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. It’s something I’d really like to master.
I think that’s 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 that’s something @BanjoBen might care to add when he comes to creating the Waypoint’s Lesson in D.
How about some 4ths then we can do some oriental stuff.
I love this Rance 
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 scale… pulling the ear to expect the major 3rd (E) of that IV chord (C, E, G).
Similar to a suspended note… but in the middle of a chord change.
Sorry if this is overload analysis to describe something that just “sounds cool” - but it fascinates me.
You got it, Will. That’s the exact theory of the 7th transition. You’re 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!?!?!
The same reason I am at work… to pay for my new Mandolin - of course!
I am at work too but AT lunch… 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 I’d play with during my breaks. I don’t think they’d appreciate a banjo. 
I am sure I might think of some if I wasn’t at work… 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 two… but would it sound OK stylistically on the ole Banjer - is another manner.
With only 3 years under my belt, I don’t have those traditional Banjer nuances to apply.
Example: When it comes to theory, I normally think of piano - but I don’t 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 that… 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 point…
Ready for the D waypoints. Great lessons!
Revisiting these Waypoint Lessons this weekend. Wondering when your going to add Waypoints in D @BanjoBen?
Yes, need to. Don’t forget you can take this lesson and move everything up 2 frets and VOILA, it’s in D.
This Way point in C helps out a lot as does the G. In jams I when I ask a question, I always hear “after that chord”, 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.