Beyond Robert Johnson: Early Delta Blues Mastery | Mitchell Park | Skillshare

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Beyond Robert Johnson: Early Delta Blues Mastery

teacher avatar Mitchell Park

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (1h 17m)
    • 1. Blind Joe Reynolds Outside Woman Blues

      13:34
    • 2. Blind Joe Reynolds Third Street Woman

      5:07
    • 3. Belton Sutherland Blues #2

      11:00
    • 4. Mance Lipscomb Ain't You Sorry

      14:29
    • 5. Peg Leg Howell Rolling Mill Blues

      8:52
    • 6. King Solomon Hill Gone Dead Train

      15:34
    • 7. Geeshie Wiley Last Kind Words

      8:15
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About This Class

Traced back far enough, many genres celebrated today are rooted in the blues, specifically the early acoustic blues that was luckily recorded before WWII. It was a poverty-stricken, racist time when these artists struggled through day-to-day life, sometimes as sharecroppers,  other times as bootleggers, and by night as musicians. Some were never known, almost faceless, with no existing photographs or anecdotes, only a ghost-like presence through fuzzy, low quality recordings.

A meandering path, music slowly took on its various evolutions, moving forward with Robert Johnson's rock & roll connection, Muddy Waters' migration north to revolutionize with Chicago Blues, and other music like jazz adopting the feel driven style. Flipping faster through the chronology, that music, originating in the American South, turned out to be a seed that informed Chuck Berry, Jimi Hendrix, the Rolling Stones, Clapton, Led Zeppelin, and can even be traced to later bands like Black Sabbath, and Van Halen.

Knowing where and how these later styles originated is a deep-dive that this course is focused on, even more so than the detailed fret by fret exploration of these achetypal songs that are covered. Yes, by the end you will be able to play these songs with great accuracy and ease, but most of all you will experience sounds and early techniques the way these great past players experienced them. Many know of Robert Johnson, but he was in some ways the last of a historic lineage of folk musicians. Exploring several of these musicians, I hope you leave with a greater understanding of this original music.

Meet Your Teacher

Hello, I'm Mitchell.

