1

Revised 9-04
 Foreword

Welcome to the How to Build Your Speed on the Banjo book and CD. My
inspiration for this banjo instruction effort comes from many years of teaching
and meeting many intermediate banjo students who may know a lot of songs,
but haven’t achieved the tone, timing, drive, and speed they desire. It’s my
goal to help you find ways to help you achieve the speed and sound that
drives many of us to learn how to play the banjo. We’re going to work on the
right hand a lot and discuss many things about it. After that, I’ll use the song
Dixie Breakdown as an example and do my best to show you ways to build
your speed, improve your timing, practice habits, tone, and many other aspects
in banjo playing that are often left behind untouched in other instruction
methods.

In additon to the banjo rolls and timing exercises you will learn and work with,
you’ll hear me perform Dixie Breakdown with a full band at three different
speeds. Later on the CD, you’ll hear the rhythm backup tracks without the
banjo lead track so you can practice playing along. The Rhythm tracks can
be extremely helpful, especially if you use them to your full advantage.

I sincerely hope the instruction that you receive with this book and CD will set
you on a path of improvement and more fulfillment with your banjo playing.

Thank you,
Ross Nickerson

2
 HOW TO BUILD YOUR SPEED
ON THE BANJO
TABLE OF CONTENTS

Foreword ........................................................................... 2
How to Read Tablature......................................................... 4-5
Transcription of the Spoken sections from the CD.................. 6-7
Developing Speed ................................................................ 8
Technique Factors in Building Speed ........................... 8
Psychology of Speed ................................................. 8
What If I Make a Mistake? .......................................... 8
How Hard Should I Pick? ........................................... 9
Should I Use a Metronome? ....................................... 9
Always Use a Metronome? ......................................... 9
Speed Building Exercises .................................................... 9-10
Timing Review ..................................................................... 11
Using a Metronome .................................................... 11
Some Suggestions on Using a Metronome ................... 11
Timing Exercises Using a Metronome ................................... 12
Alternating Thumb Rolls ....................................................... 13
Forward Rolls ...................................................................... 13
Reverse Rolls ...................................................................... 14
Backward Rolls ................................................................... 14
Foggy Mountain Roll ............................................................ 15
Forward-Backward/Alternating Thumb Roll............................. 15
Single String Roll ................................................................. 15
Doug Dillard Roll ................................................................. 16
Combination Rolls ............................................................... 16
Speed Building Progress Charts .......................................... 17-18
More Tips and Advice on Rolls and Rhythm Tracks ................ 19-20
Tips on learning Dixie Breakdown ........................................ 20
Dixie Breakdown ................................................................. 21-28
In Closing............................................................................ 29
CD Track Sheet ................................................................... 33

3
 How to Read Tablature
Each horizontal line of the music staff rep- In the songs we will be learning there are
resents a string on the banjo. four beats in each measure. A measure is
1st string
the space between the lines. The 4/4 indi-
2nd cates the song has four quarter beats in
3rd
4th each measure.
5th



If there is a 0 on the line, you play that string open. The number on the line is the fret
you play with the left hand.

0 2

The picking finger is indicated under the note Fretting hand indications are under the
you’re picking, below the tab lines. note and circled as shown below.

T = thumb I = index M = middle 1 = index 2 = middle 3 = ring 4 = little

0 0 0 5
0 0 1 3
2
0 0 0

T M I T M I T M 1 2 3 4

>
Symbol for accenting or emphasizing a note

4
Timing in the tablature is indicated with stems coming off the notes. The notes with only a
single stem are quarter notes. The notes with the stems connected by bars are eighth notes.
Sixteenth notes are connected by two bars.

Quarter notes Eighth note Sixteenth note

have a single stem stems are connected stems use a double bar
0 0 0 0 0
0 0 0 Sl 0
0 0 0 2 3

0 0 0 0 0

The chord of the measure you are playing is indicated above the tab. The chord stays the
same until another chord is indicated.
G

When you see dots like pictured below In some cases, first and second endings are
in the music, it means to repeat. When used. After repeating once, skip the FIRST
you reach the dots on the right, repeat ENDING, then play the SECOND ENDING and
back to the dots on the left. continue on in the song.

FIRST ENDING SECOND ENDING

Here are the indications for slides, hammer-ons, and pull-offs.

Slides Hammer-ons Pull-offs

0 0 Po 0
Sl
Sl 0 H 0 0
2 4 2 4 2 0
0 2
0 0 0

5
 A transcription of the spoken sections from the CD.
This may be not as well written as it could be since I spoke it and it was transcribed.
However, it will no doubt make the CD easier to learn from and also give you something to
refer too when you aren’t able to listen to the CD.

2-7

Hi! This is Ross Nickerson and you just heard Dixie Breakdown. Welcome to my How to Build
your Speed on the Banjo instruction tape. I’m glad to be your teacher on this tape teaching you
a method I strongly believe will help you achieve your goals. I’ve been wanting to do a tape like
this for a long time to help banjoists who are learning and maybe struggling a little bit with
getting their speed where they want it, their tone, their drive, timing, things that are really very
important but get lost a lot of times in instruction.

