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About This Book
When somebody asks me where I learned to improvise on the banjo the first thought that pops into my head is my mother. Mom doesn't play the banjo. She does play the dulcimer and she sings. Her voice is so pretty that I've seen road-weary country guitar pickers break into tears listening to her sing an old hymn, but she never was interested in the banjo. I know, right about now you're wondering how somebody who never touched a banjo taught me how to play. Well, Mom never taught me anything technical about the banjo, but she did show me how to see the world around me. When I was growing up she could take absolutely nothing and find a way to turn it into something. A pack of construction paper might turn the living room floor into a giant board game. Some Queen Anne's lace pressed between the pages of an old phone book would become amazing Christmas tree ornaments that, to my eyes, put the fancy displays at Longwood Gardens to shame. A reading of Robert Frost's "The Witch Of Coos" on a stormy night could turn our home into a haunted mansion more exciting than anything Disney could dream up. I used to watch her piece together intricate quilts from fabric scraps. She would also spin raw wool into yarn and then send me into the woods to gather the plants used fo r making colorful natural dyes. She encouraged me to paint, draw and explore every creative idea that came into my head as long as I didn't blow up the kitchen. It was an environment where improvising was an everyday fact of life. When I started studying karate the habit of thinking outside the box that I had picked up from Mom wound up being a pretty big asset. One of the concepts Ed Parker built into his Kenpo Karate system was that it made more sense to learn one movement and then look at twenty-four ways to use that movement than to learn twenty-four individual movements. I took to that idea like a duck to water. One of my instructors would show me a block or a strike and I would spend days or even weeks looking for ways to blend it into what I already knew. I looked for opportunities to utilize and incorporate the technique. It was Ed Parker himself who pointed out to me that these ideas could be applied to learning a musical instrument. It's too long a story to tell here, but to sum it up I was sitting on the curb waiting for my ride after a martial arts seminar. It turned out that the guy I was sitting next to was none other than Ed Parker. We wound up chatting for a little while and he asked me what I wanted to "do" with my life. I wasn't even thirteen at the time. All I could do was shrug and say that maybe I would stay with karate, but I wasn't sure. He just laughed and said that what I had learned up to this point and the way I had been taught could be applied to anything I wanted. Even music. I perked up at that for a second, but it sounded too crazy. I couldn't see how that made any sense. How is learning to fight the same as learning to play music, or anything else?
Patrick also provides printed versions of this and his other books as well as othe music related services fom his Pik-Ware Publising website give it a visit. You can also find a large collection of interesting material from Patrick on archive.org
A Book Of Five Strings, Contents list & Page Numbers.
|Title Page - 0001 License - 0002 License - 0003 License - 0004 License - 0005 Copyright Notice - 0006 Contents - 0007 Introduction - 0008 Page - 0009 About Your Banjo - 0010 Practice, Perspective & Speed - 0011 Page - 0012 Tuning - 0013 The Frailing Strum - 0014 Page - 0015 Page - 0016 Page - 0017 Page - 0018 Page - 0019 Page - 0020 Page - 0021 Page - 0022 Page - 0023 Scales, Chords & Chord Progressions - 0024 Scales - 0025 Chord Progressions - 0026 Page - 0027 Transposing - 0028 Chord Construction - 0029 Moveable Chord Forms - 0030 Page - 0031 Chopping And Vamping - 0032 Page - 0033 Page - 0034 Page - 0035 Page - 0036 Jamming - 0037 Page - 0038 Timing And Phrasing - 0039 Page - 0040 Page - 0041 Eighth Note Patterns - 0042 Page - 0043 Page - 0044 Slides - 0045 Page - 0046 Double Thumb - 0047 Page - 0048 Page - 0049 Page - 0050 Page - 0051 Arranging Tunes - 0052 Page - 0053 Page - 0054 Page - 0055 Page - 0056 Page - 0057 Finding The Melody - 0058 Closed Position Scales - 0059 Page - 0060 Page - 0061 Chord Patterns - 0062 Other Scale Patterns And Modes - 0063 Pentatonic Scales - 0064 Chording The Scale - 0065 Page - 0066 Southern Aristocracy - 0067 Page - 0068 Page - 0069 Page - 0070 3/4 and 6/8 Time - 0071 Page - 0072 Page - 0073 Drop Thumb - 0074 Page - 0075 Bluegrass & Blues - 0076 Page - 0077 Boogie Chord Progression - 0078 Page - 0079 Delta Blues - 0080 Banjo Blues 4/4 Time Key of G - 0081 Minglewood Blues - 0082 Page - 0083 Walking The Walk, Talking the talk - 0084 Dealing With The Fifth String - 0085 Why I Play The Banjo - 0086 Page - 0087 Page - 0088|