Bluegrass for the Curious Guitarist | Dan Dresnok | Skillshare

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Bluegrass for the Curious Guitarist

teacher avatar Dan Dresnok, Guitar Teacher

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

20 Lessons (5h 30m)
    • 1. Bluegrass promo oct 5 2020

    • 2. Welcome to the Class

    • 3. Guitar Primer (pages 3 - 8)

    • 4. Country Strumming (pages 9 - 13)

    • 5. Open Position (page 14)

    • 6. Bluegrass History (page 15)

    • 7. Jam Etiquette (page 16)

    • 8. Reading Music (pages 17 - 24)

    • 9. Strum Pattern (page 25)

    • 10. Cripple Creek (pages 26 - 27)

    • 11. St. Anne's Reel (pages 28 - 29)

    • 12. Whiskey Before Breakfast (pages 30 - 31)

    • 13. Alabama Jubilee (pages 32 - 33)

    • 14. Blackberry Blossom (pages 34 - 35)

    • 15. Billy in the Low Ground (pages 36 - 37)

    • 16. Red-Haired Boy (pages 38 - 39)

    • 17. Bill Cheatham (pages 40 - 41)

    • 18. Blackberry Rag (pages 42 - 43)

    • 19. Foggy Mountain Breakdown (pages 44 - 45)

    • 20. Closing Thoughts - Moving Forward

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About This Class

Complete bluegrass guitar class. Chords, strumming, soloing, lead melodies, & 10 standard bluegrass songs. All levels.

*Be sure to download the PDF in the Projects & Resources section.  (It's called "Bluegrass for the Curious Guitarist - PDF.")  It's 45 pages long & contains all the text & tabs that you'll need for this class.  (If you have issues downloading it from your mobile device, then download it from a computer or laptop.)  Don't wait - get it now!

Welcome to Bluegrass for the Curious Guitarist!  This is a complete bluegrass guitar class that takes you from beginner to advanced levels in which you'll be playing & jamming authentic bluegrass guitar. 

This class is in two sections: Bluegrass Guitar Basics & Songs.

In Bluegrass Guitar Basics, we'll get you up to speed with your basic skills such as reading tabs, basic chords, basic strum patterns, open scale shapes, solo techniques, jam etiquette, & bluegrass history.

You don't need to read music - or even learn how to - for this class.  Everything in this class is in tab form.  (There is a lesson on how to read standard music notation, but it's not a requirement for this class.)

Any kind of six-string guitar will work well for this class - electric, acoustic, or classical guitar. 

The title of these video lessons will include the PDF page number (available in the Projects & Resources section) to reference. These pages are the tabs, songs, chords, and guitar lessons.

The Songs section has 10 of the most commonly played bluegrass songs.  I'll play through each song for you, chord at a time, strum at a time, and note at a time.  I'll show you a few methods for playing the chords & melody, then I'll teach you how to jam (solo) over the chord changes. 

Class Requirements:

  • This class is for everyone - including complete beginners.
  • You only need a guitar - any kind of guitar with six strings.
  • We'll start at the very beginning.

Who this class is for:

  • Anyone who wants to learn bluegrass guitar.
  • Beginner guitarists.
  • People who love bluegrass, old-timey, traditional, or folk music.
  • Advanced & intermediate guitarists wanting to learn a new genre of music.
  • Bluegrass guitarists of all levels.

What you'll learn:

  • Learn 10 of the most popular bluegrass songs
  • Play bluegrass-style chord strumming.
  • Get a guitar basics refresher.
  • Make your chords exciting.
  • Play bluegrass lead melodies (tabs.)
  • Solo over any bluegrass song.
  • Play bluegrass rhythm guitar.
  • Play bluegrass lead guitar.
  • Play alone or with friends!

By the end of this class, you'll be playing real bluegrass guitar.  You'll be ready to jam with other bluegrass players for fun or performance.  You'll have every tool you'll need to learn any bluegrass song you choose.  You'll be a flatpicking bluegrass guitarist.

This class is easy and fun.  Let's get started.

Meet Your Teacher

Teacher Profile Image

Dan Dresnok

Guitar Teacher


Hi, I'm Dan Dresnok - I’m your guitar teacher. I've been teaching guitar lessons for over 28 years and I've taught over 35,000 students both online & in-person. I want you to know everything that I know about guitar & music. 

I’ve worked as a session guitarist for recording studios, performed countless times, & moderated over 100 group guitar clinics. I’ve written several guitar method books & created over a dozen online guitar courses.

I specialize in jazz, bluegrass, blues, rock, music & guitar theory.

