Bluegrass on tenor banjo

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The basics of Scruggs style on tenor banjo

In Scruggs bluegrass banjo style adapted to tenor banjo the melody is picked by the right thumb. Inbetween the melody notes there are played harmony notes by index and middle fingers. The patterns, in which the three fingers fill the eight notes per measure, are called rolls and you can start to practice these ones:

Bass roll g\|-----0-------0---\|- d\|---0---0---0---0-\|- G\|-0---------------\|- D\|---------0-------\|- \|_\|_\|_\| \|_\|_\|_\| T I M I T I M I	LISTEN	space	Square roll g\|---0-------0-----\|- d\|-------0-------0-\|- G\|-0-------0-------\|- D\|-----0-------0---\|- \|_\|_\|_\| \|_\|_\|_\| T M T I T M T I	LISTEN
Forward roll g\|-----0-----0-----\|- d\|---0-----0-----0-\|- G\|-0-----0-----0---\|- G\|-----------------\| \|_\|_\|_\| \|_\|_\|_\| T I M T I M T I	LISTEN	space	FMB roll g\|---------0-----0-\|- d\|---0---0-----0---\|- D\|-0---0-----0-----\|- D\|-----------------\|- \|_\|_\|_\| \|_\|_\|_\| T I T I M T I M	LISTEN
Backward roll g\|---0-----0-------\|- d\|-----0-----0---0-\|- G\|-0-----0-----0---\|- D\|-----------------\|- \|_\|_\|_\| \|_\|_\|_\| T M I T M I T I	LISTEN	space	Roll „fill-in“ g\|-----0-----------\|- d\|---0-----0-----0-\|- G\|-0-----0---0-----\|- D\|-------------0---\|- \|_\|_\|_\| \|_\|_\|_\| T I M T M I T I	LISTEN
Rhomboid roll g\|-----------0-----\|- d\|---0-----0-----0-\|- G\|-0-----0-----0---\|- D\|-----0-----------\|- \|_\|_\|_\| \|_\|_\|_\| T I T I T M T I	LISTEN	space	Forward-reverse roll g\|-------0---------\|- d\|-----0---0-----0-\|- G\|---0-------0-----\|- D\|-0-----------0---\|- \|_\|_\|_\| \|_\|_\|_\| T I T M T I T I	LISTEN

Last two rolls contain so called arpeggio (chain from deepest string to the highest or vice versa) that requires the crossing of right thumb and index finger - TITM when going up and MTIT when going down. This is not easy at the beginning and these rolls are mentioned there only because you will meet them when you will transcribe 5-string bluegrass banjo tabs to tenor banjo.
To practice arpeggio roll play the etude at the very bottom of this page.

There are many other rolls - what is important in the selection is the number of melodic notes per measure. Play the melody on the D or G strings (sometimes also on d) syncopate it (play the melody note beat earlier or later) and fill the rest with index and middle finger.

Example: McDonald's farm

Here is the melody of the first line of the song:

  G                 C       G         G       D         G
g-----------------|-----------------|-----------------|-----------------|
d-----------------|-----------------|-----------------|-----------------|
G-0---0---0-------|-----------------|-4---4---2---2---|-0---------------|
D-------------0---|-2---2---0-------|-----------------|-----------------|
  |   |   |   |     |   |   |         |   |   |   |     |
  T   T   T   T     T   T   T         T   T   T   T     T

LISTEN

We can fill the melody by harmony notes using for example the square roll. Here is no syncopation, so the melody (in bold) is unchanged:

  G                 C       G         G       D         G
g---0-------0-----|---0---------0---|---0-------2-----|-----0-------0---|
d-------0-------0-|-------2-----0---|-------0-------0-|-----0-------0---|
G-0---0---0-------|-----------------|-4---4---2---2---|-0---------------|
D-------------0---|-2---2---0-------|-----------------|---------0-------|
  |_|_|_| |_|_|_|   |_|_|_| |   |     |_|_|_| |_|_|_|   |   |   |   |
  T M T I T M T I   T M T I T   IM    T M T I T M T I   T   IM  T   IM