I believe that in order to play the banjo up to speed where you want to, you really need to work
at it, which means, working on the right hand and just getting to where you can physically do it
without trying to play a song. We’re going to work on our rolls to build the speed up in our rolls.

Lets liken ourselves to an athlete, maybe a long distance runner and talk about the comparison
of an athlete building up his or her endurance in order to reduce their time if they’re running a
long distance. Maybe the first time they go out, they can only run 6 miles comfortably. The next
day they’re going to push a little harder and try for 7 miles. Then they’re going to train and
condition so they can run 10 miles comfortably. Then they’re going to keep working to where
they can finish a 26-mile race. Now in order to win the race or to do better in the race they have
to reduce their time so they still have more work to do. Maybe in order to work up to that they
include weight training. A lot of different elements on working on their technique as a runner in
order to reach their goal as a long distance runner.

We can do that with a banjo. If we spend most of our banjo practice time working on technique
to make us a better player rather than learning a new song every week then this can apply to
every song that we play.

Today there’s so much tablature on the market, which I think is great, don’t get me wrong, but
the only trouble with that is people are learning songs to quickly. And I think the banjoist is just
a little swamped. They may know most of 20 songs but they never really got one song to sound
the way they want it to sound. That’s what I want to work on. I would say that it’s been my
observation with my students, a lot of the rhythm, the soul and just the general sound that your
expecting to hear out of the banjo is getting lost.

6
You’re kind of a drummer with the banjo. It’s like if you’re a drummer or your taking drum lessons
your practicing drum rolls and your going over and over and getting better and better at them.
That’s what you need to do with the banjo. That’s where your rhythm comes from, that’s where
your drive comes from. It’s from the right hand picking. If you can make these rolls sound
interesting and rhythmic with good tone without adding any melody with the left hand-when you
add your left hand your going to start seeing some results.

If you have the desire to play faster than you can now, I don’t have any doubt that you can. It’s a
lot like typing. If you type for half an hour a week you might turn out to be an average typer – 30
words a minute. If you type all the time you can type 90 words a minute. It’s a very similar
technique. Your alternating your fingers and your memorizing positions like in typing. As long as
your alternating fingers (unless you have any real physical handicaps) you should be able to
move your fingers in order to play the banjo up to speed as long as you go over and over and
practice it. If you don’t practice it well nobody can do it right off the bat. It’s something that needs
to be developed.

In your tablature you’ve got rolls and I’ve got them marked as, for instance, the first three are
alternating thumb rolls. I do two measures, I think that helps you to hear them better and gives you
a little better practice. When you play these rolls they need to be repeated over and over and over
again. If you can’t do the roll, take a deep breath and start over again. And they need to be
playing in time and I’ll demonstrate that for you.

7
 Developing Speed
There are many things that contribute to or detract from quickness in your right or left-hand.
Accomplishing the speed in your banjo playing that you are happy with is going to require some
practice and dedication. It’s unlikely that it is just going to happen by itself; it is more likely that you
will have to devote a large amount of your practice time to the speed challenge. I think I can
condense some great speed building tips for you that should really help you. We can use some
basic rolls and exercises as a way to develop some of the things you can work on to build your
speed.

Technique Factors in Speed Building

One of the most obvious reasons for lacking speed could simply be poor right-hand positioning
and use of the fingers. It’s very important that you limit the distance your fingers travel away from
the strings after you pick the string. It only makes sense that if your fingers get too far from the
strings, they will have to come back to the string from a further distance, thus, slowing you down.
Don’t swing the thumb or hit the head. If you are try to break the habit right away. Don’t let the
index or middle finger fly away from the strings! If you feel you have one finger holding you back,
I recommend you giving more exercise to that one finger. For instance, if your middle finger
seems to be the weaker link, you could simply hit the first string with the middle finger over and
over till it begins to cooperate and catch up to the thumb or index. I encourage you to examine
what’s going on in your picking hand and see if you can’t find some creative ways to improve any
difficulties you are having. Use the exercises presented in this chapter to work on any of these
weaknesses in your thumb, index, or middle fingers.

Psychology of Speed
Yes! You can do it! People learn to type fast and accomplish all types of things with their hands and
fingers. Unless you have a severe limiting handicap in your picking hand, you should be able to
accomplish reasonable quickness at the minimum. Even with some physical limitations, it’s doable.
Look at some of the handicaps some of the greatest musicians have overcome. It may take
determination, but what doesn’t? Simply try every day to get faster, and I believe you will achieve
results.

What if I Make a Mistake?

Unfortunately, it’s impossible not to make mistakes. In fact, the sooner you stop worrying about
them the quicker you’ll limit them. It’s inevitable in your banjo playing growth that you’ll have to
make some noise before you can make music. This may hold true even more in speed building.
Go for it, make some noise and clean it up when you gain more control. Practice is practice! It’s
not a performance! When you achieve some proficiency, then you can perform and do your best
to play music that is pleasing to others and to yourself. If you want to perfect something, do your
best to perfect your rhythm and timing. Good rhythm and timing will do more to overcome a
melody or mis-fretting mistake then you could probably even imagine.