See full profile

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1. Bluegrass promo oct 5 2020: Hi, and welcome to bluegrass for the curious guitarist. I'm Dan Resnick. I'm your guitar teacher. I've been teaching guitar lessons for over 25 years. I've written a number of guitar method books, and I created well over a dozen online guitar courses. I am the perfect person to get you started playing real bluegrass guitar. I actually learned how to play real bluegrass guitar. When I lived in Tennessee, I was lucky that I was able to connect with. So bluegrass players and pickers who had grown up playing banjo, mandolin, fiddle, guitar DO grow. It places like the Grand Ole Opry in Nashville. And they took me under their wing and taught me how to play real bluegrass music. I'm going to show you how to play real bluegrass music in this course. So I'm going to assume that you are starting from scratch. You may not be, but I'm going to be on the safe side. Make sure that you know all of the basics. So I'm going to start off by explaining all of the basic guitar things like the string names, how to entablature the basic open chords. And I'm going to start working up to getting you to where we're actually play real bluegrass music together. And so this course is in several sections, but I wanna give you up to speed. So we're gonna do the guitar basics first. And then we're going to start working on all of the bluegrass fundamentals that you need to know. And then after we get through the fundamentals, I'm going to start showing you how to play bluegrass songs. Traditional bluegrass songs, songs that you would actually play if you went out to go play with bluegrass people. So by the end of this course, you're going to have a working knowledge of actual useful bluegrass music. And these aren't going to be like beginner arrangements. These are going to be the real arrangements that they learned as well. Okay? So we're going to be doing the real, the real deal, the real thing. Most of the lesson videos in this course are going to include a downloadable PDF. So the PDFs are going to be the guitar lessons or the records, or the songs with entablatures. So you need these, so please be sure to get those, download them, save them to your computer or device, print them out. They're yours. So get all the PDFs. And I'm really glad you're here. This is going to be a lot of fun. Bluegrass is one of the most fun things that I ever learned how to do in music. It's because there is a community of bluegrass people. So there are these bluegrass circles and you will see them actually all over the world. It's amazing that bluegrass is so popular and to parts of the world that you would not expect it to be. But you can find bluegrass people to play music with them. And it's very, it gets very fun. And you are about to become part of the blood vessel Circle, Part of the Bluegrass Community. So I'm really glad you're here. I'm not holding anything back in this course. We're going to show you everything that I know. So welcome, thanks. I'm glad you're here. Thanks for watching this video. I'll see you in the next video. 2. Welcome to the Class: play and welcome once again to bluegrass. For the curious guitarist Dan dress alike. I'm your guitar teacher. I wanted to take a minute to go through what you can expect All we go through this course, So this course is, um, pretty decent size. We've got a lot of material to go through, but it's gonna be a lot of fun. Good. I am assuming that you are starting from scratch, I'm going to assume that you don't know some of the basics. I don't want to risk, uh, moving on without you knowing everything. So I'm going strong by explaining all the guitar basics like the stream names and how to read tablature and how to find the notes and how to play the basic open chords and all of these kinds of things, how to do some basic strawman and two counts of basic beats and do some basics drawing basic rhythms, all of that kind of stuff. Okay, so I want to get you up to speed on your guitar basics. Your your fundamental guitar stuff. Okay. After that, we're going to start getting into the actual progress lessons. And when getting into progress lessons, we're going to start going through actual bluegrass socks. This is the really fun part, Andi. So I'm going to be showing you along the way. Things like bluegrass tricks of how to approach during your courts, how to get these walking courts and how to get your chucking sound so that you can actually get really powerful Chucking Corp sound. And this has got a lot to do with playing bluegrass guitar. Is your ability to just get this really cool rhythm happening when you're playing your bluegrass guitar? Okay. And so I actually had to do that. We're also gonna work on how to do the leads. How do the arrangements how to read the arrangements on Ben? How to improvise after that? So there's a number of pieces of playing of bluegrass song Apligraf Standard Okay, with some people call fiddle tunes called fiddle tunes because, um, the violin fiddle was the instrument that we just played. He's, you know, by themselves. A Phil would just play a lot of these songs by themselves. And so now this is what we're calling bluegrass. There's a lot of different styles that are lumped into what's called progress, but when you're playing something like a little too um Then what you'll need to do is building go through the court. So we have to go through the court structure. And then after we go through the courts, we will play the lead, okay? And the lead is like the lead as written. So the actual raid melody, you're gonna have to learn these note for note. And they're not that long, OK, But a lot of times these are, you know, pretty fast paced. Yeah, they're pretty intense. So this is why bluegrass to such a cool style is because a lot of times they're just coming directly from the major scale. So there, nothing there. Nothing complicated with the music theory or with the guitar theory. There's nothing that complicated. The techniques are really not that complicated either. This usually not that much technique going on. It's just a matter of hitting notes from the major scale in the correct order and doing exactly what's written, displaying abilities that are written, doing it kind of fast. So we're gonna work on that, Then after that, we need to be able to improvise a lead. OK, so we're going to be able to play the courts as their in. We're going to play the actual lead Melody has written, and I've got these for you on the PDS. Then we're gonna work on improvising a lead after that. This is a huge part of playing bluegrass Music is your ability to improvise leads. So one of the things that, um, is pretty unique. Teoh Blue s guitar is playing in open position. And so this is one of the things that I'm going to show you. How to do is to play in open position, including soloing. So one of the things that we do when we're playing blue dress guitar is we play open position because we're playing a lot of open strings. So I'm also going to explain to you have things like the cape those work, but planning open position. It means you're not doing a whole lot of this kind of stuff were up really high. You know, when you get to more advanced levels, you might be doing that. But when you're playing Tania's solo or playing the rid leads, you're gonna be playing open position, and I need you to build it, know how to do this in all of the different blue dress keys. So like if we send were playing give g or A or C or D or E. I need you to build and play in open position for all of those keys, so I'm gonna show you exactly how to do that. What most people are looking for from a bluegrass guitar player is your ability to keep bluegrass rhythms. So to Bill, playing the courts with the correct progress rhythms with your pick to do that kind of like chucking feel that walking feel that country strong where the Carter stands from, and then your ability to actually play the written leads, the flat picking leads. And then an extra bonus is that if you can, like, do some cool improvised leaves on top of that, then you're like, really you're hot bluegrass, foot, flat, pig and guitarist. Okay, so this is exactly what we want from you, and we're working all of these things in this course. We're working all of that stuff. So one of the things that I had mentioned earlier is that most of the videos in this course will include a Dell edible pdf. So be sure to get the PF. The Pdf is going to be three elec sins Thick guitar lessons or it's going to be the taps off the songs or the court charts. So be sure to get all of the p d EFs. And don't wait till the end of the video. If you start a new video, a new lesson you see there's a attached Pdf get it right away. Like, you know, go and get it right away. Don't wait because I spent a lot of time putting the PDS together for you so you can have the pdf while you're watching me and we're going through the video together. She got the pdf print it out or you gonna another screen and your Washington video. We're going through it all together, so you don't really get the most out of it. Also, um, when you're not online or you're not on this course, I want you Bill to say, you know, I'm gonna go through black great blossom, get the PFL your print out and to go through blackberry gloss over say, you know, how does the have the walks go again? I want to try this. Walks that Dan was talking about. Gift PdF. So you should have the pdf print them out. Let's get PDS. Okay, so the pdf's get them, they're huge. Also, we're going through, um, go through a bunch of standard, um, blue dress tunes to get you up to speed so that by the end of the course, you're going to have a working set list. So you could actually say If you do some bluegrass people, you could say, Hey, you know, I've got I've got, like, 10 songs I can play and that's a great That's a lot. Come on, you know, And that would be a really good start to go. You know, you show them some of the songs that you've been working on. They probably know they will probably know several these songs because these are very common standards owns, and they could teach you some of the songs that they're working on that you might not know , but you'll know exactly how to learn and play them correctly in the bluegrass tradition because of the stuff guys working on your. So also, we're going to talk about some bluegrass history, so progress has a lot of history. It's really fascinating history, too, because it goes, it goes back a long ways. So, for example, you know of bluegrass, you could say, is an American style of music, which, technically, it is an American cell of music from the the hills of the Blue Ridge Mountains in the Appalachian ounce from the immigrants that basically settled. They're after coming to America and the oral traditions of them taking the music of their homeland and teaching it to their their Children and then their Children, teaching you to their Children and their Children, teaching it to their Children. And what happens is through the or alter the oral tradition you have. Certain things were changed where certain things were forgotten or a certain things air not translated 100% correctly. Eso through a few generations you have, Ah, new thing at the end has changed significantly enough to where it's a different thing from the original and what the original Waas is from the British Isles and Ireland. Scott Lines It was classical music. It was classical music in Scotland to classical music, in our classical music, in English, and so that's what it That's what a lot of progress is. Classical music People immigrated to America. They went up into the hills. They became isolated. They taught this music father, fiddle or mandolin to their Children from the best of their memory because they didn't have written she music. They just taught it using the Artal tradition. Here's what I can remember now you play it and then their Children teach their Children and goes on a few generations and then changes enough boom naval bluegrass music. So it's really fascinating history. Anyway, that is, um, that's essentially what we're working on this course, it's a ton of fun, and once you get to where you feel comfortable working on playing it by yourself, then I want you to go out. Start findings Bluegrass circles to go play with Go Do a bluegrass festival. That's an awesome place to hook up with some progress Musicians. You can find people on the Internet that play bluegrass. You'll be surprised at how many people there are even in your area, probably that are interested in playing bluegrass music. No. So I'll talk more about how to connect with other people, play progress with in the course, but, um, feeling we've talked enough. Feel like we've talked a lot. Think we need to get going? Start with the first lesson. So I'll see you in the next video. 3. Guitar Primer (pages 3 - 8): let's review some guitar basics so we can get you ready to place a bluegrass. Okay, the first thing we will look at is this stuff right here. This is Tab or Tablature. Tab has six lines in the six lines. Represent the six strings on your guitar. The top line is your high strength or your little string. And the bottom line is your low string or your big fast ring. So the best way to think about cab is if I'm holding my guitar, I lay down my life like this. And now I would be reading the tab the exact same way that I'm looking at my strings. Okay, So the little string, the A little strange is the tough line. And the, uh, big string is the global. Now, what we're gonna wind up doing with Tab is we're gonna wind up writing numbers on the license like we have over here. Look at that in a minute. The numbers are telling us what Fred to play. So the friends are the metal pieces here. All these metal pieces are my friends. So this first metal piece is my first fret. So what that means is that this whole space is my first friend. I could push anywhere, anywhere, in this space, and I want to be on the first fret. And this is the second friend you are sure anywhere within this slut, their friend force breath in front like that. And so the numbers are telling us what fret and on what string. Okay, well, look at that. Or just a minute. First, let's take a look at the stream ings because I'm going to be saying things like It's on the a strain. It's on the d string. Play the East drink. Okay, so going from low to high, we have e a d g b e. We have to Eastern's a low key and Heidi to outside strings or both. East drinks. So e a d g b good. And that's playing them open When I say open, that's not pressing anywhere. E g open when we're playing open like that, not pressing anywhere. It's the same is writing a zero OK, so you could think of open as zero Fret okay, and you can see on your pdf attachment. Um, there's ah, a few different sayings that people use some people like to use the same Eddie ans. Dean, go buy eggs. That's the first letter. Each word, Eddie, go x 80. Some people like the same. Uh, any eight Dynamite. Goodbye. Any Okay, I might. Good. Okay, So if I said play me the a string over So Eddie and clearly the B string. Okay, Eddie and Dean go by I, uh me the high e string as in high pitch. Okay. Any Andy go by plane, Low pitch, he strings low e string. Okay, good. That's it. Those are the street names. Okay, Now, let's take a look over here at the tower, because for all of your songs, I'm giving you the melody and so you want to just be comfortable reading top. Don't be intimidated by get used to it. It's an easy way for guitar players to quickly learn how to play something without having to read music. I still think it's a good idea to eventually learn how to read music. But if you can't right now and get on time to, then you could jump right into tablature. Um, and there's tons of stuff online. Uh, taps for you to Arnold. Almost almost anything Okay, so if we look at this, we've got 33 all right? And that's on the top line, which is the high pitched string. So the 33 said, third friend and third for again. So it's 123 Okay, so third fret on their front again. All right? Now on the string underneath it, we've got two threes and I So 33 b strain no one free zero on the high street, which is open B string three of the string. Alright, let's try that again. So 33 high strength 33 be straight. 