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By Bill Evans
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D lick 1
For Dummies: The
Lick 1 uses a forward‐reverse roll and two di erent D positions to play a phrase that you can use in
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the banjo favorite “John Hardy.” You’ll want to shift from the rst D‐chord position on the second
and third strings to the nextCheck out that
position the brand newon
you fret podcast
the third and fourth strings just as you
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approach measure two.
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D lick 2
This is another forward‐reverse roll lick, but this time there’s activity on the rst string as you use
your ring and pinky ngers to climb from the second to the fourth fret. A standard G lick follows the
D phrase in this and many examples you nd here, in order to get your ow going as you move
from one chord to the next in a real song.
D lick 3
× only need to fret the third and fourth strings to play this forward‐roll‐based lick. This all‐
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purpose and absolutely essential D phrase is used in many songs, such as “Your Love Is Like a
Flower,” in both lead and backup scenarios.
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D lick 3
You only need to fret the third and fourth strings to play this forward‐roll‐based lick. This all‐
purpose and absolutely essential D phrase is used in many songs, such as “Your Love Is Like a
Flower,” in both lead and backup scenarios.
D lick 4
Old‐school masters J. D. Crowe, Sonny Osborne, and Earl Scruggs specialize in ingenious variations
on standard licks. Lick 4 is a nger‐busting variation on lick 3, where you shift quickly from a
forward to a backward roll. J. D. Crowe uses this phrase in his classic “Old Home Place” solo.
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D lick 6
Lick 6 is one of those rare licks that works well for both D and G chords. Here, the open fourth
string indicates that it’s a D lick. The chord progression that’s shown in this lick (one measure to G
moving to one measure of D that then moves to two measures of G) is one you’ll encounter
frequently in songs like “Little Maggie” and “Nine‐Pound Hammer.” This phrase can be used either
for a solo or as backup when encountering this chord progression in any song.
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D lick 6
Lick 6 is one of those rare licks that works well for both D and G chords. Here, the open fourth
ForTheDummies:
string indicates that it’s a D lick. The
chord progression that’s shown in this lick (one measure to G
moving to one measure of D that then moves to two measures of G) is one you’ll encounter
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frequently in songs like “Little Maggie” and “Nine‐Pound Hammer.” This phrase can be used either
Check out the brand new podcast
for a solo or as backup when encountering this chord progression in any song.
series that makes learning easy
with host Eric Martsolf.
Listen Now
https://www.dummies.com/art-center/music/banjo/10-essential-d-licks-on-the-bluegrass-banjo/ 4/7
1/20/2020 10 Essential D Licks on the Bluegrass Banjo
D lick 7
Exercise care with the picking‐hand rhythm on this lick from Earl Scruggs’s classic “Ground Speed,”
as the mix of quarter and eighth notes is tricky for just about everyone who tries it. You’ll want to
get the sound of the lick in your head rst with this lick, before delving in and trying it yourself.
D lick 8
Everybody needs a two‐measure D lick to use at the end of a solo, and this one’s just the ticket!
Use your thumb to pick the second‐string hammer‐on note in measure one to give this lick the
drive and power that it needs to put this over the top.
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D lick 9
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Lick 9 provides another great two‐measure D alternative, this time featuring third‐string hammer‐
ons. You may not recognize the roll pattern used in measure two: It’s a Foggy Mountain roll using a
third‐string variation.
D lick 9
Lick 9 provides another great two‐measure D alternative, this time featuring third‐string hammer‐
ons. You may not recognize the roll pattern used in measure two: It’s a Foggy Mountain roll using a
third‐string variation.
Listen Now
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1/20/2020 10 Essential D Licks on the Bluegrass Banjo
Bill Evans has helped thousands of people to play the ve-string banjo through his instructional
workshops, music camps, DVDs, books, and recordings. He has performed on stages all over the
world, his recordings have topped folk and bluegrass charts, and he has mentored many of today's
top young professional players. Bill shares the shortcuts and secrets he has developed in more
than 35 years of teaching to help all banjo players sound their best.
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