- Free Earl Scruggs Banjo Tabs Download
- Earl Scruggs Nashville Blues
- Free Earl Scruggs Banjo Tabs And Lyrics
- Earl Scruggs Banjo
Earl Scruggs - The Ballad Of Jed Clampett (Tab). If you can not find the chords or tabs you want, look at our partner E-chords.If you are a premium member, you have total access to our video lessons. If you find a wrong Bad To Me from Earl Scruggs, click the correct button above. The free banjo tablature page has free banjo song tabs, banjo videos, a 5-string banjo chords lesson and a free beginner banjo starter e-book. BanjoTeacher.com went online in 2001 with a brand new Beginner Banjo Book and two books I wrote on Scruggs Style and Building Banjo Speed.
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Fill‐in lick 1
This is absolutely, positively the most important lick in all of bluegrass banjo. You can use it for the final G chord for just about any song you play, and you’ll convince everyone that you have true bluegrass street cred (well, at least for a moment!). If you’re a newbie, take care to play every note of the roll correctly. This is a bit tricky as the roll changes direction halfway through the measure, first going forward and then backward. This lick is so crucial that the roll pattern that goes along with it is called the “lick” roll, by the way.
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Fill‐in lick 2
Banjo players live and breathe by the slight variations that separate one version of a lick from another. Lick 2 is a lot like lick 1 with the addition of a fourth‐string pull‐off that makes it sound totally different — okay, not totally. The second measure offers up a nifty forward‐roll phrase that presents a different way to exit the lick than the pinch pattern in lick 1.
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Fill‐in lick 3
If lick 1 is number one on the all‐time great fill‐in lick popularity chart, this lick holds down the number‐two spot. As you gain experience with more and more licks, you’ll experiment with breaking down the parts of licks to combine them in unique ways to create new sounds. The last four notes of measure one are the last four notes of a forward‐reverse roll. This phrase segment appears in many different contexts in all kinds of licks.
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Fill‐in lick 3
If lick 1 is number one on the all‐time great fill‐in lick popularity chart, this lick holds down the number‐two spot. As you gain experience with more and more licks, you’ll experiment with breaking down the parts of licks to combine them in unique ways to create new sounds. The last four notes of measure one are the last four notes of a forward‐reverse roll. This phrase segment appears in many different contexts in all kinds of licks.
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Fill‐in lick 4
You may have guessed this one was coming! As early as the late 1940s, Earl Scruggs started combining licks, and it’s time for you to do the same. Lick 4 combines licks 1 and 3 to create a frequently used sequence that’s ideally suited for the end of any solo. Minecraft launcher free download cracked version.
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Fill‐in lick 5
This lick has the same effect as licks 1 and 2 but uses a different roll pattern. This one is good to use when the song is at a rocking, medium tempo.
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Fill‐in lick 6
A great fill‐in lick can make you jump out of your seat when you hear it for the first time. Earl Scruggs played this phrase in his classic instrumental “Earl’s Breakdown.” You’ll follow the first third‐string hammer‐on with a new maneuver: a hammer‐on followed by a pull‐off. There are also quite a few consecutive index fingers you’ll pick in this lick as well. Take it slow and check out the audio and video examples to get every detail correct.
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Fill‐in lick 6
A great fill‐in lick can make you jump out of your seat when you hear it for the first time. Earl Scruggs played this phrase in his classic instrumental “Earl’s Breakdown.” You’ll follow the first third‐string hammer‐on with a new maneuver: a hammer‐on followed by a pull‐off. There are also quite a few consecutive index fingers you’ll pick in this lick as well. Take it slow and check out the audio and video examples to get every detail correct.
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Fill‐in lick 7
A growling variation on lick 3 that adds a first‐string third‐ to second‐fret pull‐off to the mix. If you move downward with the fretting fingers for your pull‐off, you’ll really be able to snap that first string all the way to Nashville. Earl Scruggs and J. D. Crowe employ this lick in “Down the Road.”
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Fill‐in lick 8
Things really start to happen when you combine shorter licks into longer phrases to extend the length of the end of your solo. Here are three separate licks that work well when combined into one mega‐lick.
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Fill‐in lick 9
Lick 9 pulls in elements of lick 6, but take note of the unique timing and fingering. This is the kind of lick that J. D. Crowe often plays to end a hot solo on a medium‐tempo song.
Free Earl Scruggs Banjo Tabs Download
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Earl Scruggs Nashville Blues
Fill‐in lick 9
Lick 9 pulls in elements of lick 6, but take note of the unique timing and fingering. This is the kind of lick that J. D. Crowe often plays to end a hot solo on a medium‐tempo song.