13 open. What? Really? Restrict. Good. Put that together again. Right? And that is the beginning of our melody for Cripple Creek Joy. It's easy, right? You just read the number and you go to that friend on that stream. And you, President Simple, right? We're already getting started with crippled Greek. Okay, so that is how to read Tab. Um, Tab is not telling you what finger use it does not care what finger use eso when you're reading the numbers. Don't think fingers, it doesn't care. Actually, it doesn't matter if you use your elbow or your nose you could use anything to push on these frets. This is only telling you what threat Todd voice says. Play this fret on this drink. Okay, so let's move on to our courts. Um, when you see the courts on the tab there always to be lined up in one call older, stacked up. So that means that we have to play them all together. So when we are playing the courts pay attention to how many of the strings were strumming Sometimes we're strumming all six strings. Sometimes it's only five, and sometimes it's only four. So kind of pay attention to what the lowest string is that you have to strum from. Okay, so let's run through the basic chords. We've got a G chord checkouts my finger. Okay, I'm just running down. So really, check out my fingering here starting Magique, Or like that right now, my d cor Okay, make my d chord like this these two fingers and I leave the stringing open in between and the ring finger goes right there in the tune strings strumming from the D string because it's the d chord struggling from the a string. Right, So this is a live stream court Don't hit the low e string now in a chord. So a core is to do to Yep, and I'm struggling it from the open a string. So this is another five stream court. I've got my fingers old kind of taper together like this. They're all on the second. Fret. That's the 2 to 2. And then I've got the open High Eastern also is the acreage. Now let's do the e chord. This is a six dream court. Now let's do in a my record. So I'm going to take my core and just move everything down a string. That's an easy way to do in a liar. I take the same finger shaped move it all the string. Let's take a look at our D mater, right? So 132 and I'm a stroke d minor from the D string. A lot of times, thes courts of the name of the court will tell you where to start playing from so the D chord and the D minor you strong from the D string over the core and the a minor in both strom from the a string because their A holes the e chord and the e minor, which we haven't done you gonna do right now, you minor way strong from the east ring Way good. Let's take a look at the, uh, B seven chord. B seven pops off from time time, So I'm gonna kind of start this one almost like a g chord. This is a four finger court started like we started G Chord like this mystery on the A string and on the second fret So the second Fred First France second fret open B strain and then you get my pick you away on the high string on the second fret straight from the a strict BC Good. Okay, so these are the basic course kind of giving you a walk through on on how to fair them. It's pretty simple. Most of these open courts were not going to use our pinky. The only time we're going to use our pinky on an open court is if there's four nose in it that need to be friended. If there's only three notes or less than we actually have to push on, then we're not gonna user Vicky. So now, in your documents, there will be some other course that I'm showing you some other open seven chord shapes. Um, and Meyer, Seven chord shapes. So these are all of it was to know, but in terms of being able to play these songs, the ones that we just went through, uh, get either Oh, you to show you the f chord Also. And there's a few different variations on the F court, so the F chord is a bar chord. Um, f court is a hard one to do a lot of times because, uh, we have to press on all six strings to do the full F court. So what I call the full Lefcourt basically using my index finger, I'm pressing on every string on the first fret president. All six streams on the first friend with my index. Yeah, OK, now I go, my see little fingers The third front and the third front on the and D strings My middle finger goes second Friend on the cheesesteak. Yeah. Oh, and stromal six. Uh, some pretty hard one to dio um, So there is an easy way to play an F court where it's like this. I take a C court. Here's a sequel. And now I'm just going to bring these two fingers down a string. Right? So, going from the high string, I've got nothing. 123 Nothing. 123 I was gonna do these three. It is easy. I, uh I will sometimes do is I'll take the easier and I move my ring's zinger down here to the third front on a stream My pinky goes third fret on the d string. So I had one more note base. It's still relatively easy. Court play Sounds good. Okay, so quick. Recap on the F We've got the full F, Which is the bark word. All six strings. Uh, we've got the easy F, which is just 123 starting on the B string, starting with B 123 on way. Got the the dance, Of course. So now those cores should get you all the way through all of these songs in the song section. And to be honest with the most bluegrass socks, all the course we just covered up on we'll get a few most bluegrass sauce. Um, okay, so now let's take a quick look at, uh, the rhythm County. So we've got quarter. I wrote the quarter, and sure, we have eighth. Um, so the way that every measure works is you are going to have usually. Usually it's going to be for Pete's total inside of the measure. You don't know your duet with Mary because you're going to have the dash telling you that it's you. Measure measure, Measure Worst would be a big lie just called Measure break. And that's when I tell you it's a new measure. And inside of every big line measure, break or dash, we have to eat well. Four beats total, so for quarter knows that's going to go. 1234123412 34 Those recorders. We're not sure what people call the beat the beat. What's the beat? The beat is quarter nets so that he goes 12341234 In terms of strumming. When we talk about doing basic strumming, doing, cornered of strumming, we're just going to stroke everything down. All the corners are just down strips, so I'm on a G chord audio. Just do 1/4 note, strumming old out. Good. Let me show you one thing I'm doing with my pick because this can sometimes help people have a lot. You got your pick, right? And I'm just pulling into thumb and look where Right? Um, I just have a So here's my pick. I just have a timing bit of the point sticking out, so I don't have a whole of my pig sticking out when I'm playing. I just have a little bit of the points sticking out because I don't need that much of it. The whole purpose of the pick is to be an extension of your fingernail. So it's meant to be like an extra finger nail to use strong. We only that much. We just feel that. And when I have just a little bit sticking out, I'm also going to brush. This time, I thought the tip of my finger against the strings a little bit is going to give me a little bit of a softer sound so I can control way when I'm doing down strums. I don't want my pick. Pointing directly as the sound hole I wanted slightly pointed up toward my face so I could see the point. We also got paintbrush when were strumming his life. We're painting with a paintbrush. If I haven't pointing directly at my guitar is gonna be harsh. It's gonna be too abrasive. It'll sound like this Not good. Too much. So I want todo brush. If I'm doing it up strong, I want to do the opposite. I wanna have it pointing down just a little bit. Theo. Exact same thing. I haven't played toward the guitar doing up strong. It's no good. It sounds tour. So I want to just slightly exporting. So I'm going down, up, down, up with my strong It's like a paintbrush kind of rotating Bristol. Theo. So you get a smoother sound from it. Don't have that much pig sticking out. Just a tiny little bit of the point. Okay? And I'm going excellent cook. And that takes us to get this from So what I'm doing The ups the ups happen in between. 1234 So the also the ends and that's these plus sides. So the plus I'm we say, aunt and and one and two and three and four and one and two and three and four and the 1234 or all the downs and the plus signs or the hands with ups. Ah, what do two measures in a row? I don't do a pause of the I don't do this. Don't do that. No pause. Just keep going. This guy keeps gone. Keep strong. You don't stop, okay? You can count on you coming. - That makes sense. It makes that sound more like music because we just keep on floor with it. We keep counting. We keep struggling. We don't stop. Okay, so that is all of the basics that I think we need in order to move us along to getting to these songs. So, um, just familiarize yourself with the stream names. So if I say play the a string, you say a string, play the D string at destroying. Okay, um, reading the tab. Um, the third fret on the high string. Oh, poor wrong. What if I said play the, uh, second friend of the G string? Second for a G string one. Too good running through all of the court shoes and getting familiar with them. And also the quarter of Strom, which is 1234 full downs and then with 1000 strong, which is one and two and three and four ends adding the ups in between. So I think that they should gets you there and we're just about ready to go. 4. Country Strumming (pages 9 - 13): Let's talk about country strumming country Strong is a very cool technique where we can add this kind of ah boom chicka boom whom feel into our court play what I say boom chick. I mean, it's like a drum set. You got the bass drum boom and the snare drum chick chick chick boom chick who chick. It's a low, high, low, high kind of effect that we can use, and I call it country Struggling. It is also known as Carter style. A lot of people will call it Carter style, her style as in June Carter and the Carter family. June Carter was Johnny Cash's wife, Um, and so the Carter family used to stop playing for a lot of their music, and, uh, people heard them doing it and said, This is great idea. So it's definitely a great idea. And, um, I explained how to do this in all of these songs videos, free, song explained, country strumming. I just wanted to take a minute and show you a little bit more about it, so it's very simple. OK, all of you have to do is take any court that you're meant to play right So let's say we're G course, right? So even g core and you want to play the lowest note of the court first. So for a G chord, Milos note is thick snow, right? The lowest note that you're supposed to play for the court. So of course, we don't play all six drinks. So is the lowest. Know that you're supposed to play for that quarter geek or as follows? No. So hit that first. Then I'm going to strong the rest of the court. When I strong the rest of the court, I don't hit that first note again. Keep of separate. Okay, so it's going Teoh. So Ah, what I'm doing is down going down for both Going down for the low note down big down strong the rest of the court. Okay, so I wrote down just a g chord of d cor great here, So we can kind of see easily what's going on. So I just hit the three of the G chord, the Luna and that strong the rest of the G chord. Okay. Or here we're looking at a d chord. Um, the lowest note of a deco or is my open d string. So when people were first learning us, sometimes they will screw up. And I'll just, you know, they think that every court has six strings. You know, that's not the case. So if the d chord the lowest strings that open D string way, we're gonna have the D string When we strongly us the d cor, we keep them separate low. Ah, see, Court. My lowest note of the C chord is this three on a string. So whatever the lowest note of the court is, that's what we're going to hit now as faras counting country strumming If you just saw a, um let's say we just had a jeep for one measure, okay? Whole measure of G myself. We are probably just going to go corner. No strumming dressing quarter, no strumming. I mean, 12341234 So just want to you 34 that's what measure. Okay, 1234 That's one measure. So when I apply that to country strong, everything that I do will be one beat. So everything I do will you will be OK. One measure G one measure of D, uh, one measure of C and obviously we want to do this seamlessly. We want have seamless transitions between the courts. So you may be fun laying a little bit beginning kind of used to it. That's OK. You just part of getting used to it. So we're gonna go from the G two a d two seats. Just try that for a second. One measure of each. So I didn't do a big pause in between each of the cords. I just tried to keep it wrong. This guy, I high kids going. That's for quarters from it. Sometimes we're gonna do eight minutes 82 countries trump and is the same exact concept. Were low, high, low, high on everything. I'm going down on everything. Okay, go down. Everything for countries from I'm just going to count it like one and one end to end three and four ends. And usually when I go to an eighth note countries drum. I'm doing it because I want to just go a little faster. Maybe the tempo songs slow and I want to just bring it up something a little faster In 2 10 34123 Down on everything low high life. Thats one measure. All I did was with ends between one and two and three and four and is one. Sounds pretty cool. Doesn't. Okay, now if I have two words in the same measure, so each one is gonna get to beats. So thundering quarter notes He's one of two over the first course of during G and G and E jean de first TV skit G chord these three and four on the d chord. So quarter note strumming on And if I did is nuts. So Jeanne d again in this two chords in one measure the one and two and is on the G court, the three and four ant is on the d chord makes us country. So this has a lot lot of life to the court play. Oh, okay. And, um, also we talk about walks a little bit in the songs, and I wanted to just show you this is something that you could add in any time through your progression. Um, the trick with walks is two things. You have to know what scale your and see. No one knows you can use to walk. Um, usually, when you're bluegrass filled tins. Uh, the first court will usually be the key. So the first quarter of the song is a Jeep. You're probably in a G major scale. If the first court is a C, you probably in a C major scale, first quarters A D. You're probably in a d major scale. If the first court is an a minor, you're probably in an a minor scale. Okay, so then we know what the Notre that we have access to you. Then we have to figure out the rhythms, and you want to think about this a little bit backwards. What I mean is, when we're doing a walk, we have toe lands on the corridor, beat one. So we have to be on the court of you want. So the walk has to happen before we get to be one. Usually it will be four Aunt Long, sir, usually in the business so usually four and will be like a small walk. Um, if I'm going from G to a c o. K. So I'm gonna go country strong. No, I need to get here on me one to the stirred Fred. So I'm going to go um so I'm gonna go four hands. Okay, so we owe that has me on the sea on the one so I can start doing country strong immediately . So go for time. I could just do the same notes backwards to get to G. Sometimes we'll do a three Don't walk, so we have to go back. One more note. So if we're going before aunt, we want to add one more note is gonna have to go in the end of three, three and four ends. Um, and a lot of times, how many notes of the walk has to do with how far it is from one port to the next? How many nodes are in between two courts? Eso Let's see. I'm gonna do a three. Don't walk the end of three and four and and four. And so, um, I'm gonna go from G to D this time because I need that extra note, right? Way, way. I just did the same notes, but I just didn't backwards on the end of three way. All right, that's walking. And eso we wanted combined country starting with walking, and that is going to give us a great country strong Carter style bluegrass fiddle music. Kind of a feel. So let's work on that right away, because we're gonna be doing it when we get into songs. 