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Transcripts

1. Blind Joe Reynolds Outside Woman Blues: So this is going to be a lesson on a blind Joe Reynolds song called Outside Woman Blues, which has a tuning of Open the vest your guitar into that tuning you'll be set to go. What I'll Do is a school song once and get into the lesson. Little break it down by first the intro. What he plays. Well, he sings, and then just one example of his solo. So we'll start out with about nine hits, about 12 fret Top String, then coming down to the 10th Friends Ninth fret and seven. So one thing that you'll also you also could keep in mind is just kind of grabbing those slides in between the notes. That's a little exaggerated, but just something he wants to keep in mind. So just nine hits here. Then you come down to the third fret and fourth fret and play those twice each. From here, you'll play the top string. Open a second front of the second Street top strings open venue ALS kind of sweep up, starting with Second Street with. Then you'll play this third fret, going to the fourth fret of the fourth string Top Street. That's really the interests all together. It's from here Gettinto what he plays while he sings, which is actually extremely simple. It's really just a bunch of strums, probably with your thumb on each beat, with occasional upstroke. Get comfortable with hitting it sort of evenly and gently, both on a down stroke and on the up strokes that you might throw in, kind of interspersed between the lyrics that he'll sing this link. What that is is a slide lake on the fourth string, where he'll hit approximately the fourth friend friend, seven friend and then he'll come back down fifth friend back down to the fourth friend. So for 5757 when you're back into that fourth French lift your slide off, which will create a pull off, just lift it off just very casually pull off and then you just pluck that string from there . Just slide back into that fourth friend, but with some vibrato just planting your thumb on the back of the neck. I see a little bit of I brought and hold it and then hit it open back to the studio. One little nuance to keep in mind when playing the slide is just to keep the slide in motion as you're coming up through the fourth fret Fifth fret and seventh fret and back to the fifth fret back to fourth friend. So rather than hitting the notes individually like keep the slide steadily coming up steadily coming down, which will kind of create more around your image, is catching the notes. If they get so, they might not exactly be on the fourth fret or the fifth fret when you catch them, but it will be enough to kind of illustrate the point best, really, when he plays well, he sings, the next part is so low that will play hell Place couple solos in the song. But the 1st 1 is really the longest and includes most second. So by learning the first when you're practically and learn, the 2nd 1 that solo will go like this we'll do is start by thing. About five hits of the 12 Fret Top string very similar to the in True, then grabbed the second string and third strings. But you don't have to change frets. It will still be on the 12 fret. So then you'll hit two bars of the 10th fret second string. Third strings, same strings to bars, so eight beats you'll be sliding slowly into the 12 Fred. So all together that will be Theo the right at the end of those eight beats as you're very close to that 12. Fred, just lift your slide off and come back to the open street Theo, and you'll straighten it about twice top strings twice, and then you'll fright second from the second stream and then back to the open strings twice. Actually there hit it three times coming out of slide, but approximately two or three times. Then fret this and a couple to finish it off. From there, you'll do a couple of these, very similar to the in true again third fret fourth fret of Fourth Street opens top strings , and then you go just back to about top four strings open. It's from Save up twice, so so far it's from here. You'll play this like, which is pretty interesting. It's so it's actually a double stop between the second fret of the fifth string. Second fret of the second string and then add in the third string open, then move those Fred and notes to the fifth Fret on and then play that third Street Open as you did before, come up to the seventh fret. Same thing. Seventh fret of the fifth string. Seventh fret second string, third Street Open. Just moving that shape up now on those three strings. Slide into the 11th. Fret. I kind of started on the trouble side. Second string, third string and then base notes. So sort of like you can do it. However you want way. Come down to the 10th fret same strings, and now you'll just finish that off by hitting fourth strew 2nd 1st Now you'll finish that off by playing this like so. Very similarly, you'll play this same double stop with the third string open that was played earlier. Second fret of the CEP fifth string. Second fret of the second string, third string open. Then you'll play Fourth Street, second Street, First Court so far. Then, for the third quarter, you'll play the second fret of the fourth string. Second fret first, string that octave with second string open. And so those are the three court so far now, finally, what you'll do is hit the fourth, 2nd 1st the last thing that he was slide in just above the third fret. Fourth string, third string open. Now talk to strings open now top string open second fret of the second Street, then back to the top. Two strings open about twice and slide into the fourth fret of the top string e just sweep through so might catch a little bit of second Street to Street when you're sliding into that top string can actually angle the slide so that you won't catch any of the second Fret . So you can angle is where you only really catch the first fret with slide, angling it away from the way to go for that so altogether that last half way. And that's really the entire song of outside woman blues. So thanks a lot for watching. 