8
How Hard Should I Pick?
Pick hard! This will develop strength, coordination, and control in your right hand. If you have to be
careful how much noise you make, mute the banjo not the right hand. You can buy a banjo bridge
mute, or take the resonator off and stuff a towel up against the head. (The method I recommend)
When you develop more speed and picking control, then begin experimenting with changing your
picking volume by trying to pick louder and softer as your practice the rolls.

Should I Use a Metronome?

Absolutely! Probably the best way to be sure you are not developing bad technique and timing
when practicing building speed is using the metronome. This way you can keep track of the
speeds at which you are playing, and you can physically up the number of beats at which you are
playing by continuing to up the tempo.

Always Use a Metronome?

Not necessarily. There is nothing wrong with trying without one. If you limit your speed practice to
when you have the metronome out, it won’t be enough. Be honest, how often are you getting the
metronome out even though you know you should?

Speed-Building Exercises
In this exercise, simply play the roll at a speed with which you are comfortable and then begin to
pick up the speed gradually. You will reach a point that I will call the
0 0
“breaking point” where your fingers begin to cramp, you miss, and 0 0
0 0
you can hear the struggle. That “breaking point” is the point that I
want you to try to push past tomorrow. I recommend trying to push 0 0
past that “breaking point” everyday.
T I T M T I T M

0 0 0
0 0 Using this reverse roll, work on building your speed in the same fashion
0 0 as above. If this one comes easier than the alternating roll you were
0 just working on, then remind yourself to practice the alternating roll
more or vice versa.
T I M T M I T M

When practicing these forward and 0 0 0 0 0 0

0 0 0 0
backward roll examples, be sure to accent 0
the downbeats--especially the first and third 0 0 0 0 0
beats. Pick the rolls clearly, with definition,
and try not to let all the notes run together, T I M T I M T M T M I T M I T M
thereby sounding mushy or undefined.

9
This next roll is the Foggy Mountain Breakdown roll. If you want 0 0 0 0
0 0 0 0
to play “Foggy Mountain Breakdown,” you will have to get this
one quick. I’ve made it more difficult by omitting the forward roll
after the IMTM pattern. This will build up your strength and ability.
Be sure you are picking the IMTM pattern. I M T M I M T M

0 0
0 0 This next example will build up coordination by trying this slightly
0 0 0 0 more unorthodox roll. In this exercise, the thumb plays the third
string.

I T M T I T M T

In the next three examples, I have simply written some tab that uses only one finger at a time. This
should help your speed building. Try not to be sloppy on this for sure. Being careless or sloppy
using one finger at a time could develop some bad habits. Keep your fingers close to the strings at
all times.

0 0 0 0 0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0 0
0 0

T T T T T T T T I I I I I I I I M M M M M M M M

10
 Timing Review
Take some time to review timing before going any further in the book. After you have spent more
time on timing and working with the metronome, I highly recommend reviewing to make sure
your timing is correct with the rolls we have learned so far.

Using a Metronome
A metronome may be the single most effective tool when practicing the banjo, but unfortunately,
it seems to be one of the least used. One of the reasons is that it’s not as easy as it looks, and
students become easily discouraged and annoyed with it. The first thing you need to do is find
one you like and that works for you. Don’t buy the cheapest one unless it does the job. The
metronome should be easy to see, hear, and operate. A headphone jack is a good option, too.

Some Suggestions on Using a Metronome

Count with the metronome before trying to play along; for example, count out loud the rhythm
exercises in this section before trying to play them. While counting out loud, tap out the rhythms
with a pencil or while tapping your foot.

As a beginner with a metronome, you can set the speed so it clicks for each eighth note as a
way of getting on the horse a little easier. Keep in mind though that the standard way metronome
settings are spoken of and listed in books is normally one click or light blink for each quarter
beat. Also, often when the tempo is faster, I set it for one click for two quarter beats, which is
sometimes referred to as “cut time.”

Start at a slower metronome setting and work your way up in small increments. A good starting
speed to set the metronome in the beginning would be 80 when using one click for each quarter
note.

Do the best you can and be patient! Getting even close to correct with the metronome is likely an
improvement, and it really only takes a little time and practice.

11
 Keep in mind that if you feel the metronome is a nuissance or annoying to use, remind
yourself that if you are playing out of time, it is like, not playing music at all. Playing without a
sense of the beat can be hard to listen to and extremely difficult to follow along with. It’s not
only worth the time to gain some mastery of rhythm, it’s imperative.

Here are some timing exercises that I also have included in The Banjo Encyclopedia and my
Beginning the Five-String Banjo Book. Never the less, even if you have seen these before,
you really can’t practice these enough. Learn to play these next exercises well and with the
metronome, and I flat out guarantee it will help every aspect of your playing, including your
overall enjoyment.