5. Open Position (page 14): Let's talk about playing an open position in most of my guitar lessons. I way to teach people open position until later on. Make sure that they are pretty well versed in playing in close positions. Andi thinking in terms of shapes so that they can move around to different keys. Um, Heller, when you are in the world of bluegrass and folk music, open position is your best friend, and it's where you're going to use all the time. So it's it's just not gonna happen in Blue Grass where you're gonna be asked to play in the key of, um, e flat or a flat. Um, even playing in a key like Kid B is pretty rare. Um, it's pretty where people could keep oh up on, say, cable upon to the seventh Friends Plan Q. B. But, you know, still this pretty rare, because that's a challenge for Dangel players. Sometimes fillers have a hard time hitting the melody off that high. So, um, and there are certain instruments that cannot keep up like the fiddle and so changing keys . Ah, challenge. So a lot of times songs will be played in basic open keys, and there are about four or five basic open keys that you're going to use all the time. It's the key of G Major, a major C major, D major and sometimes in q e major. But these were going to be The key is that we use almost all the time 99% of time. We're playing progress, and we're going to be playing these open chords. And ah, lot of our melodies were going to be played in the open position. When we talk about open position, we're talking about using the golden strings a lot. So we're combining the open strings with playing on the frets, plus to the open position, usually up to about the fourth. Fret sometimes emphasize the fifth fret, but a lot of stuff from the 1st 2nd 3rd 4th All those friends are going to be where we're playing and the open strings. There are huge advantages to playing open position, Um, and there's really only one disadvantage that I can think of. And it's not really a disadvantage, is just the fact that what do you learn to scale in an open position? It's a one shot deal. So, for example, for today's lesson. I wrote down the open G major position. So, um, this is the G major scale all the notes in the range of open position for a teenager. The only disadvantage to this is that I can't move this and play this exact same shape in any other key. This will only work in G major. So I can't use this for the key of C major with a major or D can move. It's on Lee Fergie. Major, this is the reason that I sometimes we'll wait to teach people. But I'm teaching you right away because this is going to be what you use most of the time these four or five different keys. And so I believe that you should be practicing where you're gonna use. Don't practice the stuff you're not going to use. Um and so that's the one tiny little disadvantage. There's a whole lot of advantages to using open position, and it's that they're simple. They are easy on your fingers because we combine all of open strings. All the zeros are open. So, for example, in the G major scale, we got open on every single string to rely, applying every single stream pulled it, so that makes it a little bit easier. It's just less stuff that we have to press on to. Friend also is going to help us with our techniques, which will talk about a minute doing him rounds and pull off. Having the Open is going to make that a lot more comfortable and fun. And also it is something that we can incorporate into our corny. We could start doing some licks and riffs inside of Accord because we've got the golden strings to play around with. So that's going to make life a whole lot more fun. The court, you're gonna sell over interested. We could bring it to life. A lot of work with open position in the context of this course of the open position comes into play. When it's time to solo, when it's time to improvise, we're going to go through the courts and then we're going to go through the original melody of the song, and then I'm going to encourage you to improvise to Solo, and um, I want you to use the open position to do this. Um, so let's jump in. I'm not going to go through all of the different scales. You've got that in your pdf. Um, but I just want to take the g example and show you how it works. And then just you apply it to all the different keys. Have, um, also, uh, one of the things that you won't look out for when you're playing in open position is you want to be thinking about what the court changes are. So when you're doing the court changes stay focused on on this court right now. So why did he come thing about these notes? We'll take a look at that work on the pdf. You're going to see it written, as it may say, something like good e aeolian mode relative to G major. So for the G major, that's what is going to say. Aeolian mode relative to teenager. It may say the name, um e virgin mood relative to see Major or may say of the E Dorian Mood relatives a d major , when you're looking for your keys, you're just looking for the relative to G major relative to see major relatives D major. Well, um, so that's how that works. And this is, uh, give you get your feet wet a little bit with modes. And I understand that may not be completely making sense. You right at the moment, But all of these scales or relative And at some point in the future, you may decide you want to learn a little bit more music theory to reduce early going up the neck and playing the G major scale all over the front ward. And so, you know, just being exposed to this Aeolian relativity. Major, let's go for you. It's good for you. So what? You're just looking for a thrill to the G major? Okay, so we got 0 to 3 Thio Thio 013 You play civil, right? Okay, let's take a look at what's going on. Oh, before I talk about my right hand, we're talking about the left hand. Don't just use one finger to play this. Please use. Use a couple of your fingers. So a good way that think about it is that if you use your finger to a friend, maybe you will say anything on the first Fret your use, your pointer finger, anything on the second Friday you will use your ring finger anything on the third Friday, please. Your, uh, sorry. First front index, second front, middle third fret ring anything on the fourth frailties. Your pinky. You may say something like that, so they not just using your pointer finger for everything. Okay, We will use all of our fingers, right? I'm using all my fingers. Good, good, good, good. Okay, so that's a good idea. Don't want you just to be using one finger. Okay? Use all of your fingers. Alright. Nest. Um, I want to take a look at the right hand. Okay? The right hands is alternate picking. Yeah. So when I am going through this, I am going down. Up, down, up, down, up on ultra picking. Good. So let's take a look at how that goes. Also picking the whole time. This just makes me a faster so no wasting energy because I'm going down and I have to come up again. So I may as well hit a note on the way up. Okay, let's talk about using techniques. So when we're using techniques, um, we can use him Iran's and pull off Cesaire. The most popular techniques to use and they're simple. Eso I've got a, um se I'm sure the high three, okay, and I could just kind of twang it off with my finger. I don't even pick again because I've got the open string so I could twang it off to open. So Ugo three. 20 I got the one on the B string of 20 year old toe open Vehstree two on the G string. I'm tweeting it off to the open G. When I say Twain, it's almost like I'm plucking here with my left hand. I can go from the two to the open on the D string. Or I could go from the four to the open on the D string. Get to notes for one. It's pretty cool. That's a huge advantage. Okay, those air pull offs. Let's talk about ham. Arad's okay. Cameron is the opposite. So maybe I will hit the open d string going Teoh smack down on the second front with I didn't think the second note just just mapped it on camera hammering onto it. Okay? Or I'll go open D string and I'll hammer onto the fourth. Fret. I didn't pick it the second time, Right, Theo? Ever us getting to nose for one pic way. It sounds pretty cool, right? Okay, So you want practice? Just mixing up cameras and pull offs and hemorrhoids and bullets don't have to happen from open. They can happen from anywhere. So open is just a huge advantage that we have. I would encourage you to use open, but you can use it from any two points. So, for example, the two in the three on the high street. Okay, the two in the three press on the two of the stream, I'm going to smack down on the three. That's a camera. Or I could reverse it. And I'm pressing on both. Okay? Pressing on the two and impressing on the three when I hit the three, pick it on twin it off, trying it out to the to pull off. So you could do this from any two points. Um, ever, ever And I would encourage you to get creative with it so you can start combining these. You start doing double hammers, double polls. What I mean by that is they 32 OK, three to pull it. Dobel. Three notes for one. That way I could do a double hammer toe the same thing. He's backwards. Something to go open to three so that his open to three. The way that these work is that when you got a little vibration established and that's usually a speaking first note, then the technique is easy to use. So open to three. Dole Evers, You can also do a hammer pull. Okay, so I'm on to I'm going to hammer toe the three and then I'm going to pull back to the to E way too open to and pull back right now. Sounds like bluegrass. Okay, good. So I would encourage you to start working through the's techniques, getting comfortable with using the scale and improvising around. Um, last thing I want to talk about with open position is, and I said before that these are all different shapes that this only works the qg major. That's 1% true, however, the difference between this G major shape and the open sea major shape. It's just wonder. Just a couple notes, maybe 2 to 3 months. So it's just a tiny little change slight. Just a couple notes you have to watch out for, and then when we go to the D major open position. Same thing. A lot of it will be similar. It's just a couple of different notes. So it's not like the whole thing is gonna be drastically different. It's just being a little bit different. So you have a clue into that you'll start paying attention to these small differences. Okay, Last thing I want to talk about is, um when we are playing courts, you can start using these little riffs, hammers and pulls in the courts. When we've got notes that we've got access to what I mean is a g chord. I know I've got the twos of middle strings I've got to their to their plus. I've got open on everything so I can start banging around with playing with hammers and polls on this open strings while I'm holding on to the rest of my G chord way. - That's pretty cool, isn't it? So that would be just a G d and C chord. Really, Brolan, listen to it. Then I could start doing some other stuff like a country strong walks, and you can turn a three court song into something pretty amazing, Sadiq. All right, so get to work on your open position scales 6. Bluegrass History (page 15): Let's talk for a minute about some progress history. So in this course, we used the term bluegrass ends in the rest of America. We used the term. Bluegrass is a very broad engineer term. Um, and when we're talking about bluegrass, we're including a number of different styles and countries. Oh, so when we use the term bluegrass, we're talking about all these genres of music like Ayers and reels and jigs and horn pipes on godowns and breakdowns and, um, and rags. And these are different genres of old music that air coming from various countries. Onda. We have loved him all into this one word called bluegrass. And, uh So where did all this stuff come from? Um, there are three countries that really contributed the bulk of what we call bluegrass. It would be England, mostly the British Isles. Uh, and then you have Scotland's in Ireland. And, um, what happened is during I would say, in the 16 17 in 18 hundreds, immigration to the no spits people were on the boats. They wanted to get to America, and it was the land of open opportunity. So you wanted to get away from Ireland's you wanted to get away from England. You wanted to get away from Scotland. You want to come to America for whatever is plentiful, open opportunity. And so the only way to get there was to get onto Big Boat. And the vote was packed with people, as many people as they could possibly get on people shoulder to shoulder with each other for a long, horrible trip. Um, And so when you got onto the boat, there wasn't much room, so you could bring a lot of luggage with you If you were a musician, Uh, you would bring the smallest instrument that you could possibly get into a Saks to get into your backpack. And so love fills and mandolins came over on the boats so the musicians would grab the smallest since from that, they could get so a lot of times it would be Phil Violent violence of pills for the same thing. By the way, um, there's a stupid joke. The difference between a fiddle and a violin is that, um, violin has strings on it, and a little has strange strings. Yeah, stupid. Okay. So, uh, fiddle or mandolin, which is also a small instrument and there was sticking into their, uh, sacks down the boat trying to survive the horrible journey on the boat to get to America. And when they did get to America, they would wind up going either into, um, the rural parts of New England. Or they would go into, uh, the mountain areas in the Southeast in places like West Virginia, Kentucky, Virginia, North Carolina, Tennessee, Georgia, Alabama. Eso, um, now these musicians that came over here, we're playing classical music back home. If you came over from Ireland, you grew up playing Irish music. If you grew up in Scotland, you grew up playing Scottish music, and this music was traditional music. To those places, it was classical music. Well, we today consider classical music. And so they got here, though, and they became secluded. And these families were very clash because you wanted to keep to your own kind and watch out for strangers. And so they were reclusive and they would spend time only with each other, and the musicians would play the music from their homeland. And a lot of the stuff of the traditional music from England, Scotland, um, and Ireland's ends. Um, a lot of times thes musicians. For whatever reason, they didn't bring manuscript paper with them, so they have she music on. But they didn't write this stuff down when they got to America, so they would sit at home and they would play the music for the family. The family would listen and, uh, the kids would watch the parents play and the parents would show the kids how to play that teach them out of play. This is how the song goes, and then the parents would die in, the Children would crumble, and they would remember as much as they could about what their parents tell them. And so then they would teach their Children and then they would die and then their Children would grow up. And through the generations of this happening, the music was slightly changed. Because this is called me Orel tradition. It's the oral tradition I am going to show you. I'm going to show you how to play this song, and you listen and try to play it back. And so, through the course of generations of this of the notes of change, slightly and so these songs that were originally you know Scottish of Irish British classical songs have changed and became a uniquely American style. What we call bluegrass. Um, really, A lot of this stuff is Celtic, and, um and, uh, you can still find the original versions of this music. Uh, if you took a song with songs for courses blackberry blossom, wonderful, powerful Phil to. But there are Celtic versions of Blecher Blossom, which you can really see the difference between the original version and what we consider to be like, very blossom. It's just through the generations. Notes have been lost. Notes have been changed and so winds up creating a whole new style of music. So that's how the oral tradition came about. And, you know, the Irish music has a lot of motile influence, which is really interesting. The Irish and Scottish were very free to be creative and to do anything that they wanted to with the music. For the most part, the church, the Roman Catholic Church, was not as oppressive in Ireland and Scotland as it was in England. In England, if you were a musician, the church was frowning upon you, playing music that was not church music. So in England. There was a you were gonna get trouble if you were playing what we call bluegrass music. We're gonna get trouble for that. So they had to hide it. So, um, while Well, England is definitely an influence on this music. There wasn't as much coming from there now that they didn't want to play. They did. They start allowed to eso There was more freedom in Ireland. Scotland Teoh, be creative with this kind of thing and be a little bit more about the open with it. Dance music. So, uh, when we get to America, you know you've got New England's and then you've got the Southern Appalachian States which are playing this stuff, and the Celtic music turned into what was known as old time. Still wearing his old time music, old time music and so old time music would be, um, the really the birth of what? Becoming country music. And also, what about becoming a bluegrass? Um, and it would be social music. It would be some music that you would play after dinner, never get together dances, drinking. You would eat and have a good time. And, um, when it became bluegrass, Um Bill Monroe. The mandolin player, uh, officially coined the term bluegrass, and it turned into more of a performance music. So when you would go to see and this would be recently, this would be probably around the 19 fifties that actual bluegrass music came about. You would go to see Bill Monroe. Don't curry some of these bands and you would sit there and you watch them play and it would be wonderful. It would be amazing because they were such talented musicians. Um, but it was a different kind of experience because now we are going to sit and watch you perform as opposed to the old time music, which was more interactive. The music was a non opportunity for people to dance. And so, um, bluegrass is, ah, term that we use widely can weaken compass, what we call fiddle tunes, Celtic old Time and then actually bluegrass Andi. Even recently on the last 10 20 years, there's, you know, the term new dress, which is the, uh, taking the bluegrass form, getting more star mental with it, and when I see more experimental, adding it more of a freeform jam where the structure is not so small. It's a larger, open ended structure in an interesting, interesting thing about, um, the Irish influences. There was a lot of little activity going on in the Irish music, which means that, um, a lot of the Irish reels