LISTEN

To syncopate the melody, let's use in the first measure the forward roll and in the second and third measure the FMB roll (used in famous Scruggs' instrumental Foggy Mountain Breakdown, hence the name):

  G                 C       G         G       D         G
g-----0-----0-----|---------0-----0-|---------0-----0-|-----0-------0---|
d---0-----0-----0-|---2---2-----0---|---0---0-----0---|-----0-------0---|
G-0-----0---------|-----------------|-4---4-----2-----|-0---------------|
D-------------0---|-2---2-----0-----|-----------------|---------0-------|
  |_|_|_| |_|_|_|   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|   |   |   |   |
  T I M T I M T I   T I T I M T I M   T I T I M T I M   T   IM  T   IM

LISTEN

You see and hear that the melody is little bit shifted and some notes are omitted. To find the right level of distorting the melody is what matters.

Slide, hammer-on, pull-off

You can sometimes stress the melody notes using the grace notes listed in the title. The left hand technique is similar to the 5-string bluegrass banjo and the best way how to learn them is to watch the 5-string banjo player's left hand (I will not explain in details the principle here).

Slide is usually played on these places of the fingerboard of retuned tenor banjo:

g------|-----|-----|-----|-
d------|-----|-----|-2 5-|-
G------|-2 3-|-2 4-|-----|-
D--2 5-|-----|-----|-----|-
   T S   T S   T S   T S

Here is the transcription from the 5-string bluegrass banjo textbook written by Earl Scruggs:

g---------0---------------0--------|---------0---------------0--------|
d---------0---------------0--------|---------0---------------0--------|
G-2   4-----------0----------------|-----------------0----------------|
D----------------------------------|-2   5----------------------------|
  |___|   |       |       |          |___|   |       |       |
  T   S   IM      T       IM         T   S   IM      T       IM

LISTEN

g---------0---------------0--------|---------0---------------0--------|
d-----0-------0-------0-------0----|-----0-------0-------0-------0----|
G-2 4-------------0----------------|-----------------0----------------|
D----------------------------------|-2 5------------------------------|
  |-|_|___|___|   |___|___|___|      |-|_|___|___|   |___|___|___|
  T S I   M   I   T   I   M   I      T S I   M   I   T   I   M   I

LISTEN

g---------0---------------0--------|---------0---------------0--------|
d-----0-------0-----------0--------|-----0-------0-----------0--------|
G-2 4-------------0----------------|-----------------0----------------|
D----------------------------------|-2 5------------------------------|
  |-|_|___|___|   |       |          |-|_|___|___|   |       |
  T S I   M   I   T       IM         T S I   M   I   T       IM

LISTEN

Hammer-on play here:

g------|-----|-----|-----|-----|-
d------|-----|-----|-----|-0 2-|-
G------|-0 2-|-2 3-|-2 4-|-----|-
D--0 2-|-----|-----|-----|-----|-
   T H   T H   T H   T H   T H

Again the transcription from the Scruggs' book:

g---------0---------------0--------|---------0---------------0--------|
d---------0---------------0--------|---------0---------------0--------|
G-----------------0----------------|-0   2-----------0----------------|
D-0   2----------------------------|----------------------------------|
  |___|   |       |       |          |___|   |       |       |
  T   H   IM      T       IM         T   H   IM      T       IM

LISTEN

g---------0---------------0--------|---------0---------------0--------|
d-----0-------0-------0-------0----|-----0-------0-------0-------0----|
G-----------------0----------------|-0 2-------------0----------------|
D-0 2------------------------------|----------------------------------|
  |-|_|___|___|   |___|___|___|      |-|_|___|___|   |___|___|___|
  T H I   M   I   T   I   M   I      T H I   M   I   T   I   M   I

LISTEN

g---------0---------------0--------|---------0---------------0--------|
d-----0-------0-----------0--------|-----0-------0-----------0--------|
G-----------------0----------------|-0 2-------------0----------------|
D-0 2------------------------------|----------------------------------|
  |-|_|___|___|   |       |          |-|_|___|___|   |       |
  T H I   M   I   T       IM         T H I   M   I   T       IM

