERTING C LICKS
D (or D7) LICKS
Exercise 24 - INSERTING D (or D7) LICKS
TAG LICK VARIATIONS
Exercise 25 - INSERTING TAG LICK VARIATIONS
Altering Licks for Playability
Faking with Licks
Exercise 26 - USING LICKS TO FAKE SOLOS BY EAR
Creating a Melody Oriented Solo Using Licks
Exercise 27 - USING LICKS TO CREATE A MELODY ORIENTED SOLO BY EAR
Adapting Licks
Exercise 28 - ADAPTING LICKS
Style
Beyond Licks
Appendix ANSWERS TO EXERCISES
TRANSPOSITION CHART
CHORD DIAGRAMS
NAMES OF SONG EXAMPLES
Roll in My Sweet Baby's Arms
Columbus Stockade Blues
All the Good Times Are Past and Gone
Sourwood Mountain
Cotton-Eyed Joe
Rock of Ages
Little Maggie
Roll On Buddy, Roll On
Redwing
Make Me a Pallet on Your Floor
Salty Dog Blues
Bill Bailey, Please Come Home
Chapter 1 LEARNING CHORD PROGRESSIONS BY EAR
Elements of Music
Counting Time and Determining the Location of Chord Changes
Exercise 1 - DETERMINING METER
Locating Chord Changes
Exercise 2 - LOCATING SIMPLE CHORD CHANGES
Exercise 3 - HEARING CHORD CHANGES WITHIN THE MEASURE
Simplifying the Trial-and-Error Procedure
The Diatonic Triads
The Three Basic Chords
Listening for Repetition
Listening to the Bass Player
Exercise 4 - LEARNING "BASIC THREE" PROGRESSIONS BY EAR
The Supporting Chords
Functions of the Supporting Chords
Embellishment
Substitutions
Transitions
Using the Law of Probabilities
CHORD FUNCTION PROBABILITY CHART
Exercise 5 - LEARNING PROGRESSIONS CONTAINING ONE SUPPORTING CHORD
Exercise 6 - LEARNING PROGRESSIONS CONTAINING TWO SUPPORTING CHORDS
Recognizing Chord Types
Emotional Characteristics
Consonance and Dissonance
Exercise 7 - IDENTIFYING MAJOR, MINOR, AND SEVENTH CHORD TYPES
Movement in Fourths and the Dominant Seventh Chord
Using Chord Type as a Clue 26
CHORD TYPE PROBABILITY CHART
Chapter 2 FAKING A SOLO
Exercise 8 - FAKING SOLOS BASED ON "BASIC THREE" PROGRESSIONS
Using Phrasing Licks
Listening to the Banjo Player
Exercise 9 - USING PHRASING LICKS
Faking Solos Based on Quickly Changing Progressions
One-Beat Phrasing Licks
Exercise 10 - FAKING A SOLO BASED ON A QUICKLY CHANGING PROGRESSION
Faking a Solo in 3/4 Time
Exercise 11 - FAKING SOLOS BASED ON 3/4 TIME PROGRESSIONS
Faking Solos Based on Complex Progressions
Exercise 12- FAKING SOLOS BASED ON COMPLEX PROGRESSIONS
Blank Tablature
Chapter 3 PLAYING THE MELODY
The Structure of Three-Finger Style
Identifying the Melody
The Scale
The Trial-and-Error Procedure
Exercise 13 - IDENTIFYING SIMPLE MELODY LINES
Learning Songs by Ear from Recordings
Instrumental Introductions, Turnarounds and Solos
Pickup Notes
Endings
Intro Endings, Turnaround Endings, and Tag Line Endings
Locating First-beat Melody Notes
Exercise 14 - LOCATING FIRST-BEAT MELODY NOTES
Altering the Faked Solo to Create a Melody Oriented Solo
Exercise 15 - ALTERING A FAKED SOLO TO CREATE A MELODY ORIENTED SOLO
Identifying Last-beat Melody Notes
Exercise 16 - CREATING A FIRST-BEAT AND LAST-BEAT MELODY ARRANGEMENT 61 Locating Internal Melody Notes
Exercise 17 - CREATING A SOLO INCLUDING ALL ACCESSIBLE MELODY NOTES
Emphasizing the Melody
Omitting Fill Notes to Create Quarter Notes
Exercise 18- USING QUARTER NOTES
Using Slurs
Exercise 19 - ADDING SLURS
Creating Solos for Quickly Changing Melodies
Exercise 20 - CREATING A QUICKLY CHANGING MELODY SOLO BY EAR
Creating Melody Oriented Solos in 3/4 Time
Exercise 21 - CREATING A MELODY ORIENTED SOLO IN 3/4 TIME
Chapter 4 USING LICKS
Expanding Your Lickabulary
G LICKS 81
Exercise 22 - INSERTING G LICKS
CLICKS 83
Exercise 23 - INSERTING C LICKS
D (or D7) LICKS
Exercise 24 - INSERTING D (or D7) LICKS
TAG LICK VARIATIONS
Exercise 25 - INSERTING TAG LICK VARIATIONS
Altering Licks for Playability
Faking with Licks
Exercise 26 - USING LICKS TO FAKE SOLOS BY EAR
Creating a Melody Oriented Solo Using Licks
Exercise 27 - USING LICKS TO CREATE A MELODY ORIENTED SOLO BY EAR
Adapting Licks
Exercise 28 - ADAPTING LICKS
Style
Beyond Licks
Appendix ANSWERS TO EXERCISES
TRANSPOSITION CHART
CHORD DIAGRAMS
NAMES OF SONG EXAMPLES
Roll in My Sweet Baby's Arms
Columbus Stockade Blues
All the Good Times Are Past and Gone
Sourwood Mountain
Cotton-Eyed Joe
Rock of Ages
Little Maggie
Roll On Buddy, Roll On
Redwing
Make Me a Pallet on Your Floor
Salty Dog Blues
Bill Bailey, Please Come Home
| Instrument (fx guitar, sang m.m.) | Banjo |
| Genrer (Fx Pop, Rock, Børn m.m.) | Traditional |
| Type (fx Instrumentskole o.lign.) | Instrumentalværk |
| Niveau | Let øvet |
| Sideantal | 120 |
| Media (fx Bog, CD, DVD m.m.) | Noder |
| Series | You Can Teach Yourself |
| Publisher/Producent | Mel Bay Publications |
| Bidragydere | Hatfield, Jack (Author) |
| Sprog | Engelsk |
| ISBN | 9780786690664 |