they weren't just using the major scale to play the stuff. They were using the other keys from the same major scale. They would use the Dorian mode with the mixer Lydia moving over the Aeolian mode to try to get a little bit of a different feel from the major scandal, focusing on note number one who focus on number two focus on November 5. That's a really interesting thing that we got from the the Irish influence of progress. But like I said, if you run into, um, a blue aggressor who was a purist, as in they are literalist um, actual bluegrass music would be stuff from 1950 were for more reasons than that. Even old time music would be something from probably the early to mid 18 hundreds up to about 1950 and then everything before that would be music from its origin. Celtic um, Irish, Scottish, British Isles, French, Canadian. Yeah, and, uh, yeah, I did that, uh, is Bush Covers are crash for some progress history 7. Jam Etiquette (page 16): Let's talk about jam etiquette. This is something you see. Every regress group in old time group will have their own rules of, um, how they want the the gym to go and eso there's variations, sometimes emerging, were aggressive about it than others. But this is something you see across the board every time there's a jam group, there are always going to ask some kind of jam etiquette rules or guidelines. This is not something that's should be exclusive to just the bluegrass and old time world thes air good rules to use when you're playing with other musicians from any genre of music , the general rule is be polite, respectful people. But, um, let's go through. I printed out, uh, I just want to talk about a couple of these with you. Okay, so the 1st 1 and these are not my rules. These air just rules that every group is going to use Never. Groups going wants you to use these rules. And some of these things I've seen in jams and they're always a problem in every different group of people. There's certain things that just never work, and there's a reason that everyone has their own list of rules. OK, so and no particular word. First, all the acoustic instruments, nothing plugged in. This is an important one. I would try to stick to it. Um, you've got your on the acoustic guitar. Your friend plays the banjo. Your other friend plays the fiddle your friend plays demand. Len, Um, someone says, Well, I've got a an electric guitar I'm gonna bring. I'll bring a little practice, and but I won't turn it off that loud. It's best to not do that. Don't know electric instruments. Don't plug it in. Get an acoustic guitar. You know, this is in few stick jam. So nothing plugged in his rule could be broken sometimes. And it was very, very rarely. You break this rule. The only time you break this rule is usually for the bass player. If because it's hard to get a bass player sometimes because the standard base is gigantic and it may be hard to find someone that could do that. So maybe you would get electric bass player and you would let him have a little practice. Anthony, keep it very low. Following would be very low is the only time I would be okay with breaking that rule. Really? The bass player. No one else gets to plug. Okay, be blatant. Pay attention to the vibe of the circle. That's pretty obvious. Pay attention to what's going on. Every group of people will be have a slightly different vibe. And if you take one person out of a circle and added one extra person, the whole God can change. So just pay attention to divide with circle. Don't be oblivious. Um, yeah, well, Jams of the left. All right, so we've got a circle. The jam is going to the left, which means is going clockwise. So, um, the guy to my right is taking a lead. He's taking a solo. When he's done, it comes to me. So now I'm soloing. I'm doing my solo, I play my lead. When I'm done, he goes to the guy to my left. And then when he's done, it goes to the guy and his left the guy or gal and they keep some going Teoh person on the left. That's what that means. And everybody else is worthy banking on the courts. Um, well, okay, gender. The left playing back up quietly. So, um, if you can't hear anybody else playing that you're playing too loud, if you can hear anybody else that you're playing to out, so back it, back it off a lot. You don't need to be banging on your courts. Think about this. If you've got a circle, you've got a lot of people that are playing courts, so you don't need to be banging on the court so hard. Also, the person who is taking a lead or solo, you want them to be heard and don't make them struggle to be heard. That's not fair. So when it's your turn solo, you don't want to be having the pick everything as hard as you can, because you just want to hurt. People should bring it down a little bit. Just go gentle on your strumming and let the person taking lead. Have a good soul. Have a good experience soul. So playback quietly be in tune, being to be in tune before you get to the circle to in your instrument, trying to tune it before you go into me with your friends or meet with a circle. I use the term of the circle so if you're getting together with friends that tune of when you get there. But if you're going to Bucharest Festival or if you're going to a bluegrass jam or bluegrass event, there will be little circles everywhere. And before you walk into one, just take take a moment by yourself with your guitar and to know Good. If somebody else is trying to tune up, don't be playing notes, chords and stuff like that. Well, they're trying to be respectful. Help them to give them the note. If you're into, gave them the note that they need to help them speed up to up, Um, or if you could tell that they kind of want to just do it on the ground to leave alone. It's that whole, you know, pay attention to the bottom of the circle, so but show gets the circle. You are in tune. Don't start tuning up there. You're gonna slow everybody down. Allow new pickers in the circle. So if new people want to come into the circle, be welcoming to them, make a little room for them to come in. Generally be welcoming. Don't be standoffish. Um, it's a good thing to have new people in their new energy. They might be great soloing or even if they're not great slowing. They might just be fun to have their just good energy, you know? So let new people in the group. If you let new people in the group, what's gonna happen is your. Your blue dress circle is going to be stronger. Larger people are going to want to get together or frequently. It's going to be just you're gonna have or playing opportunities. The larger is and the more people that show frequently. So you want people to be a part of this because it means that you'll be able to get together every week. Every toys, a leader, you know it's gonna keep going is people are gonna keep showing up, so you want new people coming into it. Okay, so let your fingers into the circle. Don't hog the solos. Don't harp solos. Let's say you're really good, Let's hear your turkey, okay? And you know a lot of solos where I go into a circle. I will wait until I am offered a lead, only the wait until the circle comes to me, and it's my rightful turn or I will wait till someone gives me the eye contact. Whoever seems to be leading this particular jam kind make eye contact with me. Like, do you want to take a solo? And I'll be like alto solo? And if I do and I'll say to do such a good job, that okay, that doesn't mean it's my I'm entitled to take the next solo also. And when we do the next song, I'm gonna do that. So first it is not mine talk. I have to share it with everybody. OK, so don't talk the solos, even if you're better than everyone else. Still not OK, you have to share. It's a group event, so don't harp solos make eye contact attention to the other pickers. So that's just a good general rule of thumb. You always want to be trying make eye contact because people will, you know, maybe try to give you signals like Hey, you should take a solo or your plan to quiet or your plenty loud or your draft is about to break away from your guitar. Who knows what it could be? You know you're about to knock something over just make. I have to earn their smiling cause they're just really enjoy what you're doing. So look up people every now and then. And I know that's hard to do. Sometimes when you're just getting going with this because you're so focused on trying to get the courts right, stay in time. You're trying to make sure you get the melodies right? You're trying to remember, have a play, you know, note for note, just every now and then. Clans up. You know, the apartments will be stuck looking at your left hand looking at your guitar. Look up every now, make eye contact for playing. Using current bluegrass, especially, is a social activity to social activity. So it's about engaging with people. Okay, make eye contact. Um, it along with that theme, Um, the music cords, the rhythm, Stay with the group, Stay with the group. Um, you're not necessarily correct. You know your changes, your rhythm. You could be a good, hearty true. And if what you're doing is different from what everyone else is doing that you're the one that's wrong. If I'm doing fun playing a song in my rhythm and my chords are all time from the rest of the circle that I'm wrong. I have to jive up with them, even if my rhythm is better and my chords or better if I'm not driving up with them that along. So it's about engaging with the entire circle. Good. Okay, um, take turns calling out tunes, take turns calling out tunes. What that means is that, um a lot of times you're going to have some Alfa personality who is going to want to control the circle. Uh, you Maybe that Alfa personality. Maybe not. But if you are, you have to control it and try to not be that way. We have to share the leadership experience instead of having one person who is just saying really this all. And then we're gonna do that song. Never do that. So we take turns saying, I'm gonna do the song, and then you're just pick the next one and then that person's gonna pick the next one. That person 60 Next. We're already just take cars going around, picking songs that we want to play. It's gonna be a group activity. We're gonna take turns calling out tunes, um, stringed instruments on lee. So you're thinking. What else would there be? Race People will try Teoh bring non traditional bluegrass instruments into jam just cause they want to be part of it. Well, I appreciate the fact that they want to be a part of it. Um, it's just not really fair. Teoh to the other musicians. If someone wants to bring trouble into a bluegrass jam, you know you don't hear trumpet bluegrass music. Um, so, uh, people will people sometimes bringing wacky instruments like Look at me. I just want to be involved in the jam. I want to play this wacky instrument. It's okay if you guys kind of curse that did not do that. That's totally okay, because, uh, bluegrass should be about street instruments, maybe the occasional washboard. But really, you don't want toe caution instruments, hand drums? No, you don't want that. You want an drones? You don't want any kind of weird people banging on stuff? Horns, slide whistle. You don't want any of that stuff that's not bluegrass. So people will do. That's kind of a weird because they're drinking. Maybe you're having fun. So it's OK to encourage them to take that elsewhere because we want to even string instruments. It's wait for the next tune if you don't know this one. So this happens a lot. There are thousands bluegrass socks, right? It would take a lifetime to even try to learn half of them. So But, you know, we have the regular songs in the regular rotation that we're used to playing. But it's always gonna happen when someone, even if you know a ton of songs, someone's gonna no one that you don't and maybe the group will be playing one. You don't know it. That's OK. No. Can you follow along? Can you watch other people will follow along. If yes, do it quietly, you know, do it. Why don't be that guy in your courts Player course. Extremely solved plan. Extreme assault. Unless it's something super simple where you can pick it up fast and you can know that you're gonna do the changes properly. If you're not 100% certain, belt up and do it quietly played. Keep it in the background so that if you do screw up accord, it's not going to hurt. Um, and as far as the lead goes, you could take a lead if you know the key, I don't know the lead, but let's say you know, it's an A major. You can play around in the a major scale. That's okay. Just try to keep it within the vein of the salt trying to do with any of the song The same feel of the song of the other people playing It doesn't have to be the exactly. But you been with in the same vein It's where you start playing and clearly so far with the song is that's where what the best thing to do is to kind of quiet down, back up you might you step out of the circle until that song is over and then come back. Okay? So if you don't know it, don't interfere with it. If you don't know that song, don't interfere with that song. Let it let them play this home. Okay. What do we have left? Uh, last thing. Have fun. Have fun. Yes, this is the most important thing about jam etiquette having flown. So like I said, it's a social experience. Getting together with people playing bluegrass is a social experience. So you want to have fun engaged with people. Musicians always air going toe have ego issues, especially the better get. When you get up to being a guitar teacher level, your ego is so big. And so you have to watch out for that. Um, just because you're maybe study or just because you may be no more scales or music theory, it doesn't make you any better than anybody else. So keep that in light. Uh, and other musicians, everyone has the same problem. Everyone falls into that same trap. You start thinking you're more important than other people sometimes because you have studied war, war, war of your head about this subject. It doesn't make you better than anybody. So if you come across somebody with ego, you know, just kind of watch out for the don't gauge. And if you start getting good, which I expect you will be getting good, uh, your ego in check. Keep it in. Chuck. People are going to want to be around you just because of your new special skill. And you don't need to prove yourself. And if you're playing and you see someone who's better than you, good, that's good. That's really good. You don't want to be the best person at a jam. You don't want to be the best person at a jam. That might sound crazy, but if you're the best person had a jam, you're not going to learn anything. Everyone else will wear something, but you won't. So it's good to have some people that are better than you. You can learn from them. So it's a good thing. Um, so but have fun. It's all about having fun and learning and enjoying music. Um, So, like I said, every group will have their own different jam etiquette. Um, and it's a good thing to take a look at that, if you see it somewhere so opposed to read it on and try to learn about it. But like I said, like, we started eyes generally about being polite, be respectful and paying attention tell you to do. And I thought 8. Reading Music (pages 17 - 24): Let's talk about reading music. Reading music is something I recommend every guitars to do. It's especially important that you do it at some point because you have an interest in bluegrass and bluegrass is a traditional form of music. What that means is that, um it was around for hundreds of years before Tab got invented. So before we have the six lines and we could just write numbers on there telling us what friend to put her fingers on Music was already down in the five line standard notation, and this is what every musician uses. So every other instrument uses standard notation 51 staff to read music to read and write music. So what that means is that there are thousands upon thousands of songs that are in standard notation. They've not been timed out, and many of them they never get tapped out. Ever. Eso there's more music that is in standard notation that you just have to be able to read music in order to play it, to understand what is telling you to do so. It is not. The heart's not complicated. Usually, people either love reading music where they hate it. There's very little indifference about it. Uh, activates part of your brain, which is kind of the part of the brain where when you were a student in school, um, and you're you're learning as a student. So a lot of people that just want to jump in and being creative and getting physical and tactile, they may not enjoy it as much. But if you're the kind of person that loves knowing exactly what to do you like rules, you like being a student learning. Then you may love reading music and there are so many benefits to it. Um, it could feel like work at times. But the more you do it, the better you get out and you will get to the point where you could do was called sight reading and siring is where you can look at a piece of music that you've never seen before . You've never heard it. You've never seen it before. No idea was to sound like and you can place first time looking at it as if someone