2. Blind Joe Reynolds Third Street Woman: Hi. So this is going to be a lesson on a Blind Joe over an old song called Third Street Woman Blues. The tuning for this song is Spanish Open G tuning, and then you can cable up to the fourth fret thes E O not to. What I'll do is kind of go through the song once and get it. As you can hear from that, there are really only two sections of the song other than when just strums the strings. That first section goes like this. Louisville starts out is on the fifth string. You will go from the second fret. Third, fret to the fourth friend that 2nd 3rd and fourth in relation to the cable on that street, then across the triple strings for a second froth, been strung up on this trouble strings again on Hit four straight. And then you can just look that No way. That's really the first section, which he'll play while he sings. The second section will go like this wages a rift, that kind of plate in between the lyrics. For the most part, it starts out with the kind of pick up no on the fifth string opened, goes into Fourth Street and then you'll start out by hitting the fourth fret. The third string combined with the second straight old, So they're both the same. So I'll just put those together, starting with those bass notes. It's after that. You'll hit the fourth string again. Uh, from here you'll add in the third for the second string. Combined with that fourth fret of third string, sitting goes together. So all together. Now it's fourth Street. Get open. So all together now the last couple of steps will be to move this double stop to the first fret of second string second fret of the third string. You'll see those together, and then after that, you hit those two straight. So just adding those two moves. Other sequence. So all together it's and then from there, you'll just And once you kind of get more comfortable with it and start playing with a little more speed, you'll probably start to hear just slightly. Your fingers slide into this slide down here way. Just probably what you want to hear, but it's not really something that will happen deliberately. It'll just probably more come naturally. It's one of those wants is. But yeah, once you get this move, it was really most, if not all, of Third Street Blues. So, yeah, thanks a lot for watching. 3. Belton Sutherland Blues #2: Hi. So this is going to be a lesson on belt in Sutherland's blues number two. I did a lesson on Blues number one and mistakenly called that lesson blues number two. But this is the actual blues number two, So the tune for this song that he does is also in the same tuning, So it's standard tuning. But each string is tuned down about a Stepinac D flat. You've got G flat on the E a flat. And then so little View is just played through the song once just going through the riffs that he does play in the songs a little more of a vampy kind of song that the blues number one. But just going through those riffs once, - All right. So the way that the song actually starts out with this riff and actually on its own in terms of the fingering, it's not really difficult at all. It really comes down more to the timing between the base side and the triple side. So on travel side it goes like this. So a couple hits of the seconds second fret of the fourth string, then a couple hits of the third string open and you go back to the fourth string, just go second. Fret open. Second fret again. This is all just trouble site so far, they just finished it off like this. I kind of do like B B King like by Barato. Then you bend it down on I've got really thick strings was a bit hard to illustrate. They just put all the way down the rate at its apex. You kind of stop it. And so e also forgot to mention when you do this twos 202 it's actually more of a pull off , and then you do that. Do another pull off second fret fourth string. Open back to the second Fret. You just mess Really? The triple side. Obviously, that's I mean there. There are some things that are a little bit precise about that, but there's nothing really that crazy. And now dealing with the Bayside, you'll find that it's even simpler. So it goes like this. So been bombed string. Then you just come up to the third fret has all of the down meats. Now it's really just timing it. So now that there's the triple side in Bayside, it'll be way. Timing troubles Bayside together. So that comes out to this. So that was an octave between the six string open in the fourth string, again combining the base that in trouble side now you. Then you hit this octave way smooth for years. First and fourth part is this Ben Fourth again. That's it. So first part. All right. So that's really that vamp, that kind of place. And he might kind of throw in over that second street, but this'll little extra been notes here and there. Wait. For the most part, it's that's is that shape that Okay, so then sometimes when he starts to sing, help do this. Wait. So what he's doing is he's hitting the fifth string. He's doing sweeps starting from the fifth string, and you could just please wait. So fifth string open. And then on the third string, he hits it open to hammers into the second. I'm pinching. You're here. Of course. He kind of comes down like a smooth danger. There is that you might Fourth Street, which isn't what you want. So kind of like blues number one. What you can do is when you have this hammer on with the tip of your finger. You can kind of have a second use for it. So first use will be it. Doing the hammer on a second use will be with the tip of it. You can just mute the fourth Street won't get place. Now you can sweep across on really now. The only strings that are bringing out are the 53 opened on Third Street with, and You just play that twice and you kind of go back into that room. But this time he does it differently, so that place is bend on the third fret. Second string. Smooth top, string open. Small bet on the third fret of top string back to the third fret of Second Street, hitting it open and then back to this. Just demonstrate way. So that's really how it goes. And sometimes in the middle of things he'll do kind of like certain risks like, but that's really just all using the kind of variations or a little little lines I will play in between are, for the most part, all based around the minor pentatonic scale, so it's pretty gettable from there. But yeah, those to those three things there if on this thing Mr Way. Really the bulk of the song. So yeah. Um, thanks a lot for watching. And I hope that helps with blues number to buy belt. 4. Mance Lipscomb Ain't You Sorry: I So this is going to be on a man's ellipse going song Told you. Sorry, this tuning for the song is standard tuning. So just keep