LISTEN

Hammer-on from the second to third fret of B string is used at the beginning of Foggy Mountain Breakdown instrumental. As there is no B string on the tenor banjo, we have to play this hammer-on up the neck on the G string:

g--0-|---------0-----0-|---------0-----0-|---------0-----0-|-----0-----------|---
d--0-|-------0-----0---|-------0-----0---|-------0-----0---|---------0-------|---
G--0-|-6-7-6-7---------|-6-7-6-7---------|-6-7-6-7---3-2---|-0-----0---0-----|---
D----|-----------9-----|-----------9-----|-----------------|-------------1---|-2-
   |   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|   |   |_| |_| |     |
  TIM  T H THI M T I M   T H THI M T I M   T H THI M TPI M   T   M T M I T     S

LISTEN

In the third measure of the above example is played pull-off. It is often played on these places of the fingerboard:

g------|-----|-----|-----|-
d------|-----|-----|-2 0-|-
G------|-2 0-|-3 2-|-----|-
D--2 0-|-----|-----|-----|-
   T P   T P   T P   T P

Examples according to Scruggs':

g-----0-------0---|-----0-------0---|-----0-------0---|-
d-----0-------0---|-----0-------0---|-2 0-0-------0---|-
G---------0-------|-2 0-----0-------|---------0-------|-
D-2 0-------------|-----------------|-----------------|-
  |_| |   |   |     |_| |   |   |     |_| |   |   |
  T P IM  T   IM    T P IM  T   IM    T P IM  T   IM

LISTEN

First note in the third measure is played also by thumb.

Combination of slides and pull-offs in one exercise:

g-------0-------0---|-------0-------0---|-------0-------0---|-----0---------0---|
d-----0---0-----0---|-----0---0-----0---|-----0---0-----0---|---------0-----0---|
G-----------0-------|-2 0-------0-------|-----------0-------|-2 0-------0-------|
D-2 5---------------|-------------------|-2 5---------------|-------2-----------|
  |-|_|_|_| |   |     |-|_|_|_| |   |     |-|_|_|_| |   |     |-|_|_|_| |   |
  T S I M I T   IM    T P I M I T   IM    T S I M I T   IM    T P M T I T   IM

LISTEN

Another pull-off from third to second fret:

g-----0---------0---|-
d---0---0-----0---0-|-
G-0-------3 2-------|-
D-------------------|-
  |_|_|_| |-|_|_|_|
  T I M I T P I M I

LISTEN

Example: Cripple Creek

Intro

g-0-|-----0-------0---|-----0-------0---|-----0-------0-----|-------0-----0---|
d-0-|-------0-------0-|-------0-----0---|-------0---------0-|-----0-------2   |
G-0-|-2 4-----2 4-----|-2 4-------------|-2 4-----2 0-------|---------0-------|
D---|-----------------|---------0-------|---------------2---|-0 2-------------|
  |   |_|_|_| |_|_|_|   |_|_|_| |   |     |_|_|_| |-|_|_|_|   |_|_|_| |   |
 TIM  T S M I T S M I   T S M I T   IM    T S M I T P M T I   T H I M T   IM

Verse

   G                 C       G                             D       G
g|-----0-----------|-0-----0-----0---|-----0-------0-----|-------0-----0---|
d| 5---5---0-------|-----2---0---0---|-------0---------0-|-----0-------2   |
G|-------------4---|---5-------------|-2 4-----2 0-------|---------0-------|
D|-----------------|-----------------|---------------2---|-0 2-------------|
   |   |   |   |     |_|_|_| |   |     |_|_|_| |-|_|_|_|   |_|_|_| |   |
   S   IM  T   T     M T I M T   IM    T S M I T P M T I   T H I M T   IM

   G                 C       G                             D       G
g|-----0-----------|-0-----0-----0---|-----0-------0-----|-------0-----0---|
d| 5---5---0-------|-----2---0---0---|-------0---------0-|-----0-------0---|
G|-------------4---|---5-------------|-2 4-----2 0-------|---------0-------|
D|-----------------|-----------------|---------------2---|-0 2-------------|
   |   |   |   |     |_|_|_| |   |     |_|_|_| |-|_|_|_|   |_|_|_| |   |
   S   IM  T   T     M T I M T   IM    T S M I T P M T I   T H I M T   IM