Timing Exercises Using a Metronome 9-17

1 2 3 + 4 + 1 2 3 4 + 1 + 2 + 3 4 +

0 0 0 0 0 0
1. 0 4. 7.
0
0
0 0 0 0
0 0 0 0 0 0 0

T M T I T M T M T T M T I M T I T M
T T

1 2 + 3 4 + 1 + 2 + 3 + 4 1 2 + 3 + 4
0 0 0 0 0
2. 0 0 5. 0
0
0
0
0 8. 0
0
0 0 0 0 0

T T M T T M T I T M T I T T T I M T M

1 + 2 + 3 4 1 + 2 + 3 4 1 + 2 + 3 4

0 0 0 0 0
3. 0
0
0
6. 0
0
0
9. 0
0
0
0 0 0 0 0 0

T I M T I T T I M T I M T I M I T M
T T

12
 Alternating Thumb Rolls 18-20

0 0 0 0
0 0
0 0
0 0
0 0 0 0

T I T M T I T M T TM T TM

0 0 0 0
0 0
0 0 0 0
0 0
0 0 0

T I T M T I T M T I T M T TM
0 0 0 0
0
0 0 0
0 0 0 0
0 0

T I T M T I T M T T M T TM

Forward Rolls
21-23

0 0 0 0 0
0 0 0
0 0

0 0 0 0 0

T I M T I M T M T I M T I TM
0 0 0 0
0 0 0
0
0
0 0 0 0 0

T T I M T I M T I M T I TM
0 0 0 0 0
0 0 0 0 0

0 0 0 0 0

T M T I M T I M T I M T I TM

13
 24-26
Reverse Rolls
0 0 0 0 0 0
0 0 0
0 0 0
0
0 0 0

T I M T M I T M T I M T M I T M
0 0 0 0 0 0
0 0 0
0 0
0
0 0 0 0

T I M T M I T M T I M T M I T M
0 0 0 0 0
0 0 0 0 0
0 0
0 0 0

T I M T M I T I M I T M T TM

Backward Rolls
27-29

0 0 0 0 0
0 0 0 0 0

0 0 0 0 0

M I T M I T M I T M I T I TM
0 0 0 0 0

0 0 0 0 0 0
0
0 0 0 0

M I T M I T M I T M I T M I T I
0 0 0 0 0
0 0
0 0
0 0
0 0 0 0

T M I T M I T M T I T M T TM

14
30 Foggy Mountain Roll

0 0 0 0 0
0 0 0 0 0 0

0 0 0 0

I M T M T I M T I T M T I M T

Forward-Backward Roll/1st measure

Alternating Thumb Roll/2nd measure 31

0 0 0 0 0

0 0 0 0 0
0 0
0 0 0

T M T I M I T M T I T M T TM

Single String Roll

32

0 0 0 0
0 0 0 0
0 0 0 0
0 0 0 0

T I T I T I T I T I T I T I T I

15
 33
Doug Dillard Roll

0 0 0 0 0 0 0 0
0 0 0 0

0 0 0 0

M I M T M I M T M I M T M I M T

Combination Rolls 34-35

0 0 0 0 0
0 0 0
0 0 0 0 0
0
0 0

T I M T M I T M T I T M T I M I

0 0 0 0 0
0 0 0
0 0 0 0 0
0
0 0

T I T M T I M T M I T M T I T M

16
 Speed Building Progress Chart

Rolls No. of Metronome Notes

Date
Practiced Reptitions Speed

17
 Speed Building Progress Chart

Rolls No. of Metronome Notes

Date
Practiced Reptitions Speed

18
 36
More Tips and Advice on Rolls and Rhythm Tracks

Some things I would like to touch on about these rolls is the first thing you need to do is
memorize these rolls real well with some kind of association so that you know which roll is
coming up. If you had these memorized and were comfortable with that it would be a lot
easier for you to play along with me there. Also, again practice the rolls and the parts of the
rolls you have the most trouble with.

I would like to share an experience with you on how I developed a lot of speed. I took a couple
of banjo lessons and I couldn’t make the lessons anymore because I was not able to get
there. So I learned some basic rolls and a slide or hammer on or something. Well, I spent all
summer playing only the rolls that I learned and the slides and without being complicated with
a lot of other tablature and learning a new song every week, I got so I could play those rolls
real well and the slide real well. I guess the point I’m trying to make is that if you take some of
these rolls and you build up the speed and tone in just several of them it would be a lot easier
for you to transfer that into other rolls and then transfer that into the songs that you already
know.

Another point I would like to make is that you’re playing a musical instrument so that you’re a
musician – not a technician. It’s real easy with the tablature to get real into the numbers,
“well, I play a 2 then I play a 2nd string, etc.” You’re thinking mathematically and your not
thinking musically. Please try and think as a musician, not a technician. The beauty of the
instrument that you’re playing is the fluid rolling drive and the rhythm – it’s a rhythm instrument
- it’s a rhythmic instrument. That is what you’re striving for. Not how many songs you can
learn and how many things you can remember but how you can create some kind of emotion
with your instrument to play music.

Another thing to touch on is your attitude. Don’t have the attitude “Oh, I’ll never get that song”
“I can’t get that,” especially at the beginning. Maybe you might get to a point where there are
certain things you can’t play but you cannot limit yourself with what you can’t or think you
can do. If you think you can do it, chances are you can. If you push yourself, it’s okay.

As far as practice habits, I’ve talked a little about that. Practice the things you can’t play.
Spend more time on technique and then have the fun part of your lesson be the part where
you learn a song, maybe a song that you’ve wanted to learn.

19
 37

Also, remember to read the tablature and listen to the tape without trying to play for a while.
Let it sink in, visualize yourself playing it. Picture your thumb on the third string, picture
your index on the second, etc., etc.