your guns are way to go What I'm gonna do is break the sun up into three different sections the first to being example choruses of what he plays Well, he sings. And then the buried example. Just being one of the soul is any place in the song. So let's start with the first example chorus and it'll go like this way So we'll start with the second fret of this fourth streamed. And when you put that note also coincided with the top two streets. Been today about this Now front the third fret of second string Just sweep up from the second stream. Coincide that now with six strings. First you got this thing from here you'll play the first fret this fifth Street and second got this 1st 1 2nd 1 couple friends, No pinch be fourth straight open and the top two strings open. And then you just hit the sixth string a couple times. All right, then you just repeat that. Wait a second time through instead of doing the sixth string hit a couple times, You just bend the third fret of the sixth Street lead into the fourth quarter that it sounds like this that's really on. All the one court is for this first example. Then you go to the 44 which sounds like this. So the court that you'll be fretting is top four string second fret and more of that. And then at the third fret of the first string, then you just hit the fifth Street Open and sweep up on that chord with your first finger. Then you sweep up on the second string, and with your thumb, you grab the fourth Street. 1st 1 now on the Bayside. What you'll do is play this third fret of the bit stream forth friend, and then you will go back to the fourth string second friend and top Street sweep on that court, Then just cap it off with six string hit a couple of times. Now just repeat that. So far from here, it's actually pretty easy for the second string. Third fret we'll be doing is rolling through the open street first fret and hammering into second friend on First Street. Just anger that second fret. Second string. Third fret. The second string on the third fret rolling on the Bayside we'll be doing is grabbing the sixth straight open in this metronomic kind of way. I want a baseline. Sixth Street. Then what you'll do is be grabbing this G chord baseline third fret of the Sixth Street and mute the fifth string with the flesh of your third finger so that it just barely touches that fifth strings that you can actually play it. I just play that base now. Then what you'll do is with your pinkie, probably you'll for at the third fret top string on sweet through it so that the strings underneath it the second and third strings they're open and go to the first fret, third from the second string sweep up on the second string. First, Ben was slight, bend on the third fret of 1/3 string way to cap it off with third friend Theo. That's the 1st 2nd example way very similar, except now that baseline will be like this. First Friends, second frame, fourth string, third fret. The second, the third fret second stream. But then starting from the first string open. No credit on that third fret Second Street. So again on the Bayside. First Friends, second friend sweep up six string open, the first for a second set of 1/5 stream. 16. Open. Repeat that within. Like the first example on the second time around, you've been third freedom for six straight to lead into the four Ford. Now on the forecourt with me like this, with the same court bar across the top four string second fret at the third Fret Toppy Street hit the fifth string. Open up. Second fret of the fourth way. Third Friends Forthright on Fifth Street. Second fret with 54th string. Now you'll from the fourth threat of the sixth string and lead into the fifth string contributed so far, thank you. Go back to the O second Now the solo, which will be the last section of this lesson, will go like this courtship . To start off will be seventh fret of 1/5 Street. 4th 6th fret of the fourth string seventh fret of fort third string, fifth fret of the second string open top string. But you actually want to really use a top string. So it'll be a monitoring baseline on the fifth string with feel free to just sweep through the fourth string in the third with starting from the 53 then in trouble side. You'll just be kind of alternating between second string on the third string on that court . Then what you'll be doing is Fred. The separate fret of the fourth Street six threat of the third Street in front of the second string talk string on the baseline will be on the Fourth Street. Feel free to just run through the streets to catch strings below. It we'll be doing is sweeping from the first hearing on the trouble side to third string first. All right, then you take the same chord that you started with first. But now just move it down to friends and here he'll play on here. You'll actually use the top string. So we get baseline on the fifth string with top stream that third street on the way, Thank you, which is a monitoring baseline Third threat of the Sixth Street again mute the fifth string . If you if you can, then you just do some work on the trouble side, really? Probably. Just open and close the third fret toe open on the top. String on. You can also grab third froth and then you're good to go. So those air three sections from mass lips combs eight You Sorry. There are a few other styles that will go through the choruses, but those are actually very similar to those other types. So if you can do those 1st 2 examples, you're very much well on your way. And it shouldn't be too much gathered what he does on those other ones. So good luck with it and hope you enjoyed this lesson. 5. Peg Leg Howell Rolling Mill Blues: Hi. So this is going to be a lesson on a peg leg Howell song called Rolling Mill Blues. The song is investable tooting, but it's no way open D if you listen to the recording. He's about 1/2 step, not even 1/2 step, you think 1/4 step out of two and just flat. So all played my strings? Uh, yeah, with that, you should be pretty close to the doing that he uses. So what I'll do is just go through the song once, and they get into the lesson. So the reason I'm playing thes is harmonics is that since my guitar has its hell at the 12th fret, it's kind of hard to actually hit a bar here. But if you can hear the bar, what you'll do is start at the song with a bar across the top four strings. 