Chorus

   G                                                       D       G
g|-----0-------0---|-----0-------0---|-----0-------0-----|-------0-----0---|
d|-------0-------0-|-------0-----0---|-------0---------0-|-----0-------0---|
G|-2 4-----2 4-----|-2 4-------------|-2 4-----2 0-------|---------0-------|
D|-----------------|---------0-------|---------------2---|-0 2-------------|
   |_|_|_| |_|_|_|   |_|_|_| |   |     |_|_|_| |-|_|_|_|   |_|_|_| |   |
   T S M I T S M I   T S M I T   IM    T S M I T P M T I   T H I M T   IM

   G                                                       D       G
g|-----0-------0---|-----0-------0---|-----0-------0-----|-------0-----0---|
d|-------0-------0-|-------0-----0---|-------0---------0-|-----0-------2   |
G|-2 4-----2 4-----|-2 4-------------|-2 4-----2 0-------|---------0-------|
D|-----------------|---------0-------|---------------2---|-0 2-------------|
   |_|_|_| |_|_|_|   |_|_|_| |   |     |_|_|_| |-|_|_|_|   |_|_|_| |   |
   T S M I T S M I   T S M I T   IM    T S M I T P M T I   T H I M T   IM

Ending

   G                                                         D   G
g|-----0---0-----0-|-----------------|-4-----0---------|-----11--12------|
d| 5---5-------2---|-0-----0---------|-8/--5-----------|-----------------|
G|-----------4-----|---3 2---0-------|---------9---7  -|-----------------|
D|-----------------|-----------------|-----------------|-----------------|
   |   |   |_|_|_|   |_|_|_| |   |     |   |_| |   |     |   |   |   |
   S   IM  M T I M   I T P I T        MIx  T I T   T S       T   T

x = choke (bending of the string)

Bluegrass licks

Below listed licks (most of them transcribed from Scruggs' book) characterise the sound of bluegrass banjo. The lick are usually used at the end of the phrase.

g-----------------|-----0-----------|
d---------0-----0-|---------0-----0-|
G-0---2 4---0-----|-0---------3 2---|
D-------------2---|-----------------|
  |   |_| |_|_|_|   |   |   |_|_|_|
  T   T S M I T I   T   M   I T P I

LISTEN

g-----0-----------|-----0-----------|
d---------0-----0-|---------0-------|
G-0-----2 4-0-----|-0-----0---0-----|
D-------------2---|-------------0 2-|
  |   |_| |_|_|_|   |   |_| |_|_|_|
  T   M TSM I T I   T   M T M I T H

LISTEN

g-----------------|-------0---------|
d---------0-----0-|-----2---0-----0-|
G-0---2 4---0-----|-3 4-------3 2---|
D-------------2---|-----------------|
  |   |_| |_|_|_|   |_|_|_| |_|_|_|
  T   T S M I T I   T H I M I T P I

LISTEN

g-------0---------|-
d-----0---0-----0-|-
G-2 4-------4-----|- (with arpeggio roll)
D-------------5---|-
  |_|_|_| |_|_|_|
  T S I M T I T I

LISTEN

g---------0-----0-|---------0-----0-|-----------------|
d-------0-----0---|---0---0-----0---|---------0-----0-|
G-0---6 7---7-----|-3 2-0-----2 4---|-0---2 4---0-----|
D-----------------|-----------------|-------------2---|
  |   |_| |_|_|_|   |_|_|_| |_|_|_|   |   |_| |_|_|_|
  T   THI M T I M   TPI T I M TSI M   T   T S M I T I

LISTEN

g-----0-----0-----|-0-----0-----0---|-
d---0-----0-----0-|---0-------0---0-|-
G-6 7---7-----7---|-----9---9-------|- 
D-----------------|-----------------|-
  |_|_|_| |_|_|_|   |_|_|_| |_|_|_|
  THI M T I M T I   M I T M T I M I

