It’s amazing how many up the neck breaks follow this method. I was playing thru Salty Dog Blues today and it hit me that the up the neck break I memorized years ago follows these chord shapes. They don’t really focus on the melody as much as the chord changes it seems. Definitely a challenge to do it on the fly, but it’s a lot of fun to try.
Discuss the Banjo lesson: Soloing Over the Chords with Kristin Benson
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Yes. I thought the same thing too when I learned the waypoints…who knew? Ha
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KSB explained putting her index on B1 while playing a C chord to avoid an overtone that clashes. Why would the overtone issue not apply when we are doing two-string chord shapes using 1st and 2nd or 1st and 3rd? Or, really, any 3 or 2 finger chord shape? I see we wouldn’t worry about it with G chords, since all open strings are in a G chord, but what about an open B ringing in an up-the-neck C or any D (or an open G ringing on a D chord, etc.)?
Hi @Drae Yolandrae 
to @BanjoBen 's Forum I think the reason Kirstin fret’s the B string (although she’s not playing the B string) is to stop it vibrating and creating an overtone. I’ll be honest I don’t think about this stuff to deeply. I accept and note what she tells me. @Michael_Mark do you have anything to add?
Thank you, Archie. I guess my main question is what, if any, other open string overtones are a big enough deal that we should maybe think about them? I totally trust her expertise! I just tend to wonder about stuff!
Since the banjo is tuned to G there will be no overtones playing a G chord. The fifth string tuned to G might cause a little resonance holding down a D chord but since your usually playing a roll it goes by that quick its barely noticeable. As I say if you follow KSB advice you’ll not go wrong
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Great lesson! What was the lick that KSB used at the end every time? thanks
Are you talking about the Step 3 video at 5:53? If not, can you post a time stamp?
Yes @Mark_Rocka , in part 3 @5:53, struggling to get tab format not to wrap wierd… but the something like
5 - - - - - - - -
- 4 1 - - - - - -
-
-
- 2 3 2 - 0
-
with the 232 a hammer on and pulloff on the 3?
I can’t seem to make it sound the same, but maybe that’s just because I’m just a novice!
Thanks
Hi @harvey.toni Toni LICKS are all about LISTENING and TIMING
Newbies tend to rush things and in doing so fumble notes
Take it one note at a time. Listen then play - Repeat the process until it sounds like what KSB is playing.
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Today I was trying to play Shucking the Corn and I realized I never learned a high break for that song. Since I have been working on Mrs. Benson’s lesson a bit, I thought I would try to play the chord shapes as a “high break”. I’m posting it here for any feedback or criticism. I think I lost the correct fingering of the chords the higher up the neck I went. I played the A part, the B part, and then one round of the chord shapes. Anyway, I appreciate any advice on how I can improve. I know it needs a lot of work.
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Wow, thanks Mark!
I really appreciate you taking time to make a video to help me. Especially with how busy you must be with working on the app and learning the Dobro. I didn’t even realize I was playing so close to the fingerboard. I’m going to start focusing on moving my hand closer to the bridge as I pick. Also, your break sounded amazing. I have watched the bonus lesson, but haven’t started trying to implement the In between stuff yet. Still having some trouble moving fluidly between the chord shapes. I’m going to start working on that asap. Thanks again for all of your help. You have opened my eyes and given me some direction. Also, for what it’s worth, I’m using your Jamtrainer app every time I practice both banjo and mandolin now. It has been a great tool! Can’t thank you enough!
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It’s such an amazing thing to hear that my app is helping people. Thank you for those kind words. It helps keep me going.
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Hey Mark, quick question,
I practiced this today and watched your video again several times along with Mrs. Benson’s lesson. For some reason it gives me a lot of trouble and I know that just practice will solve most, but my question is….are you using the in between minor chords just as a quick jump? For example, if you have two measures of G, are you shortening the roll on the first G and just hitting the minor slightly as you go to the next G shape? It seems like that’s what’s happening. I think my problem is I’m trying to stay on the in between minor for a whole measure, if that makes sense. Anyway I’ll keep playing with it but I was curious about your mindset. It sounds great in the video. Also I managed to keep my picking hand closer to the bridge for most of my practice and it does make a huge difference in the tone. Thanks again.
I just happened to have a banjo in my lap when I saw your reply (my friend’s $65k Gibson top tension) so here’s the most valuable video I’ve ever recorded. 
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Awesome! Thank you so much. This makes it click better in my brain. I’m sure the lesson explains it good too, but for some reason it just wasn’t clicking with me. I was staying on those minor chords too long. Thanks again for your generous time.
Man, I would be afraid to touch a $65K banjo, and I definitely don’t have any friends who would trust me enough to leave one with me🤣
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Would something like that be useful when there are only 2 measures of G? Or is it more geared to a song like Blue Ridge Cabin home ?
It still works, though I don’t think it sounds quite as good. Might want to skip the passing minor chord if it doesn’t sound right, but I’ve used this technique on dozens of songs.
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