12 Fred and it will just be a pluck across the treble side on You can play a baseline, although he doesn't necessarily play consistent alternating Baseline Baby can play a bass line between fourth string on the third string. Do you wear that first court? The next chord is a bar across the 10th fret and then of the top four strings. And then you'll actually threat the 12 frets of second string in the third stream. So in the end, a 12 foot of the fourth sorry 10 friend of the 4th 12th fret of the third and second and 10th fret with the bar on Top Street, so starting off was here. Similarly, on the travel side is just a few sweeps on the base side. It's just the fourth string in the third Street all the way. All right now, just adding in sweeps. Third, corn is going to be this. It's going to be ninth. Fret the fourth eighth fret of Third Street. And then what I do is with my third finger, a hit, a bar across the top two strings nine. Similarly again, just some sweeps on the trouble side and alternative base on the fourth string way from here, he'll do this so coming out of this third court, his seventh fret the top e string, then do a bend on the ninth on the 11th fret of the third string, just about 1/2 step 11 of the third, then hit the night for a second from here. Just what I do is kind of pinch with my pointer and thumb, Uh, the top strings and the fourth street and you get the first beat their on right into here, coming right into October 12th fret. And here, the alternating basis between the fifth string in the fourth string if you choose to use it . So from here you go back into the spends on back Into the octave. So So when you're in this active and just interrupted momentarily with another bend on go back into the octave So that was the first time you played First beat interrupted with second bends Get back into the octave Now here you play the bend the third time and cord you now play is an alternative base on the open fifth string on the seventh fret of the fourth Street on the on the trouble side What you'll be fretting are the seventh threat of the second string and fifth freedom first again alternative based on the fifth fifth String Open and seven friends before trouble side this double stuff like that. So interrupt it third time through this corn and then you play the bend of fourth time and now just plucked the fourth string Top Street. Cap it off. What you'll do is a descending double stuff nine from the 2nd 7th friend of the first. Just bring that down on again. Tha finish it off with the fifth fret of the 2nd 4th fret of the first wave. When you hit that, combine it with that fourth string from here to cycles back. No way. That's really the entire song. Rolling Mill Blue. So, yeah, thanks a lot for watching. 6. King Solomon Hill Gone Dead Train: Okay, so this is going to be a lesson on King Solomon Hill's that Gone Dead Train. The tuning for the song is festival tuning on. You'll get pretty close if you put your guitar into open the vestibule tuning, but actually on the recording, he's a little bit these other like a little bit fly a little bit sharp, but this will get you pretty close. What will do for this song for breaking it up is all. Show it as two example. Choruses of what he plays isn't really like a formulate way of playing this song because he just mixes and matches this this one bucket of, like lick study Scott. So it will be like each course will be stitched together a little bit differently, but all with like the same interchangeable links. The one thing that you can kind of keep in mind as this song kind of has this this video sort of goes about is that he'll break it up into three different sections. Each chorus. We'll break it up into about three different sections, and for each section, that's where he'll kill public. He'll choose like this lick and put it in Section one this leg section to another look for Section three the next time he'll use that look that he used in Section two for Section one , etcetera. So it's like, always different, But it's always using the same licks just in those three sections. So it'll make more sense now, just getting into the first example. So the first example goes like this. This'll Example is broken up into three different sections by taking this one first part one. So part one will go forth stream 2nd 54th Street. A few bends on 34th Street when you finish it off like this. Fourth string Open Second, its sixth Street as per one Part two goes like this. What was it? Hard to go Starts with an active she does a lot in the song will use these little octaves to kind of pick up that exception. Same thing here. Have a on to the second part of the second Street top String open Slide into the third open slide into a booth. All right, then you can finish it off with this. One thing you can keep in mind for the songs that he almost always finishes off these little sliding licks, especially for this second section with this e like Think of it as like a spider like lick is very like I don't know, that's what makes me think of. But anyways, hammer onto the third fret of six. Pull off from the 5th 2nd fret fifth string and then go back to the third friend six and then finish off with four stream. Now you've got for this part too. Remember that Spider like for later way. Alright, now for part three finishing. Finishing it off, it'll be this doing this s finishes off a lot of these courses. So it's another Really. It's one of the more frequent, sort of like setting stitches together. So it will start with a few Ben's on the second part of the same Does this Four seconds open for six and he does this a lot team for each third section, just as something that got keep in the back of your mind. But from here to a few more bends on the second fret, Then just finish it off with an octave six string fourth string. So all together, Now it's Go back. Thank you. Now here, you grab a couple of double stops, you double stuff. If the second string, fourth Fred of First Street slide out, then you do this way finishes a lot of these courses slide into fourth spread of six. 50. Slide in the fifth fret of the fifth string. Fourth Street. You got that the first example. So recapping at all what he wears. The second example, - Theo . First part starts with this sort of like dive bombs. So that's a bunch of triplets on the fourth string. Been 123121 Do you want to do with my point? Middle fingers? And then you