LISTEN

g-----------------|------|-0---0---0---0---|
d-----0-2---------|------|-----0-2---------|
G-3-4-----3-4-0---|  or  |-3-4-----3-4-0---|
D-----------------|------|-----------------|
  |_|_|_| |_| |            |_|_|_| |_| |
  T I T I T I T            M   M   M   M
                           T I T I T I T

LISTEN

g-----0-------------|-----0---------0-|-----0-------------|-----0---------0-|
d-----0-3 2-0-----0-|-----0-------0---|-5---5-3 2-0-----0-|-----0-------0---|
G-0-----------3 2---|-0-------2 4-----|-------------3 2---|-0-------2 4-----|
D-------------------|-----------------|-------------------|-----------------|
  |   | |-|_|_|-|_|   |   |   |_|_|_|   |   | |-|_|_|-|_|   |   |   |_|_|_|
  T  IM T P I T P I   T  IM   T S I M   T  IM T P I T P I   T  IM   T S I M

LISTEN

g-------------------|-----0-------------|-----0-----------|---
d-----------------0-|---------0-------0-|---------0-----0-|---
G---2 3-2 3 2-0-----|-0-----2 4-0-------|-0---------3 2---|-0-
D-0-------------0---|-------------2 0---|-----------------|---
  |_|_|_| |-|_|_|_|   |   |_| |_|_|-|_|   |   |   |_|_|_|   |
  T I H I H P I T I   T   M TSM I T P I   T   T   I T P I   T

LISTEN

g---------------------|-----0-----------|
d-------------------0-|---------0-----0-|
G-----2 3-2 3 2-0-----|-0---------3 2---|
D-0---------------0---|-----------------|
  |   |-|-|-| |_|_|_|   |   |   |_|_|_|
  T   T H I H P I T I   T   T   I T P I

LISTEN

g-----0-----0-----|-0-----------------|
d---0-----0-----0-|-----------------0-|
G-6 7---7-----7---|---2 3-2 3 2-0-----|
D-----------------|---------------0---|
  |_|_|_| |_|_|_|   |_|_|_| |-|_|_|_|
  THI M T I M T I   M I H I H P I T I

LISTEN

Playing up the neck (example: Ground Speed)

The easiest way of up the neck playing is by fretting doupblestops by left hand. Instrumental song Ground Speed begins with these doublestops:

g---------------------------
d--12----10-----9-----5-----
G--16----14----12-----7-----
D---------------------------

LISTEN

Practice these doublestops using FMB roll:

g-----------0-----0-|----------0-----0-|----------0-----0-|---------0-----0-|
d----12--12----12---|---10--10----10---|----9---9-----9---|---5---5-----5---|
G--16--16----16-----|-14--14----14-----|-12--12----12-----|-7---7-----7-----|
D-------------------|------------------|------------------|-----------------|
    |_|_|_| |_|_|_|    |_|_|_| |_|_|_|    |_|_|_| |_|_|_|   |_|_|_| |_|_|_|
    T I T I M T I M    T I T I M T I M    T I T I M T I M   T I T I M T I M

LISTEN

Here is part of Ground Speed:

Kick-off

      IM T I   T
g------------------|
d------9-----------|
G-----12---9--12---|
D-------12---------|
       |_| |   |

Part A

g------0-----0-----|-0-----0-----0---|-----0-------0-----|-----0-------0---|
d-12----10-------9-|-----9---5-----0-|-------0---------0-|-----0-------0---|
G---16----14--12---|--12-----7-------|-2 4-----2 0-------|---------0-------|
D------------------|-----------------|---------------2---|-0---------------|
   |_|_|_| |_|_|_|   |_|_|_| |   |_|   |_|_|_| |-|_|_|_|   |   |   |   |
   I T M I T M T I   M T I M TI  M I   T S M I T P M T I   T   IM  T   IM