Visualizing it is a very good memorization technique. Also breaking these rolls into phrases
in the songs, which we’ll get into with Dixie Breakdown which is coming right up.

First we’re going to hear Dixie Breakdown at a fast tempo then we’ll hear it again medium-
fast and then again medium. At that point I’m going to go through the song and show you
how to play it quickly and then your going to have the rhythm tracks to play with starting with
the medium, medium fast, and then the fast tempo. Kind of build you up to it. So let’s hear
Dixie Breakdown at the fast tempo.

End of transcription spoken words on the CD.

Dixie Breakdown - tips on learning

„ I recommend taking this song one solo at a time. Try breaking the song down into
measures and phrases while working up your speed one piece at a time.

„ Don’t waste your time on what you can play. PRACTICE THE PARTS OF EACH
SOLO THAT GIVE YOU THE MOST DIFFICULTY.

„ As you learn each solo, try to play that solo only over and over with the rhythm track.
Keep in mind, the chord progression for Dixie Breakdown repeats over and over in
the backup rhythm track. Keep repeating the solo you are working on with the rhythm
track each full time through the progression.

„ Memorize as soon as possible, but I recommend memorizing one solo or section at a

time. If you lose your place playing without the tab, it’s OK, in fact it’s normal. A
realistic goal is learn to fill the missing links by continuing to pick while replacing what
you forget, with licks or rolls that work over the chord you’re on, and ...most importantly,
not adding or leaving out any beats in the measures.

20
 38-49
Dixie Breakdown Don Reno
Arranged By
Ross Nickerson
G C
H

4
4 0
0
0
1
0
2
0
2 3
0
3
0 2 0
Sl 0
0 2 2

4 2 3 0 0 0
0 0 0 0 0 0 0 0 0

M M M T 2 M T I M T M M T I M T I T I M T I M
I I I 1 2 1 T 2 3 3
T T T
1 1 G D

2 2 0 0 0 0 H 0 0 0 0
0
3 0 0 0 0 2 3 2 2 2
2 0 2 4 4
0 0 0 0 0 0

T M T I M T I M T I T M T I T M T M T I T M T M T I M I T M
3 4 3 2 2 T 2 2 3 1 1 3

G C
H
0 0 0 0 0 2 0 0 2 2
H 0 2 3 3 Sl 0
0 0 2 3 0 0 0
2 0 2 0
0 0 0 0 0 0 0

T I T M T 2 I T M T M T 2 M T I M T M M T I M T I T I M T I M
2 1 2 1 T 2 3 3

G D
H H H
2 2 0 0 0 0 0 0 Po 0
2 3 3 2 3 2 3
3 0 3 2
0
0 0 0 0 0 0 0

T M T I M T I M T M T 2 M T I M T I 2 M T 2 M T I 1 M T
3 4 3 1 2 1 1 2

0 0 0 0 0
Sl 0
0 2 3 0 0
2
0 0 0

I M T I M I T M T M T M
2 2 T T

21
G C

0 0 0 0 0 0
0 1 2 3 5 6
0 2 3 4 5 7
0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M
2 1 2 1 2 1 2 3 2 1

0 0 0 0 0 0
7 8 0 1 2 3
8 9 0 2 3 4
0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M
2 1 2 1 2 1 2 1 3 2

D G

0 0 0 0 0 0
3 3 3 3 0 1
2 0 2
4 2 0
0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M
1 2 3 2 1 2 2 2 1

C D
H
0 0 0 0 0 0 0 0 0
2 3 5 6 7 8 2 3
3 4 5 7 8 9
0
0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M T M M T 2 M
2 1 2 1 2 3 2 1 2 1 2 1 1

2 0 Po 0 0 0 0 0
3 0 Sl 0
3 2 0 2 3 0 0
2
0 0 0 0 0

T I M T M I T 1 M T T I M I T M T M T M
2 1 2 2 2 T T

22
 G C

17 17 17 17 17 14 14 15
4 15 15 15 15 15 15 13 13 15
4
0 0 0 0 0 0

T T M T I M T I M T M T I M T I M T M T I M T
1 1 3 1 3 1 3 1 3 1 3 1 3 1 3 2 3

G D

16 16 17 17 17 21 21 21 19 17 16
16 17 15 15 15 20 20 20 19 17 15

0 0 0 0 0 0 0 0

M I M T M T T T M T I M T I M T M T I M T M I T M I T M I
3 2 3 I 1 1 3 1 3 1 2 1 2 1 2 3 2 3 2 3 2
3
2
C
H
14 12 12 12 14 12 12 10 10 10
13 10 10 12 12 12 12 12 8 8 8

0 0 0 0 0 0 0 0 0 0 0

T M I T M T M 2 T I M T I M T I M T M I T I M T I M T I M T
3 1 I I 2 3 2 4 2 3 3 2 1 3 1 3 1 3
3 3
1 1
D
½ ½ ½
8 8 8 12 12 12 0 0
8 8 10 10 10 10 10 10