go 3 to 0 on that fourth street, 3 to 0 through way second Fred of Sixth Street, and then do this more street open. Second set of 54th string Open six altogether. Part one for the second example goes I don't even really know a lot of times does these triplets for longer than others. So it just do it while I guess, come down. All right. Now, the second part is pretty cool way. So starts with slide on the seventh fret top stream. I think he just slides out of it. Start on was open. Biggest third. Fret fret of the second string so way. Just repeat that. Seventh fret third from now on the second time record of the third fret third string slide out of it. So all together. Now it's Theo. If you listen to the recording, the time that he plays this link is on the last time out at the very end of this last course, because this you'll notice I kind of slice out of things and even more these life. By that I mean that way. 36 57 2nd fret fourth string on and then he repeats that many times a little bit differently. It's a bit quicker the second time through and your second time it's a little faster, and that's by doing a hammer on into the second 2nd 1st time it's from here. We're like that you might remember from before it will be third fret, finishing off this way. Fourth Street, fourth String Open, Fifth Street, second friend Forsooth. Second example. Third party like this, so you're kind of recognize a few of those. It will be some Ben's on the second fret of the six string open, then for a second friend of food for through open 16. Okay, and then I just kind of hold this and and then you kind of hit a break. I guess you don't have to, and then you'll hit this third Fred of the top string a few times sliding into it opens if Fred of the second string sliding into that so all together, finish it off. So, yeah, sometimes he'll finish this off with that spider early war. You'll finish it off with that to tear slide that was used for the first example. And this is where you could really start to mix and match because you could go away. Yeah, those were the two examples, and I can play them both at the same time, if I really can. Let's see. Example. 11 three second example way. The way the ending 12 Theo Way, nine hits of 12 fret slide out of it at the open street slide. In the fourth, they hit the second Street friend. So, yeah, that's really the ending on with those two example courses. So I hope that helps with the gone dead train. There's kind of more comments that could be made of it. Yeah, it's pretty cool song, and he's got this, like, really cool guitar style. It's very like gritty. It's very almost got this, like darkness to it. That's pretty cool. So, yeah, I hope you guys like this lesson. If you've got any sort of questions or any sort of comments or ideas, feel free to share and yelled. I definitely like to get involved in any kind of discussion on it, because I think it's a really cool song. So yeah, hope that helps in the 7. Geeshie Wiley Last Kind Words: Hi. So this is going to be a lesson on a G. She wildly song called Last Kind Words. The tooting for this song is standard tuning, but her original tuning on the recording is about 3/4 of a step below standard doing so. What I've done is just to that ah, half step below standard tuning to get pretty close. So what? What I'll do is just go through this song once and get it so, breaking the song into three different sections, The first section goes like this repeats. On the base side is an alternating bass line between the open sixth string in the second fret of the fourth Street room and on the trouble side. Then it's the second fret of third string open second and the first fret Second Street. So then what happens is that the court shape is actually like an A minor. But instead of always holding down that first Fred of the second string, you open and close it so again, set second Fred of 3rd 2nd 1st friend that first Fred again on open tops combined with a scythe closing that these two streams will be all right. So That's the first section of the song. The second section of the song is like this in the second half will be, Oh, so you'll notice. On the treble side, it's just slides. It will be four of these slides sliding from the fourth Fret. Fret on the second Street on hitting the top shirt. Hilton. I stood up four times. Then you do three times of this slide, sliding in from the third. Fret to the fourth fret on the third string on Second Street open so three times that you just take that, meaning you just repeat that last bit of it one more time. So four times of this, three times of this, just take a look together. It's best first half. The second half will also start with four of these intro slides. Then it will do that same third to fourth. Fret on the third string to the second string, and they repeat that now go to the second for 1/3 open second friend. So second half goes like this. Now what you'll be doing on the Bayside is adding in a bass note. Sixth string open after each slides, it'll go like this so, essentially just a monotone baseline on Sixth Street. And that's the second section of the song this is the third section of the song like this starts with this five quart 2nd 5th 1st friend before the second threat of and on the trouble side will just be sweeps across the second string. That third string second, Strengthen the B side. You're just plucking through on a monotone baseline on the fifth string way, catching streets just below the fifth string like the 4th 3rd strings so well together that way like that. And then you'll get right into the one chord, which now, instead of being unaltered ing baseline, it will be a pardon me instead of a monetary base line. Now the one court will be in alternating bass line between the sixth string and the fourth string. Second fret, and then what you'll be doing on the travel side is just a hammer on on the third string. First fret. That's really it for the one Ford. So right after that, you get right back into it. Except now, on the second time, you'll finish that one court off by going continue with the alternating base but now getting that hammer on again a second time and talk to strangers. So all together, first and second half first go around, then repeal with quickly backing with finishing it off two strings. That's really all of last kind words. So, yeah, thanks a lot for watching.