g------0-----0-----|-0-----0-----0---|------0-----0-----|-0-----0-----0---|
d-12----10-------9-|-----9---5-------|----------7-----9-|-----7---0-------|
G---16----14--12---|--12-----7-------|-9 11--11----11---|--11-------------|
D------------------|-----------------|------------------|-----------------|
   |_|_|_| |_|_|_|   |_|_|_| |   |     |__|_|_| |_|_|_|   |_|_|_| |   |
   I T M I T M T I   M T I M TI  M     T  H M T I M T I   M T I M T   M

g------0-----0-----|-0-----0-----0---|-----0-----------0-|-----0-----------|
d-12----10-------9-|-----9---5-----0-|---------0-----0---|---------2-------|
G---16----14--12---|--12-----7-------|-2 3---0---2 3-----|-5-----5---5-----|
D------------------|-----------------|-------------------|-------------5---|
   |_|_|_| |_|_|_|   |_|_|_| |   |_|   |-|_|_|_| |_|_|_|   |   |_| |_| |
   I T M I T M T I   M T I M TI  M I   T S M T I T H I M   T   M T M I T

g--------0---------|-------2-----------|-----0-----------|-----0-----------|
d------0---0-----0-|-----0-------0---0-|---------0-----0-|---------0-------|
G--2 3-------0-----|---------4 2-------|-0-----2 4-0-----|-0-----4---4-----|
D--------------2---|-0-------------4---|-------------2---|-------------2---|
   |_|_|_| |_|_|_|   |   |_| |-|_|_|_|   |   |_| |_|_|_|   |   |_| |_| |
   T S I M T I T I   T   I M T P I T I   T   M TPM I T I   T   M T M I T

Part B

g------------------|-----------------|-----------------|-----0-----------|
d------0-----0-----|-0-----0-------0-|---------0-----0-|---------0-------|
G------2-----4-----|-2-----4---2-----|-0---2 4---0-----|-------4---4-----|
D--4-------4-----4-|-----4-------4---|-------------2---|-0-----------2---|
   |   |   | |   |   |   | |   |_|_|   |   |_| |_|_|_|   |   |_| |_| |
   T   IM  T IM  T   IM  T IM  I T I   T   T S M I T I   T   M T M I T

etc.

Frequent up-the-neck lick

Place your index finger to 9th fret of d string and your ring finger to 12th fret of G string. Your little finger then switches between 14th fret on G string and D string. On the G string the little finger does also bending (choke) to sharpen the tone by half tone.

Examples:

g------0-----0-----|
d----9---~-9-----9-|
G-12----14---------|
D-------------14---|
   |_|_|_| |_|_|_|
   T I M T I M T I
         Ch

LISTEN

space

g------0-----0-----|
d--------~-9-----9-|
G-12----14---------|
D-------------14---|
   |   |_| |_|_|_|
   T   M T I M T I
         Ch

LISTEN

g------------0-----|
d------~-9-------0-|
G-12--14--12-------|
D-------------14---|
   |   |_| |_|_|_|
   T   T I T M T I
       Ch

LISTEN

space

g------------0-----|
d------~-9---------|
G-12--14--12-------|
D-------------14---|
   |   |_| |_| |
   T   T I T M T
       Ch

LISTEN

g----0-----0-----0-|
d--9-----9---~-9---|
G-----------14-----|
D-----14-----------|
   |_|_|_| |_|_|_|
   T M T I M T I M
             Ch

LISTEN

space

g----------0-----0-|
d----9---9---~-9---|
G-12--------14-----|
D-----14-----------|
   |_|_|_| |_|_|_|
   T I T I M T I M
             Ch

LISTEN

g--0-----0---------|
d----~-9-----9-----|
G---14--------12---|
D---------14-------|
   |_|_|_| |_| |
   M T I M T I T
     Ch

LISTEN

3/4 rhythm

In 3/4 waltz rhythm there are only 6 eight notes per measure - count 1 & 2 & 3 &.
See the example of waltz tune with melody played in most measures by two rolls only: TIMTIM or TIMITM.
Greensleeves
Traditional, 3/4 rhythm, key Gm, capo 2 to Am
(chords in parentheses played by uncapoed instrument)
Melody notes are bold.