0 0 0 0 0 0

M T 3 T I M T I M T M T I M T I T M T I M T
3 2 2 3 1 3 1 3 1 3 2 2 2

G
½
9 0 0 0
8 11 8 Sl 0
9 0 0
0 0 0

I T M T I T M T M T M
1 3 1 1 2 T T

23
G C

12 12 10 9 5 5
12 12 8 8 5 5
12 10 9 7 5 3
0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M
2 3 4 1 3 4 2 1 4 1 2 4 2 3 4 1 3 4

3 2 12 12 10 9
1 1 12 12 8 8
2 0 12 10 9 7
0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M
2 1 4 1 3 2 3 4 1 3 4 2 1 4 1 2 4

D G

7 7 5 4 12 12
7 7 3 3 12 12
7 5 4 2 12 10
0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M
2 3 4 1 3 4 2 1 4 1 2 4 2 3 4 1 3 4

C D
H
10 9 5 5 3 0 0 0 0
8 8 5 5 1 1 2 3
9 9 5 3 2 0 Sl
2 3 0
0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I M T M M T 2 M
2 1 4 1 2 4 2 3 4 1 3 4 2 1 4 1 3 1

2 0 Po 0 0 0 0 0
3 0 Sl 0
3 2 0 2 3 0 0
2
0 0 0 0 0

T I M T M I T 1 M T T I M I T M T M T M
2 1 2 2 2 T T

24
 G C

8 9
4 7 8 8 8 8 9 10
7 9 9 7 Sl 8 9
4 5 7 8 9 9 10

T T I T I T I T T I T I T T I T I T I T I
1 1 2 3 1 3 1 2 2 2 3 1 3 1 2 1 2 3 1 2

10 8 15 16 17 15
10 8 15 16 17 17 15
9 8 Sl 15 16 16 15
10 17 17

T I T I T I T T I T I T I T I T I T I T I T
3 1 3 1 2 1 3 1 2 1 2 3 1 2 3 1 3 1 2 1 3
G
D
Sl
10 11 12 12 12 12 14 141717 17 17 17 17 17 17 17 14 12 14
10 11 12 11
10 11
12

T I T I T I T I T T M T T T M T M T M T M T T T M I
3 1 2 1 2 3 1 2 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 4 1

C D
½
9 9 9 9
11 8 8 8 8 2
9 9 2 4
0 2 3 4
0 0 0

T I M T I T M T T I M I T M T T I T I T I
3 1 1 2 3 1 1 3 1 2 3 1 2 3 1 3 1

G
H
0 0 Po 0 0 0 0 0
3 2 3 Sl 0
3 2 0 2 3 0 0
2
0 0 0 0 0

T M T 2 M T I 1 M T I T I M I T M T M T M
2 1 2 2 2 T T

25
G C

0 0 0 0 0 0
0 1 2 3 5 6
0 2 3 4 5 7
0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M
2 1 2 1 2 1 2 3 2 1

0 0 0 0 0 0
7 8 0 1 2 3
8 9 0 2 3 4
0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M
2 1 2 1 2 1 2 1 3 2

D G

0 0 0 0 0 0
3 3 3 3 0 1
2 0 2
4 2 0
0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M
1 2 3 2 1 2 2 2 1

C D
H
0 0 0 0 0 0 0 0 0
2 3 5 6 7 8 2 3
3 4 5 7 8 9
0
0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M T M M T 2 M
2 1 2 1 2 3 2 1 2 1 2 1 1

2 0 Po 0 0 0 0 0 0
3 0 Sl 0 1 2
3 2 0 2 3 0 0
2
0 0 0 0 0 0

T I M T M I T 1 M T T I M I T M M M M
2 1 2 2 2 I I I
T T T
1 1

26
G C
H
0 0 0 2 0 0 2 3 4 5
2 3 3 Sl 0 1 1 3 4 5
2 3
0 0 0 0 0 0 0 0 0

M T 2 M T I M T M M T I M T I T I M T M I T M I T M I T
1 2 1 T 2 1 1 3 3 2 3 2 3 2

G D
H
9 10 11 12 12 0 0 0 0
8 10 11 12 12 2 3 3
Sl
12 0 0
0 0 0 0 0 0

M I T M I T M I T M I T M I T M T M T 2 M T I M T
3 1 3 2 3 2 3 2 3 2 2 1 2

G C
H H
0 0 0 0 0 Po Po 0 2 2
2 3 2 3 0 Sl 0 0
Sl 0 2 3 3 2 3 2 0 0 0
2 5
0 0 0 0 0 0

I 2 M T 2 M T I T M T M T I T M T 1 I T 1 M T T I M T I M
1 1 2 T T 2 2 2 3 3

D
H
2 2 0 0 0 0 0 0 0
2 3 3 Sl
3 0 2 2 3
0 4
0 0 0 0 0 0 0

T M T I M T I M T M T 2 M T I M T M I T M T I M T
3 4 3 1 2 1 3 2

0 0 0 0 0
Sl 0
0 2 3 0 0
2
0 0 0

M T I M T I M T M T M
I 2 2 T T

27
G C

0 0 0 0 0 0 0 0
0 1 2 3 5 6 7 8
0 2 3 4 5 7 8 9
0 0 0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M T I T M T I T M
2 1 2 1 2 1 2 3 2 1 2 1 2 1

