Great suggestion @Mark_Rocka Iāve yet to go back over the Waypoints lesson in C struggled to get my head round some of those scales and licks, itās weird how some tunes flow naturally and we struggle with others, it was the same for Will the Circle Advanced section I still stumble thru it. Been working on the UTN Bag-o-licks this week and just love the Scruggs lick comboās Discuss the Banjo lesson: Bag O' Licks- Up the Neck
Discuss the Banjo lesson: Waypoints- Learning the Banjo Neck- C Chord
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Great suggestion!
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Mark,
Even more than the occasional notes that are outside the major key, I dig how masters use these notes to pull into the major keyās NEXT chord.
You know what I mean?
Those notes that are ear-benders that transition into the next chord change - either to resolve back into the mayor key or tease more with no major notes with that next chordā¦ only finally to resolve.
Studying those ideas and changes can be so fun they make you smile and shake your head uncontrollably when studied or heard.
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I know exactly what you mean. Those transition notes are what I expect to hear when listening to a good banjo picker. They add so much flavor to the overall experience. Additionally, I like it when a flatted 3rd or flatted 5th is used to get your ear begging for resolution. Itās something Iād really like to master.
I think thatās where Ben is eventually going with these waypoint lessons.
@Mark_Rocka Alan Munde seems to favour a Flatted 7th note when doing transitions. He uses it quite a lot on his DVDs. Make an F shape G Chord then bar first two strings at the 3rd fret with the Index finger lifting the pinkie off the 1st string
Try this progression [ G ] [ G + Flatted 7th][ C ] [ C + Flatted 7th ][ D ] [D + Flatted 7th] [G] [G]
Not sure how to do this out of the D position, maybe thatās something @BanjoBen might care to add when he comes to creating the Waypointās Lesson in D.
How about some 4ths then we can do some oriental stuff.
I love this Rance 
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I think the flat 7th just works so well because going from a I chord (G maj. in the key of G, the flat 7th is F instead of F#) to a IV chord (C maj. in the key of G), the flat 7th is transitioning to be only a 1/2 step away as the 4th note in the scaleā¦ pulling the ear to expect the major 3rd (E) of that IV chord (C, E, G).
Similar to a suspended noteā¦ but in the middle of a chord change.
Sorry if this is overload analysis to describe something that just āsounds coolā - but it fascinates me.
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You got it, Will. Thatās the exact theory of the 7th transition. Youāre literally leading the listener to the 3 of the next chord. Now I wonder if there are other transitions (like leading to the 1 or the 5 note of the pending chord) that work well. WHY DO I HAVE TO BE AT WORK!?!?!
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The same reason I am at workā¦ to pay for my new Mandolin - of course!
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I am at work too but AT lunchā¦ as opposed to those who say I am OUT TO LUNCH! 
HA!!
At my previous job, where I sat at the same desk every day, I kept a little half sized classical guitar that Iād play with during my breaks. I donāt think theyād appreciate a banjo. 
I am sure I might think of some if I wasnāt at workā¦ but it would take a bit of time to lay it out.
The other dynamic is in the notation and theory, I might know a way to illustrate a possible transition or twoā¦ but would it sound OK stylistically on the ole Banjer - is another manner.
With only 3 years under my belt, I donāt have those traditional Banjer nuances to apply.
Example: When it comes to theory, I normally think of piano - but I donāt think I could have EVER come up with the G-Lick turn-around that Earl so brilliantly applied.
I will have to be much more comfortable with Banjer technique to do thatā¦ and even still, I am not even suggesting that I could be mentioned in the same sentence with the MASTER.
I was just trying to illustrate a pointā¦
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Ready for the D waypoints. Great lessons!
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Revisiting these Waypoint Lessons this weekend. Wondering when your going to add Waypoints in D @BanjoBen?
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Yes, need to. Donāt forget you can take this lesson and move everything up 2 frets and VOILA, itās in D.
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This Way point in C helps out a lot as does the G. In jams I when I ask a question, I always hear āafter that chordā, you grab the C, or G. This puts that into perspective. And After these two waypoints, The D way points is self explanatory if you use the same roll patterns I would imagine. These definitely help! Thankyou. Just I wish I would have seen these sooner.
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