part A
        Gm (Am)                     F (G)
g-----|-----0-----0-|-----0-----0-|-----0-----0-|-----0-----0-|
d-----|---0---0-----|-0-----2-0---|---3---3-----|---3-----3---|
G-0---|-3-------5---|-------------|-5-------2---|-------0-2---|
D-----|-------------|-------------|-------------|-3-----------|
  |     |_| |_| |_|   |   |_| |_|   |_| |_| |_|   |_| |_| |_|
  T     T I M I T M   T   M T P M   T I M I T M   T I M THI M

  Eb (F)                      D (E)
g-----0-----0-|-----0-----0-|-----2-----2-|-----2-------|
d---1---1-----|---1---------|---0---0-----|-----0-------|
G-3-------0---|-0-------0---|-2-----------|---------0---|
D-------------|-------4-----|---------4---|-0-----------|
  |_| |_| |_|   |_| |_| |_|   |_| |_| |_|   |   |   |
  T I M I T M   T I M T I M   T I M I T M   T   IM  T

  Gm (Am)                     F (G)
g-----0-----0-|-----0-----0-|-----0-----0-|-----0-----0-|
d---0---0-----|-0-----2-0---|---3---3-----|---3-----3---|
G-3-------5---|-------------|-5-------2---|-------0-2---|
D-------------|-------------|-------------|-3-----------|
  |_| |_| |_|   |   |_| |_|   |_| |_| |_|   |_| |_| |_|
  T I M I T M   T   M T P M   T I M I T M   T I M THI M

  Eb (F)        D (E)         Gm (Am)
g-----0-----0-|-----2-----2-|-----0---0---|-----0---0---|
d---1-----1---|---0-----0---|-----0---0---|-----0---0---|
G-3-----2-0---|-------------|-0-----------|-0-----------|
D-------------|-4-----2-4---|-------------|-------------|
  |_| |_| |_|   |_| |_| |_|   |   |   |     |   |   |
  T I M TPI M   T I M THI M   T   IM  IM    T   IM  IM


part B
  Bb (C)                      F (G)
g-----3-----3-|-----0-------|-----0-----0-|-----0-----0-|
d-3-----3-----|-3-----2-0---|---3---3-----|---3-----3---|
G---------3---|-------------|-5-------2---|-------0-2---|
D-------------|-------------|-------------|-3-----------|
  |   |_| |_|   |   |_| |     |_| |_| |_|   |_| |_| |_|
  T   M I T M   T   M I P     T I M I T M   T I M THI M

  Gm (Am)       Eb (F)        D (E)
g-----0-----0-|-----0-----0-|-----2-----2-|-----2---2---|
d---0---0-----|---1---------|---0---0-----|-----0---0---|
G-3-------0---|-0-------0---|-2-----------|-------------|
D-------------|-------4-----|---------4---|-0-----------|
  |_| |_| |_|   |_| |_| |_|   |_| |_| |_|   |   |   |
  T I M I T M   T I M T I M   T I M I T M   T   IM  IM

  Bb (C)                      F (G)
g-----3-----3-|-----0-------|-----0-----0-|-----0-----0-|
d-3-----3-----|-3-----2-0---|---3---3-----|---3-----3---|
G---------3---|-------------|-5-------2---|-------0-2---|
D-------------|-------------|-------------|-3-----------|
  |   |_| |_|   |   |_| |     |_| |_| |_|   |_| |_| |_|
  T   M I T M   T   M I P     T I M I T M   T I M THI M

  Eb (F)        D (E)         Gm (Am)
g-----0-----0-|-----2-----2-|-----0---0---|-------------|
d---1-----1---|---0-----0---|-----0---0---|-------------|
G-3-----2-0---|-------------|-0-----------|-0-----------|
D-------------|-4-----2-4---|-------------|-------------|
  |_| |_| |_|   |_| |_| |_|   |   |   |     |
  T I M TPI M   T I M THI M   T   IM  IM    T

Stanley variation of Scruggs style - consequences for tenor banjo

Stanley style fingerpicking (used by 5-string banjo player Ralph Stanley) is the variation of Scruggs style with one substantial difference, which has major effect when the tunes are transcribed to tenor banjo - the transcription of Stanley style is much simplier.