12 12 10 9 7 7 5 4
12 12 8 8 7 7 3 3
12 10 9 7 7 5 4 2
0 0 0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M T I T M T I T M
2 3 4 1 3 4 2 1 4 1 2 4 2 3 4 1 3 4 2 1 4 1 2 4

G C

0 0 0 0 0 0 0 0
0 1 2 3 5 6 7 8
0 2 3 4 5 7 8 9
0 0 0 0 0 0 0 0

T I T M T I T M T I T M T I T M T I T M T I T M T I T M T I T M
2 1 2 1 2 1 2 3 2 1 2 1 2 1
ending
D G
H Sl
0 0 0 2 0 Po 0 0 0 0 0 2
2 3 3 0 Sl H
3 2 0 2 3 0 0 0
0 2 0 2
0 0 0 0 0

T M M T 2 M T I M T M I T 1 M T M T I M I T M T I T 2 M M
1 2 1 2 2 2 I T
3

5 5
3
2 0
0 Sl
0 4 0
0
1
0
2
0 4
2 3 0 0 2 3 4
0 0 0 0 0 0

M T I M T M I T M T I T M T I T M T I T M T
T 2 1 2 T 2 1 2 1 2
3

4
¼
9 16 17
11 8 Sl
9 7 12 50-53
0
Rhythm back-up description
M T I T T M M and play along tracks at three
I 1 2 1 3 3
1 speeds on tracks 50-53.
3
28
 In Closing

Thanks again for spending this time with me. Please remember to listen to the
CD without your banjo sometimes and to try to focus on the audio portion more
than the tab. Tab is easy to come by but personal instruction from an experienced
banjo teacher isn’t always. I’m inspired to give you insights that will help your
overall playing and I’ve done my best to convey that in the book and the CD
portion of the How to Build Your Speed on The Banjo Book.

Playing the banjo fast is certainly not all there is to banjo picking, however not
being able to “keep up” may limit your opportunities. Building your ability in your
practice sessions is not only wise, it’s good time management.

I wish you good luck with your practice and progress!

Sincerely,

Ross Nickerson
BanjoTeacher.com
1-866-322-6567
www.banjoteacher.com

www.banjoteacher.com

29
 Banjo Songs for Beginners

Fourteen banjo songs that are a pefect compliment to the Begin-

ning the Five String banjo book. Songs are all demonstrated at two
speeds with easy to read tablature, accents for melody notes and
tips on learning the songs

...Keep it coming Ross, you have a student (customer) for as long

as you continue to produce such excellent material.

Playing Banjo By Ear and Learning the Chords

...This format is so different, it definitely is a jewel that stands alone.
The "Playing Banjo by Ear" lessons are a tool kit for understanding
how playing the banjo really works

Ross Nickerson explains and simplifies banjo secrets that are hard
to learn from books. Learn to develop your ability without tab, memo-
rize quicker and see the forest through the trees.

Essential Banjo Licks

...Your instruction is concise and very helpful causing
immediate progress with a little effort and practice.

DVD features over 100 useful and fun banjo licks demonstrated for you slow
and fast with split screen closeups. Tab included.

...thank you for the DVD! It will prove to be a valuable tool in complet-
ing my vocabluary and a great bag of tricks for constructing my so-
los!!

Banjo Jamming and Play Along DVD

Play along with Ross Nickerson and a backup band at three different
speeds. Includes tablature and split screen video.
...Superb help with many valuable thoughts and tips...the bonus learning the
chord forms lessons on the "Jamming" DVD is worth the entire cost.
...Excellent! I can't stop practicing.
30
 The Banjo Blazing
Encyclopedia the West

“The range of styles is impressive with Nickerson wheeling fingers through barreling
Bluegrass tunes at breakneck speed, or bouncing through swing numbers in twin
Texas. style. No matter what mood or genre Nickerson has the chops to pull it off
with brilliance and taste, and the sidemen to compliment and match every turn.”

“Ross Nickerson is indeed a big dog 5 stringer. He can PLAY, and a gentleman
too! His solo CD, “Blazing The West” …is RECOMMENDED!!! – Mike Weber

“Just wanted to add my thoughts to the Ross Nickerson cd. Love it! Just got it, this
week, and it starts airing on our bluegrass show next week” - Michael Reece-WIFE

Testimonials for The Banjo Encyclopedia

...world class player...an exemplary teacher...tailored instruction...great resource.

...what a book!!! Blown away at the content...this book is gold...great curriculum!!!

...most comprehensive work...a "must have"...all will benefit...Ross' leadership and

clarity of instruction is tremendous.

.… Now that I see the qualities of this gentleman, I am REALLY looking forward
to meeting him and thanking him for the effort it must have taken to put this to-
gether!

….you name it ... this book has it ALL The complete book about bluegrass banjo
picking. It is very well written and is full of solid good advice and information. Its a
superb book by a knowledgeable and nice guy!! ... well worth the money...

….I think that what you have created is the new gold standard for banjo instruc-
tion.