handed you a book and said, Just start reading the first paragraph out loud. You will be able to play the music that same way just instantly. It's pretty amusing. Um, sorry. And, uh, you know, another thing about it is that if you get to the point where you can start reading music, then you're gonna be you gonna access to a lot of songs that no one else is going to be playing. So that's a great thing. A really great thing. Um, and, uh, all right, so let's jump in. There's a couple things that few main points I wanted to cover with you. This is gonna be a crash course, So this is not going to be in depth. This is going to be very much of a crash course. You have your pdf, your additional resource. You got to get that got toe, get that right now downloaded or open it up, printed out even. And I've got a pretty Pdf is pretty comprehensive. It'll show you exactly how to read music for the guitar. I said a minute ago that every instrument uses standard notation. Um, most instruments don't have an option of tab. There is nothing. For example, on the trumpet. There's no way to say, you know, put your finger here and put your finger there you just standard notation is the easiest way to do it. So for the guitar, though, and any stringed instrument, any stream instrument could use a form of Challenger. Imagine, a ukulele has four strings, so they would just do four lines, right number Zeid or if there was a banjo, has five strings. They break five lines, right numbers on it and be tapped a banjo stream. Instruments can do tab, but it still leaves a few things out. A lot of times we have issues with the rhythms, like how fast or slow I play these notes. Um, so there are some issues with that, and also, it doesn't give you a quick snapshot of the music theory going on with song. When you look at stared rotation, you can instantly get a snapshot of Okay, I can see just by looking at it that's in the key of G that is going out these scales in it that I could see these cords or in a you don't get that as easily when you're looking at Tab. So a lot of benefits to being it will read music, Um, and also being older imbues it means that you're also able to write it. If you can read it, that you can write it, and if you can write it, then you can. You can write a song and write it down standard notation, and you can share it with other musicians that you play music with. So it's the best way to communicate with other musicians. Your ideas. Okay, um, so let's talk about just some of the basics in the pdf. Um, I'm covering off on how to find old notes. And so we take a look at stuff like the lines in the spaces. You've got five lines on the five last staff. 12345 So we've got five lines and we have four spaces. And what I mean by four spaces is there's a space, their space, their space there in space. There, the space between the lions, this is 12345 lines. There's a space 1234 So I can write a note or a dot on the actual line itself, where I can read it on the space. So lines and spaces going from lone Ally, Um, we have, um, the lions going for a little high are every good boy does fine. The u Monix are a great way to memorize this stuff. And so I'm showing you on the pdf how to play this guitar. It's the bottom line is that he's from every is here does Okay, so those air the note score from low to high on the lines and then going spaces. 1234 It's f A C e r. The news of the spaces f A C E, which stills face okay. And the notes on a guitar for face are. And then I show you how to combine the, uh, the lines and spaces, and we start to notice that they go in order. The reason for this video I think that you could probably figure out a lot of this stuff just by reading pdf that I gave you. Um, but I could speed it up if we kind of talked about it for a minute. When we combine the lives and spaces because every good boy does fine. OK, there's that there's face f a ce, but if we combine the lines and spaces and we go in order, then we see the awful that okay, because is the e from every And then it's the F from face and it's the G from every good. And then is that a from day from face? And so we start seeing the off event E. And that's how the lines and spaces work together is that you just go line space line, space line, space line space. You just keep going from a lying to space, lying to space fly into space. It is the same if you're going down. If the notes are going lower, you go line space lines, baseline space line space and it just follows the alphabet. You're either going else, a bit a setting. So we said, every good boy is fine. He's the bottle. I'm be forever. So you and then the first space is enough. And then it's a G on the line, and that's in a on the space. Does it be on the line? Then it's a C on the space. That's a D of the line that's in E on the space that is an F on the line, and then the next space would be a G, and it just continues on through the alphabet after G, we go back to a because the music after ge go back to a a B c g a b c g a b c d e f g Good . So? So if we're going up this staff, then we're just doing a review Relevant, Um, starts on e of the warrior, but e f g a b c d g. And if we're going backwards, we're going down this stuff. Then we just do the alphabet backwards. Was this top line every good boy does. Fine, fine. So it's f so this timelines f i c A note on the top line is an f note. So down the staff, it's gonna go. Okay, D c do me okay. After a review of G g f e. I'm just going through the musical off that backwards Texas. Okay, good. All right. So that is how the alliance in space work. Um, one of the things that is unique about the guitar and this is true with a lot of string instruments, but this is especially true with the guitar and other instruments. Don't have to worry about this. The trump it doesn't have to work out this the saxophone piano if they don't have to worry about this is the guitar has this issue of positions. So these air called and harmonic equivalents and harmonic e n harmonic and hard work and harmonic equivalents. This is a very specific thing to the guitar. What it means is that I can play the same thing on the stuff, in various places, on the guitar. It will be the exact same images. So, for example, if I play go, um I see Okay, I can also go C D e right there. It's the exact same fishes He's actually in frequency, played in two different places on paper will be written down the exact same way on the staff is thieves accident notes in the same place. But I did it to you for places on the guitar. Let's look at another one. I go. You can also go Teoh. I did that in three different positions on There were the exact same frequencies every time That's called end harmonic equivalents. This is something that confuses a lot of guitar players about reading music for the guitar confused me for a long time. Um and so we cover off on that in Apia, I started showing you how to find. You were in a harmonic equivalents. If you just know a few different notes, this is the same pitch. Is this This is the same visions. This you just learned that for a few different notes. And then you will have the option to play something that you're reading here, where you play here, we buy here or wherever. That and harmonic equivalent notice he'll give you options for Where do you want to play? On the guitar? There will be more than one correct way direct to play something that you're reading, which is very cool, because, like I said, there, a lot of other instruments can't do that. A lot of other instruments when they read something, there's only one place to play but guitar special. So we've got a few different places. We can play things. Okay, Um, moving on. Let's look at a couple of the symbols. Three guitar uses the trouble Cliff. And so this symbol right here in the very beginning is called the Trouble Chlef. It's a clef. So there are a couple different cliffs. Usually you have trouble class and a bass clef. These are the most common cliffs when you read piano music, you know uses to clubs. They have trouble classes below. They have the bass clef and the trouble classes with the piano player does with her right hand in the bass clef. Underneath is with PM players with their left hand do this at the same time. It's pretty crazy. They read to cliffs simultaneously. Piano players, a lot of instruments. Their solo instruments will just re one clef guitar only reads one cliff. It's the trouble club, Um, and it kind of looks like it looks like a G, And then it's got this kind of hook that comes down through it counts. Second G. It's got. So if it comes down through it, that's the trouble. Cliff, That's or Cliff here is a really cool thing about music is that guitar music is practically identical to film, music or violin music, so the frequencies of the fiddle and the guitar are so similar that the music is almost interchangeable. So if you read fiddle music, you could play any film music on the guitar, and it's true for them to a fiddle player can look at guitar music as long as there's not too much cord stuff. Just single those melodies. Fiddler, Where Violinist could read guitar music and play it on the violin. No problem. It translates very clearly from one to the other. And which is great for us because the violin the fiddle dominates the entire world of bluegrass. It is the most popular, the most important instrument and all of bluegrass is the fill the violence because, you know, a lot of these are considered Phil Tubes fiddles on film music because the original instrument where a lot of the songs were written was on the film on the violin. So Okay, good moving. Um oh, after the clef, you're going to see, um, numbers. Usually it will be 44 OK, and that's telling us that there are four beats in every measure. Okay, sometimes it'll say 34 And if it says 34 is telling you that there's three beats in every measure, the way that the time signature works, that's the time signature than Tom members. Do you have any? The bottom never saw you. What kind? Usually the block number will either be a four or eight. Okay, if the blood remembers a four Dennis tell you were in 1/4 notes and if the block was eight , tell you that weren't a since. So the top members. How many? So there's four. There's tongue. Four apartments. If it was 3/4, he would say that there's 3/4 nous in a measure which would just be one, 23123123 But 44 is gonna be 2341234 If it was eight, then we would count everything up to 812345678 Like if it was a over eight, A lot of times you would see something like a 68. You say you just can't to say it will be 68. Notes. 123456123456123456 And each one of those taps where bees would be an eighth note. OK, but for our purposes were mostly dealing and four for 4/4. Next. Um then we have the key signature. We're almost at playing. Now. I have a key signature key signature is where you'll have a sharp or flat symbol and maybe a hollow, and it will tell you for the entire song you have to make sure that you sharpen this note. Move up one fret if you want for it higher. So here we've got the sharp son. Looks like a hashtag um, you either have a lower case be, which means this flash one friend lower. We'll have a sharp sign, which is a number sign or hashtag and says one for a higher. Okay, so here we have it on the top line. Just very good food in this. Fine. So it's a sharp sign right on the offline. So that's telling me that through the entire song, I have to keep looking out every time I come to an F note, have to make sure I sharpen it. I make it one note higher, one front, higher. I can't just play normal left has to be in F sharp every time. That's what the key signatures telling me the whole purpose of the key signature is that whoever's writing and they don't have to write that sharp sign in front of every single f you just do it one time and we know that we have to look out every time we come to f to make sure that we go one for a higher. So it's an f sharp. Oh, and there are other benefits to the key signature. Like I can quickly look at and say I know what you G major, because Ji Major has one. Sharp is the f sharp. It's the only key that has enough sharpen it just in shock. And so I can quickly just look at the keys insurance. And I certainly know we're in a huge major, so that makes life a little easier. It gives me an idea of some stuff to anticipate as I'm reading. Okay, um, next, uh, let's actually jump over here. Um, over here, I'm showing you how the ledger lines work. So if I look at the top line, Okay, so every good boy does fine. So we have an f note that dot on the top. OK, that's an f note. Okay, so your way go lines, baseline space. We have these things called ledger lines, and it's where we can keep on adding spaces and lines to get higher notes or lower notes above or below the stuff. You see the five line stuff. He's five lines, and that's just really the basic staff. Most of the stuff happens within five lines. Four spaces, but we could extend it above and below so that it really could go on to infinity above and below. High notes, low notes. It just keeps going like baseline space. We just draw in extra wines to create lines and spaces higher or lower. So is is high or as low as your instrument can go. And so that's how we get the little pitches in the very high pitches by adding and alleged lines. That's why before I was explaining how the lines baseline space works, because you, well, ledger lines, we just keep on thinking lines, baseline space. So if this top light here is an F for me to go to the next space comes after effort. The also that a B C D E f g. Okay, so the next space is way. Do align. It's my first ledger line above the staff. It's right on the line. So after g b going again so G. K then we go to the space above the first leisure line after eggs be Hey on the seventh fret So I'm climbing up I'm just on the space above the first ledger line already on the seven front so you can see how the ledger lines were taking me up the front ward. All right, let's see how they take us down lower. Every good boy is fine. So e every serve the ever is this string Second fret s So if I go alphabet backwards, it goes from E to D. So the first space underneath the line is going to be the D. Then I go to the next. I added a legend. Wanna go to the next line so below d is gonna be a c. Alright, So first leisure line below the staff. It's a C third front on the a string and then I'm going to go. The space full of that comes before see in the alphabet the rights. So just keep on going to get into these lower notes. The challenger lines work. And so in the beginning, you're just going to memorize every good boy does fine and f a c E for face you remember is that But then when you see ledger lines, you just count until you figure out what that note is. Lying Space lines, baseline space. Oh, yeah, that. Okay, good. Let's take a quick look at this because we're talking about the actual notes. When you're reading music, we have to attach the rhythms to also rhythmic value. So you've got the note and what is the note and where is it on your guitar? But then there's also how fast you play. It was the timing of it was the rhythm. And so, um, when we have these guys that are connected like that, we are doing a thinness and we know from scrubbing that they those are one in two in three and four ends, so if we look at this, we can see that it's going to go every good. So that's the Jesus first note on and is the second space so f A A says a. That's every good boys be again. Is that f is the first space, says an F, the effort face. But remember, my key signature, like he signature, appears self. I haven't after I'm here, The'keeper's signature applies to every F No matter where this when you have known on the key signature, you know, applied to every notes no matter where it is on the staff could be on the ledger lines could be down below. Could be in a mental, could be higher low. Doesn't matter, is every single half it applies to. So I have an effort here. Key signature told me after. Sharpen it. So normally my FB here sexual up. One fret. There we go. She, uh that's again was a sharp Okay, these a role Play like one and two and three and four. And if I put them together wolf faster, it'll geo. Okay, this'd my first measure of blackberry blossom. Luckily for you, I've tapped it out so you don't have to read. They noticed a black cherry blossom. But at some point, the future you're going to take it upon yourself to learn some more bluegrass songs that I didn't show you, and it won't be tapped out. They're going to be instead of imitation. But that's gonna be okay, because you're gonna be able to play it. Your bill read it and play it. Okay, so one and two and three and four. Right now, in our songs PS above the music, including the town. You'll see stuff like this. These records G D says the geek or and d cor so kind of what this is telling use that I've got to courts within the measures here so we can kind of figure out its two beats on the G two. He's on the d. So on. That's what that's telling you. This is meant to be if you were playing with somebody else, somebody was playing lead ability, and somebody else is playing the courts. Uh, putting