In Scruggs style on 5-string bluegrass banjo the melody is played by thumb whenever possible. In other words, thumb plays both melody notes and the drone g note on short string.
In Stanley variation of Scruggs style the melody is played by index finger whenever possible. The thumb then plays the drone string only.

What happens when we transpose the 5-string tabs to tenor banjo? As the drone string is no longer on the thumb side but on the treble one, we have to use different fingers.

In Stanley style we can make simple and regular transition:

Finger used on 5-string banjo in Stanley style	Function	Finger used on tenor banjo
index finger	melody note	thumb
middle finger	harmony note	index finger
thumb	drone note	middle finger

In Scruggs style the situation is more difficult as the thumb plays both melody and drone note - we can NOT make single finger relationship:

Finger used on 5-string banjo in Scruggs style	Function	Finger used on tenor banjo
index finger	harmony note sometimes melody note	index finger sometimes thumb
middle finger	harmony note	index finger
thumb	melody note and drone note	thumb or middle finger

The duality of thumb usage in Scruggs style also enables to play chain of four ascending notes by the finger sequence TIMT (which is part of forward roll). First T plays melody, then follow two harmony notes played by I and M, and finally the drone note played again by T.

Four ascending notes on 5-string banjo
d|-----0---
B|---------
G|---0-----
D|-0-------
g|-------0-
   |_|_|_|
   T I M T

Tenor banjo player has to play this chain of notes by crossing the thumb over the index finger - so called arpeggio roll:

The same four ascending notes on tenor banjo
g|-------0-
d|-----0---
G|---0-----
D|-0-------
   |_|_|_|
   T I T M

As the Stanley style does not utilise usually the duality of thumb usage, you will not hear these chains of four ascending notes.
From the opposite perspective - if you do not incorporate crossing of the fingers (arpeggio roll) to your list of rolls (and I am not implying you have to) your banjo will sound more in the Stanley route.

Etude for arpeggio roll

For practicing the arpeggio roll (in 4/4 rhythm) with thumb crossing the index finger I transcribed part of the solo in Dixie Breakdown found in Ross Nickerson's webpage.
With exeption of the ending, left hand holds in the whole piece moving doublestops on D and G strings only.
LISTEN

   G                                   C
g|-------0-------0-|-------0-------0-|-------0-------0-|------0--------0-|
d|-----0-------0---|-----0-------0---|-----0-------0---|----0--------0---|
G|---4-------5-----|---6-------7-----|---9------10-----|--11------12-----|
D|-5-------7-------|-8-------9-------|10------12-------|13------14-------|
   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|
   T I T M T I T M etc.

   G                                   D
g|-------0-------0-|-------0-------0-|-------0-------0-|-------0-------0-|
d|-----0-------0---|-----0-------0---|-----0-------0---|-----0-------0---|
G|---4-------5-----|---6-------7-----|---5-------5-----|---5-------5-----|
D|-5-------7-------|-8-------9-------|-7-------4-------|-2-------0-------|
   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|

   G                                   C
g|-------0-------0-|-------0-------0-|-------0-------0-|------0--------0-|
d|-----0-------0---|-----0-------0---|-----0-------0---|----0--------0---|
G|---4-------5-----|---6-------7-----|---9------10-----|--11------12-----|
D|-5-------7-------|-8-------9-------|10------12-------|13------14-------|
   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|   |_|_|_| |_|_|_|

   D                                   G
g|-----------------|-0-----0---------|-----0-----------|-----------------|
d|-----0---0-----0-|---0-----0-----0-|---------0-----0-|-----------------|
G|-----7---7---6h7-|-----9-----3p2---|-0-----2s3-0-----|-0---------------|
D|-0---------------|-----------------|-------------2---|-----------------|
   |   |   |   |_|   |_|_|_| |_|_|_|   |   |_| |_|_|_|   |
   T   TI  TI  T I   M I T M I T   I   T   M T M I T I   T

In the 13-14th measures you can hear frequently used lick played over D chord. The 3-2 pull-off on G string (in 14th measure) could be played also by 8-7 pull-off on D string - in case you want to continue up the neck.