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Fill‐in lick 10
Speaking of J. D. Crowe, here’s a frequent way that he ends solos on such favorites as “Blue Ridge Cabin Home” and “Your Love Is Like a Flower.” You can use this longer lick just about anytime you’re ending a banjo solo in the key of G but you want to keep your momentum going for another couple of measures. Keep your rolls driving as you add the fretting‐hand techniques, and you’ll soon sound just as good as J. D.!
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Fill‐in lick 11
Lick 11 combines lick 1 with a lick commonly used in “Roll in My Sweet Baby’s Arms.” Earl Scruggs played this kind of fill‐in lick early in his career on songs such as “Little Girl in Tennessee.”
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Fill‐in lick 12
This is probably the most complicated fill‐in lick you can play down the neck! You can hear Earl Scruggs play this lick in “I’ll Stay Around.” It combines elements of licks 6 and 7. Don’t try to tackle a lick like this just from examining the tab. It’s absolutely essential to listen and watch to get the sound of this lick just right.
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Much of Scruggs-style banjo playing is based around roll patterns — right-hand sequences of notes that crop up again and again when playing in this style. Roll patterns are made up of eight notes played by the right-hand thumb, index, and middle fingers. Double disappearing nine patch quilt pattern.
As a general rule, you use a different right-hand finger to strike a different string for each consecutive note when playing a roll pattern (in other words, you don’t want to use the same right-hand finger or hit the same string twice in a row). This way of playing creates a smooth and constant flow of notes and is a big part of what make Scruggs-style banjo sound so great.
The most important roll patterns used in Scruggs-style playing are included in the following list, which you can also see in the tab. Players often categorize rolls by the sequence of right-hand notes played (using T for thumb, I for index, and M for middle), along with the string sequence used (with numbers standing for each of the five strings on your banjo):
- Alternating thumb roll: The right-hand sequence of this roll is T-I-T-M-T-I-T-M. Use this sequence with the following string order: 3-2-5-1-4-2-5-1.
- Forward-reverse roll: This roll’s right-hand sequence is T-I-M-T-M-I-T-M and uses a string order of 3-2-1-5-1-2-3-1. Note that this roll begins like the alternating thumb roll but moves in a new direction with the third note you play.
- Forward roll: This roll is very exciting to play in bluegrass banjo. You can play with more power if you kick off the roll by using your right-hand thumb, as indicated in the tab’s right-hand sequence: T-M-T-I-M-T-I-M. This example uses the following order of strings: 2-1-5-2-1-5-2-1.
- The “lick” roll: This is the roll you use for the most frequently played fill-in lick phrase in bluegrass banjo. This roll starts with the same sequence of right-hand notes that you use in the forward roll but then shifts to the sequence used in the last four notes of the forward-reverse roll: T-M-T-I-M-I-T-M. The string order for this example is 3-1-5-3-1-3-5-1.
- Foggy Mountain roll: Yes, this is the roll used to play the first measures of “Foggy Mountain Breakdown”!Be careful to play the first four notes of this roll correctly: Begin with the right-hand index finger striking the 2nd string and the middle finger playing the 1st string but then be sure to use the thumb to strike the next 2nd string. This approach provides you with more speed and power as you get comfortable playing this roll. The right-hand sequence is I-M-T-M-T-I-M-T, playing these strings: 2-1-2-1-5-2-1-5.
- Backward roll: This roll begins with the middle finger and moves backward towards the 5th string. Note the right-hand sequence for this roll: M-I-T-M-I-T-M-I. The strings indicated in the tab example are 1-2-5-1-2-5-2-1. You often use this roll when the melody note is on the 1st string of your banjo.
- Middle-leading roll: As you may have guessed, you use the middle finger a lot in this roll pattern as revealed in the right-hand sequence: M-I-M-T-M-I-M-T. The strings you play in this example are 1-2-1-5-1-2-1-5. This roll is also called the Osborne roll after banjo great Sonny Osborne.
- Index-leading roll: This roll begins with the right-hand index finger playing the 2nd string. The right-hand sequence for this roll is I-T-I-M-I-T-I-M. The strings played in this example are 2-3-2-1-2-3-2-1.
Listen to the audio track Scruggs-style Roll Patterns to hear the sound of each roll and to double-check your playing against these tab examples.
Free Earl Scruggs Banjo Tabs And Lyrics
Practice these rolls until they become second nature. You can then cover ground much faster when you encounter these roll patterns in actual tunes. A great way to internalize these patterns quickly is to use them as an accompaniment to your favorite songs.
Earl Scruggs Banjo
After you’re comfortable with the chord progression of any song, you can play any of these rolls to accompany a guitarist or singer. Each roll pattern takes up one measure in a chord progression. Try as many as you can, settling on what sounds best to you.