them together. Okay, good. Good progress. All right. I just have, um I think to mawr points. I want to show you down here. We've got a measure, okay? Just by itself. And I've got dunce at the beginning to see the two dots. Looks like a colon. I got two dots, and yet this is a repeat. So the Dawson the beginning are saying we're going to do a review. We'll repeat this measure, and when you see dots at the end of the measure, you're gonna come back to me and play me one more time, so sometimes this could go on for several ours. Where I mean by that is I could have a measure with the coal in the dust of the game and stand no doubts of the ends. Another measure nude us in the end, another about your several measures and then eventually have a measure with dots at the end of Have sure, and that's telling me to go back and play here all the way through again. Until I get to the dots to repeat. It's a way to say Play this bit again. So in this case is telling me, Just play his measure. What if I had a second measure here and I I didn't have the dots here? I have adults. At the end of the second measure, you would say, plays the second measure, and I saw adults at the end telling you to go back to the beginning where I saw the dots in the beginning. Could play that sequence one more time is a repeat. Okay, is called repeat open. This is called repeat close, so repeat, open at the beginning of measure. That's where you come back to repeat close. It's where they're saying, Stop here, Go back to first stops again, Okay. Alternate endings with ultra endings. A lot in bluegrass music here it says first. And then here's a second you could say 3rd 4th when you have a section like a lot of low grasses two parts part one part two you'll planes part twice, and you might have a slightly different end in each time. So when you see this, it says first, a lot of times you'll have the repeat. This is the re be close, so it's time to go back to beginning. Beginning should have these dusts the beginning of it. I go back and play beginning, and if I already did the first anything that I skip it when I get back to this area. I skipped the first inning and a gel breaks in the second excess. So I'm playing your song and come to the first ending Play the first inning. See the dot so I could actually be getting a song play. I skipped the first, sending Let's give it a go right to the second because I replayed the first any. So I go right to the second ending. If I don't see dots at the end. They just continue on, you know, usually take me to the next part of the song. The second part. So this is alternate endings. Not a big deal. Makes sense. If you already played in ending, then skip it the next time around. It's great. The second playing first thing in the beginning skipped the first annual rates of the scientific excess, so I hope this was helpful. This is your reading music crash course, Um, and look through the PdF and this is going to make sense tubes something that we don't have to do for this course. But I'm just thinking about for the future. Things may come up, and it's best for you to get started right away, so that when you do have to start reading music, you'll be feel comfortable with it. 9. Strum Pattern (page 25): a oneness to make a quick video to show you an alternate way too strong, the basic struggling for all of these sauce, and this would be it right here. So for all of the songs, when we talk about basic strumming, I'm talking about just going through the quarter notes. Maybe one or two of them. We are going through eight notes, but for most of them were going through quarter notes as in on. And I wanted to show you an alternative that you could use for any of those basic strumming solves. And is this 12 and 34 ends. So we've got up on the end of two and up on the and of four. So if I'm on a G chord, so what I'm doing is going 30 thing. So this is going to give us a little bit more interesting, strong for the basic strumming, because you may not want to do country strong pick constantly where you may be getting tired and you want to do some basic strumming, but something more than just quarter notes from it. So this would be well recommends. You do, um, so if way, way now if I was going to break this into two courts. So for example to be, it's on G. And then to me, it's on the DIY, so I'm just gonna go 12 hands. 34 good. And the D is down in the u is up, down, down, up, down, down, down, down, down, down. Good. So you can already Sure, I'm still doing basic strumming. But now that I'm popping up on the end of two and the end of four so I just start going T o cool. So you can use this Doesn't turn for any of the songs instead of just doing 1234 These extremist down, Down, up, down, Down, Down, Down, down, down. 10. Cripple Creek (pages 26 - 27): Let's play a Cripple Creek going up to Cripple Creek. Going on around going up the Cripple Creek. Have some fun. This is a simple blue rest pretty popular one. A lot of beginner students will learn Cripple Creek. Um, and you know, as we saw with stuff like falling out breakdown, sometimes the simpler means that there's just more room to play around and get creative. Interesting. Okay, so Creek, it has two parts to it. Part line, Part two. Some people would call a part of the be part that's part wanted for two. Each core gets four beats four beats within a measure. So if there's one chord inside of measure or a dash, he gets four beats or four Strom's. And if there's two boards inside of measure where dash like your, then they get to strums each Tubize. So four strokes for the G to see two for this G four for that geeks is myself. Two for the Damien two for the cheap. So you just have one line has repeated for each part. Part one, please. Burbling yet to play for two again. That's it. You're simple. So I got my whore. We'll practice him. I got to go through so the course and melodies together. Okay, Let's do some basic strumming. Um, never trump down for beats. Um, we'll see what happens where it's going Down on each beat, right? 1234 And that's it. That's a little song. Okay, lets throw in some country strong country strong. So we're gonna pick the lowest note of whatever court playing Lois now that we're supposed to hit so g court on restaurant the rest of the court way. Right. Okay, let's go through with the country strong. When we get to the second measure here, you're gonna be like, uh, secret. Okay, let's go through it. Country strong. 34 Easy . Right. Okay, good, good, good. Good is a great one of your feet. But with melody is also pretty simple. So let's cue the melody by itself for just a minute. Theo, that's Millie school. Catchy. All right, let me play the courts again And reporting on the Luber year with the melody. Sounds like with the court's countries. 1234 way good. Okay, Now, listen to with the course. Oh, fun. Okay. So we can also use the open G major scale to solo improvise and mix it up a little bit. A lot of those disposal to play around with. So let's try toe and really use him rose and pull off and just trying to do some cool himself with, uh, Cripple Creek. It's fun. Okay, that's Cripple Creek. So this is a good one for you to work on. You're just getting your feud with the grass to grow. Great. Quick recap you're going to go through the basic strumming on the coordinates and just all downs on the quarter is Then you're going to start working and doing the country strumming a low, high, low, high, low, high. Whatever the lowest node of the core, they're playing the lows. Know that you're supposed to play of that court, right? So for the Deco or the lowest note is your open D string, the Psi Corps, the low snow is this guy that on the a string there from a strict, let us know that you're supposed it. All right, so that's the country strumming over the courts. Then you're going to play the melody. And in bluegrass world, it's very recognizable. Melody and then you're going Teoh work on improvising, using the open G major scale. And you know, one of the things that you're going to discover when he started improvising is just because you're staying within the scale on your technically notes, not everything works as good as other things. So certain combinations of notes will just happen to sound better and work better of over shirt cords. That's why I keep saying over and over again, always be thinking about with the cords are Oh, if you are thinking about the quarter than you're going to choose notes that we're going to sound good, that court, you'll start paying a session, that kind of stuff, making better abilities what we want. The proposition is the journey. We're always trying to improve and get better at it. Okay, you're doing good. So go play. Cripple Creek 11. St. Anne's Reel (pages 28 - 29): Let's play ST Ands, Riel ST ends, riel. Eso It's a riel. It's a different kind of bluegrass song. Um, this is a very pretty, pretty blue wrestle, um, or filled him. Um, and this would be from the Celtic. Um, let's take a look for Okay, we got two parts. Part one, part two. So we will call this The a part is to be part but colored Part one or two. Standard bluegrass. We've got four beats inside of each measure or dash. So for bees, the same is forced Rose 444444 2 to 4. These two chords inside of the Dashti chicken Too strong for Tubize. Good. And then we've got attempts to next to each part. So we're gonna play one and they play part one again. We play part two. We play part two again. Okay, Want or long? 40 per two for 11 for two, for two, Plugged into practice amp and my liver. We'll take a word of melody in just a minute. See how the ability sounds over the courts. But let's look at the court's first school. Well, let's just do straight quarter of strumming on this one. Now it's gonna be a little bit of a slower tempo. Okay, so we don't want to rush through this one. A lot of the progress songs were kind of fast and furious. And it's about like, you know, you gotta sweat dripping down your face because you're going so hard. This one is a pretty sauce. We're gonna go a little slower, so we're gonna go, like, 1 to 4 way, way good an artist or to feel it. Let's go ahead and try the country strong, though. Do you want to try the country strong? Because it can add, um, one of power to rhythmically at a slower tempo. There's gonna be more responsibility on you to keep Tembo solid to keep it consistent because we're gonna be breaking it up more. So you have to stay on top of the rhythm. So let's see if we could do it. We're gonna get quarter tips because we don't want we don't want to push this one. We don't want 11 it out too much. We wanna bring the energy, but we don't want make it seem like it's going fast, so we're gonna stick with 1/4 to strum 1234 Low, high, low, high. We're doing country strumming the lowest note. Whatever the low stone of the court is, that's what we're gonna hit first. So for the D court is the open d string on and wait, and we have the rest of court. We don't It the little with keep them separate, whatever the lowest of the court. Is that first? Are you guys getting tired of hearing you say that? Okay, good. So let's try country strumming on way. Okay, we got sounds good. Sounds good. You see what I'm talking about? The importance of being accurate and staying on top of the rhythm in the country Strong? Sure, Miss Pick I just did for Okay, Good. Now let's listen to the melody, See what it sounds like. Okay, I'm gonna play the millipede by itself. Were just minutes. Sounds like thing, - Theo . Pretty all right. Pretty ability. Now let's put it together with the course, record the court to deliver, and then we can play them back. Do you go? OK, way good. Good. Uh, quick little tip. If you ever use a looping po, it doesn't matter. what kind? You have the all work the same way of when you are recording a loop and you stop it when you stop it to make a good, seamless loop, You stop it right on movie. Be one off the next measure. Like where you want to stop it. Don't stop. It will be four like the end of where you're playing. Stop B One for what? Right there. That's where you stop is on B one. If you ever start messing with moving boat. Okay? Moving here in Melody with these course, this melody has the and Crucis do you walk in the the first? You know, staying cruises and Chris is a fancy music classical music theory term. But it is the leading measure where the walk in measure. So just those two notes and then the first note of the actual song three or so I thought this guy, this is like the one of the first quarter. Okay, so I'm gonna go gear. You were good. Never the first, you know. Uh oh, sorry. Good beautiful song. Feel Players love this one also. Okay, Now let's, um, look at improvisation. Um, it is in key of D Major, and it's just straight all the way through a teenager. Nothing. Nothing, uh, difficult or crazy about. It's just the major open position all the way through. You've got all those of your and as always, we are going to be thinking about the courts while we're soloing, and this is going to help us to have more melodic solo. This one especially, is going to come through because we're not trying to blaze through the notes. Quiz much. We're trying to make a more meaningful of pretty So So let's see if I could do that. Easier said than done right? All right, so we're playing around with open D major. It's good for I'm still gonna do my walking. And just because it sounds good way is your trying to go through as it's, um, of the notes from the course, the player house and just make ups abilities through San Israel. Good thing to do if you're playing around and just starts getting off course like that is really back in and start going through the original melody. So if you get off course, go back to the original melon, it'll it will tie about together for you. Okay? I think that's all I got for you for sending Israel. Um, you is a great song. Just keep working on it. You got the strumming this low strumming the quarter notes that you've got the country strumming well, and then we're going to do the written melody and stand playing some improvised solos using the open D major scale. So and, uh, going back and forth between the original melody and the D major scale to try to come up with some It's really pretty abilities. It's possible. That's always the goal. Right? So you're doing great. Keep on playing and have fun seeing Israel. This is one where sometimes you just need to bring it down, Give everybody a breather. Just place is beautiful. So this would be one of your beautiful songs for that category, so have fun with it. 12. Whiskey Before Breakfast (pages 30 - 31): Let's play whiskey before breakfast. Let's play. Was he before breakfast? That's a crazy title. Okay, whiskey before breakfast. Um, keep in mind a lot of these bluegrass songs were written, uh, 150 years ago. Um, so times were hurt. I was real or back that. And, uh, yeah, I would imagine that the life span probably wasn't that long, and your days might have been pretty bad. So was he before breakfast, But it is a very cool song. So they really brought a lot of that feeling. It's music into the notice. Of course. Okay, we got to take a look at that. So first off the courts, we've got two parts for one for two, also known as to the A part and the be part right, but we'll call a part one part two each organs four beats or four strums within each dash. Unless there's two course inside, dashing, they will get to too strong to beats. So, like four D's forties two G's to deeds, forays. Um, so part one. And then we repeated do it twice that we play part two and then we repeat it. You have twice. So for one part one Part two. Part two for one part. One part two are, too. The standard blue dress. Okay, let's jump into playing the courts, and we'll just dio regular strong throughout with, So I'm just gonna go. 12341234 Just down, Strumming through the courts Want Teoh way Great, Great. Um and sometimes you'll notice that I do this when I get to the very last chord. Like if I'm stopping and in the song I won't give it the extra struggle Just stop at the 1st 1 So a way the one Stroman the last court where the last court is just one. Okay, so that's throwing all the way through straight. Let's now go through country. Strong it country strumming We're going to have the lowest note of each Scored the lows dough that was supposed todo each court on a string for my a the rest of the don't base again way everything gets a beat. Okay, let's jump in and, uh, go through it with the country strong. 1234 Uh, wrong court justice time. Starting on D court. 