.... It covers everything I will possibly want to know for the next 20 years or so. It
will in my opinion become the seminal book on banjo.
31
 Pinecastle Recording Artist
Ross Nickerson
Five-string banjo master Ross Nickerson
performs in support of his CD Blazing the
West on Pinecastle Records. Country Music
Television named Blazing the West as one
of the top ten CDs to pick up in 2003.

Ross has recorded with some of the top

names in Bluegrass music and was
released this year on a compilation CD
called Ultimate Banjo that included banjo
legends, Earl Scruggs and Sonny Osborne
Ross recently appeared on stage with The
Riders in the Sky and The Oak Ridge Boys
and has picked and appeared with many
of the best banjo players in the world
including Earl Scruggs, Bela Fleck and
Ralph Stanley.

Throughout his career Ross Nickerson has

always enjoyed sharing his knowledge and
helping others to learn to play the banjo.
His many years of experience teaching pri-
vately and traveling the world to hold group
workshops has helped him gain many
unique insights into the common obstacles
facing banjo students today. He has lis-
tened to his students, seen the challenges
they face, understands what students are
craving for and always delivers his practi-
cal, focused instruction in a personable and
easy to follow manner.

BanjoTeacher.com Ross Nickerson is the author of the top sell-

ing banjo book, The Banjo Encyclopedia
for book updates, support “Bluegrass Banjo from A to Z” He has also
and continued instruction written and recorded many other books,
CDs and DVDs designed to help banjo stu-
dents save time and learn the fun of play-
1-866-322-6567 ing 5-string banjo easier.

www.banjoteacher.com Ross is a full time musician and on the road

ten to fifteen days a month performing con-
www.rossnickerson.com certs, teaching banjo workshops and reach-
ing new audiences. He has been selected
as a faculty member for many prestigious
bluegrass and banjo camps and is the
founder and coordinator of the Nova Scotia
Banjo Camp and annual BanjoTeacher.com
32 Banjo Cruise.
 CD Track Sheet

1. Dixie Breakdown - fast tempo 1:51 33. Doug Dillard Roll - slow/med/fast 1:06
2. Opening Discussion 34. Combination Roll 1- slow/med/fast 1:10
3. You have to work at it! 35. Combination Roll 2 - slow/med/fast 1:09
4. Building up your ability and endurance 36-37. Advice on practicing rolls/description
5. Practice time of upcoming tracks
6. Approaching the banjo like a drummer 38. Dixie Breakdown-fast tempo 1:51
7. Practicing rolls 39. Dixie Breakdown- med. tempo 2:18
8. Tuning 1:05 40. Dixie Breakdown- slow tempo 2:59
9. Timing Exercise 1 41-43. First solo instruction 5:09
10. Timing Exercise 2 44-45. Second solo instruction 5:21
11. Timing Exercise 3 46-47. Third solo instruction 5:49
12. Timing Exercise 4 48. Fourth solo instruction 3:15
13. Timing Exercise 5 49. Ending instruction :29
14. Timing Exercise 6 50. Rhythm track description :55
15. Timing Exercise 7 51. Dixie Breakdown rhythm track/slow 3:00
16. Timing Exercise 8 52. Dixie Breakdown-rhythm track/med 2:20
17. Timing Exercise 9 53. Dixie Breakdown-rhythm track/fast 1:52
18. Alternating Thumb Roll 1 :57
19. Alternating Thumb Roll 2 1:13
20. Alternating Thumb Roll 3 1:19
21. Forward Roll 1- slow/med/fastt 1:11
22. Forward Roll 2 - slow/med/fast 1:11
23. Forward Roll 3 - slow/med/fastt 1:11
24. Reverse Roll 1- slow/med/fast 1:11
25. Reverse Roll 2 - slow/med/fast1:11
26. Reverse Roll 3 - slow/med/fast 1:21
27. Backward Roll 1 - slow/med/fast 1:14
28. Backward Roll 2 - slow/med/fast 1:13
29. Backward Roll 3 - slow/med/fast 1:14
30. Foggy Mountain Roll - slow/med/fast 1:23
31. Forward Backward Roll - slow/med/fast 1:23
32. Single String Roll - slow/med/fast 1:00

33
 Rhythm Back up
Play A lo n g
Book, CD, andoDVD
For Banjme 1
Volu
)
ERSON
BY: ROSS NICK
)

EACHER COM
WWW.BANJOT

Scrugg’s
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s Sty
StylETESTIMONIALS FOR THE BANJO ENCYCLOPEDIA

Instruction
....world class player... an exemplary teacher... tailored instruction...
great resource... what a book!!!
Blown away at the content... this book is gold... great curriculum!!!
for the
...most comprehensive work ...a “must have”... all will benefit...
Ross’ leadership and clarity of instruction is tremendous...

FIVE STRING BANJO

You’ve done it! I feel you passion in your text, and in your playing. You have done the
“banjo world of players” a great service...cudos!
...you name it... this book has it ALL! The complete book about bluegrass banjo
picking. It is very well written and is full of solid good advice and information.
It’s a superb book by a knowledgeable and nice guy!! ...well worth the money...
I think that what you have created is the new gold standard for banjo instruction...
It covers everything I will possibly want to know for the next 20 years or so.
It will in my opinion become the seminal book on banjo.

Find what
Banjo Instructional you
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