1234 Okay , right. So that is country strumming through whiskey with the for breakfast less. Now take a look at the melody. Um, before we go, Melody, I want to just point out one thing about whiskey for breakfast is we're kind of hanging onto these cords for a while here in part two, and then the whole last line starts moving. So that's one of the kind of exciting things about way. So that's one of the things that you want to be on the lookout for. Is this last one right here? Your horse? Okay, get let's now take a look at the melody. Let's listen to how a sense guy just gonna play by itself that might even sound kind of familiar to you might have heard that, um, TV shows movies. It's an old popular bluegrass song. It's an old Celtic Irish tune, and it's then use silver two different times. Beautiful, milady. Okay, let's put the cords on a louver eso I can play the melody alongside the course that we could kind of hear with. The whole thing. Sounds like together country stroke. I try to start it with a de corn this time. All right, - Right . Okay, let's jump in and try it with the ability. Okay, - You hear it? All right, let's go one more time. - Very cool. Very cool. Sounds great. Okay. Moving on to the last stage of playing whiskey before breakfast is soloing it. We want to be able to improvise it. Thats one a straightforward. It's the key of D major D major open position all the way through. Now, as always, I want to try to think about the cords wall I am solely whenever I'm so I want to try to think about the courts so that the notes I pick are not really totally random. You're not just notes from the scale knows from the scale will work, but some notes will work even better. So that's why I wanna try to think about the courts, if possible, way so any of that stuff is going to work to play rounds over the course. So I am jamming with somebody. I have memorized the courts to whiskey for breakfast, applying it on, and when it's time for me to take a lead, I'm working on the melody, the written Millie. But I don't have it yet to where I've been playing with this person. So I used the scale to come pick a mobility at while waiting to can get up to speed on being able to play it properly. So this is something that we can always just jump into do is using scale to kind of create our melody. Just trying to keep it kind of within the spirit of the way that the song actually sounds. Okay, let's try it and see what happens. - That makes us you hear wars, huh? One more time. - So I'm wonderful. Okay, So quick recap. You're going to play through the courts straight to strong through each of beats, to kind of get used to the core progression. Then you're going to serve jumping into the country, strolling using 1/4 notes 1234 country strumming through the courts. Then you are gonna work on the melody. This is a great melodies, sales very, very cool. Then you're going to use the open D major scale to improvise over it and the way this would go a lot of times you get together with people. Let's say you know this You according to the country strong and you've got the ability memorized and you can play in front people. You will. You're playing the course country strumming, giving up the lead When the lead comes to you, you'll play the main melody the way that you memorized it. And then someone else takes lead to comes back to you for you solo again and you're going to then improvise and you may improvise a few times, Comes back to you, Do you improvise again? He comes back to you. You, Baber was again. And when it's time for us to kind of you're about ready to finish the song may be the last time you played. You'll actually do the memorized Millie a great way to do whiskey before breakfast. So go have fun with this one. 13. Alabama Jubilee (pages 32 - 33): Let's play Alabama. Julie, this is a great one is a jubilee. So that is, Ah, different kind of song. We're about to take a look at that. What makes it different? Um, first thing that we're gonna see is that it's in two parts, just like standard. Bluegrass are one part two a part and be part, but we'll just call a Part one and part two. Um, and it's 44 times, so there's four beats inside of every measure or every dash in this case. Eso If there's four meats inside of the dash, just two courts inside of the dash stage hit two beats or cheese drums. So, like to Strong's on the Sea to strums on the to see t o D. Seven d seven court OMG four on the sea Because there's just see myself. And so what we're seeing are two is that everything is its own measure. So everything in Part two is going to get for Beach four. Strong's One of the differences between Alabama Jubilee and most bluegrass songs is that there are no repeats, so there's no times to we're gonna play part 11 time they were gonna play part 21 time and then we just keep on going back and forth between part one part two. Okay, Got my guitar plugged into my and and, uh, looping pedals Weaken Play around the melody and the course of the same time Just a oh, one of the things I want to also do a little differently with Alabama Jubilee is, um if we just runs with quarter notes, then it's going Teoh. It's just going to sound a little bit too flat. Be too stagnant. So we want to go eighth notes, strumming even on the basic struggling. We're just doing basic, um, struggling. I want to do with business and we are going to go down on everything. So we're going down a Corneau's 1234 before we're gonna go down on eighth best also. So we're gonna be going like, one and two and three and four cats. 12 and three and four Adds 234 So have you just giving a little bit more life but going business. So let's jump in and do the basic strumming with those old house. All right, So way , - way . Great. Great. Would you believe start to come out. Okay. Also, eso we just keep on cycling around like that. Now let's take a look at doing the country strumming Do the country struggling now where we have a low, high, low, high, low high and we're going a little have like that Come on the C chord lows near the sea Court myself and I had the rest of the court. I had the rest. According I don't have a low note again, Just keep them separate. OK, so whatever the low stone off the court is, what d minor, For example, D. Myers Open D String Open D String is the lowest note way country strumming, we always want to ask ourselves, Should we be doing it, Teoh Good. Um, because it really just depends on the feel of the song. The way that you figure it out is if the tempo is kind of dragging of this a slower tempo, then you may want to go eight minutes because it will bring the life into a slower tempo. If a song is fast, then you probably want 1/4 notes because it's already going fast, so we don't need to be bringing more speed into a such is going quarter. Notes on a fast tempo works just like so slower song like this one. We're going to go eighth. Nous kind of bring life into it. Same Exactly. That is what we just did a thing. It's 12 and 34 and we're just gonna do it with the country strumming this time. Axl Us. Listen to what that sounds like. What 234 sounds great. Sounds great. All right. Now let's check out the Melody C with Melody. Sounds like I was gonna play it myself for a minute. - Way . Let's go one more time. - Nice , Nice. So it just keeps on going between for one or two. Usually the song will end so playful on June 1 for two, for one, for Super One Pursuit for what? And our part one. So that's the finishing point for the song. Let's check out what it sounds like with the court's eso going to record the cords on my liver. - Great , great, great grace. Okay, lets credibility into grace and you see how I did it on Portland. Let it go again. Okay. Excellent. Excellent. Excellent. So Alabama Jubilee is in the key of C major, so we can use the open sea major position to solo through most of it. It's a jubilee, so it's constant, interesting, jazzy components of it. C Major scale doesn't work for the entire thing. On it is pretty much this piece right here with the A's. So the a major chord definitely clashes with seek order. Um, and a lot of times you want to kind of focus on what the original Milady is doing. I could launch into, uh, least a couple hours worth of music theory discussion with you until the all these different things that you could be doing. There are tons of different things that you could be doing, but I want you to be able to jump in and start playing this immediately. So what I would recommend you do is, you know, over the melody when you're doing the A's, we are doing the same thing. It's that, uh, do that over the eight, and the rest of the time you can play around with the C major open position, go. So let's try that out. When we get to the A's, I'm going to do that the from the original melody and the rest the time I'm just going to play around with we owe except for over the this falls into the category of you for me. Say this before when you're improvising when you are soloing, you should always be thinking about what is the core that's being played right now, right this second will chords being played. And this is a great example of why that's important. Because sometimes one scale doesn't work for the entire saw, and we see that before and you usually just pop up in small parts, small pieces. But when it does, you need to have some plan. Yeah, that's my deal. What you're going to do. Um, and, uh, you know, there are always tones of things that you could do. Music. Um, but this is what I would recommend for right now playing what the miller he told you to do . Well, that's the melodies. The perfect thing is, does the perfect notes were just trying to kind of fellowship with their solo. So we're going to just stick with the melody does for that, eh? Let's try and see what happens. All right? - You see how Theory Journal melody is somehow perfect for that song. And so when I was those a quartz came up just trying to jump back on Teoh on, uh, you may Coming late happens, but you try to jump onto those notes, bang around those notes, and then after the accord, you could kind of go back to playing around with the open sea major position. So this is great practice for you. Because any time that we've got something outside of just a safe sphere of just play around in one scale, you do anything you want, Teoh. It forces you to think a little bit harder. Pay more attention to the courts. That's good for you. Um, Alabama. Julie, this is one of the songs that I think is important for you to know. A lot of people progress. People know this song. Um, and if they don't know it, they know that they should know. It s so they will be happy to work. Um, okay, so quick recap. We're going to do the basic strumming. Uh, basic strolling is gonna be all downs with eighth notes one and two and three and four. We are going to do the country strong with eight notes. Also on 234 we are going to play the written melody, and you're going to memorize that short working on memorizing it is actually not that hard to memorize. Elvin Jubilate is not too many knows going on. So you should be able to do that. Not too much time, and you are going to work on improvising over it so you can kind of embellish with it a little bit. Since the melody is not that complex, we want to play with it a little bit. And so I really want you to be using the C major open skill to play around with it. Just remember to watch out for that a cord. Watch out for that record. You know what to do. So have fun with Alabama. Julie 14. Blackberry Blossom (pages 34 - 35): Let's play blackberry blossom. So, like cherry blossom, probably one of my favorite bluegrass or fiddle tunes. So people consider to be advanced bluegrass because it's physically very demanding. Um, that's if you're playing in a fast tempo so you don't have to play fast people a kind of slower. So it's a song that beginners can start playing getting into bluegrass, but it's physically demanding, so it's going to make you stronger and faster. Eso is a great one to learn as soon as possible. Okay, let's take a look at the cords first. It's standard bluegrass, which means he's got two parts. It's got the part along the part to some people. Call it the a part B part just, you know, our long for two. Um, and so far, only part two and each part is played twice, so we repeat each part. What I mean is, we're gonna play part one, and then we're gonna play for one again. Then we played for two. Then we play part two again. So? So that's what the Times two is right next to each other court. Right? Um, the dashes indicate the measure break. So we've got four beats inside of each measure, so we have to. Somehow all the courts have equal four beats. If there's two courts inside of dash, then each court gets two beats or two's drops. And if there's one court inside of a dash like we have here for two, then every court is going to get for strong for bees. Eso report one. We just take a quick look. The first line and then the second line. We see that every every measure, inside of every dashes to chord, so to Strong's for every single according for one. Then in Part two, we got four Strong's four strokes. Four strums four. Strom's four strums four Strom's 2222 And then we would repeat for So let's jump in the courts and I got my Qatar plugged into on because just a minute we're gonna also look at the melody. That's what one of you's my liver to show you how to do that. Okay, Michigan. Two different strumming techniques for the courts 1st 1 were disclosed from down for every quarter, every beat, so we're gonna go just two G's two D's to seize to G is just kind of like that, just strolling down on everything. Okay, So way to go back into the beginning of the song. We just keep on playing it over Dorian. So that's a good way to practice it. Just doing basic strumming. And that was kind of a medium tempo. Consider that to be a medium tempo for blackberry blossom. Okay, so that's method number one. Method number two for the strumming is we're going to do the country storm. So for this one, what I'm gonna do is the low snow to each court going to hit that first for the first feet , hands of genes or is it the out of court? And then we're strong the rest of the court second. So if I just got to beats or to strums here for much, According for one, um, it's gonna be like that's gonna people both of the beats. So that's if the geek or done at that point, I'm moving on to the D court. So I'm going to the Lausanne de court, just open D string on the rest of the corn on the d chord. So this is the country strong. Okay, this is going to give us a little bit more of a, uh, a little bit warmer blue grassy field. We're also going to get that kind of boom chick fuel into the whom chick boom chick like the bass drum in the stairs room. We're playing a drum set to. Okay, so we're going to go low, high, low high country struggling just on the quarter notes. 12341234 The counting is exactly the same as it was with the first basic strongly method was going to countries right now And we get to part two is gonna be low, high, low, high, low, high, low, high, low, high, low, high. One, 2341234 for everything. So let's check out the country stroke A from the very beginning. Teoh. - Certainly bluegrass now. Okay, so that is it for the courts. Andi just will go back to the very beginning. And when you're going back to the beginning because you know well, grass songs go quick, they go real quick. So when you get to the end, you just go back to the beginning, seamlessly. We don't want to have any kind applause I'm gonna pick it up here just from the very last line. Very last line and go right back to begin. Okay? Just to show you what I mean should not be any positive in here, in here. So from this last line e minor. Ah, just keep going In circles around. We're talking about a country strong. When I hit the lowest note of the court and from the rest of from the rest of the court, I don't hit the low note again. I only did the first time. So that's something that you want to keep in mind is that you only hit the low notes on the first Be no hit on the second restraint. Everything else, huh? Good. Now let's take a look at Melody. Eso melody on this one is great. Very cool, Billy. Let's see what it sounds like. Ah, I way , way. Okay, also, um, less hear what it sounds like with the course. So what I'm gonna do is I'm going to copy going, Teoh, play out through the looper, and then the bloopers wanna play back the course again. I'm going play the 1,000,000 self It 1234 Okay, so I'm just going to start the loop one more time. Um, and we're going, um, 31234 Wait. So you just keep on going with milady again in this takes us to the last part of the BlackBerry. Bossom must library blossom is in the key of g. Give away on that is you know, first quarters according, um, and sweet kind of keep coming back to the G, even though part two isn't that you minor here sort of results back to the G towards the end here, So keep springs back to G. Says in G major eso the open G major position is going to be the skeletal were used solo over blackberry blossom and a good way to go through the song because I've been in jam sessions with bluegrass. Musicians were playing blackberry blossom. You could go on for 30 minutes or more because you're just going around taking terms. And people will either play the actual melody or they will improvise makeup. Soul is over it around the G major scale. And so let's take a look at that percent. Okay, I'm to go back to the cords on my Luber, and I'm going to just improvise a little bit with the open G major scale. Okay, so a good way to go through blood ribosome would be go to playing the courts basic strumming, then go through the courts doing country strumming low, high, low, high, Then go through playing the actual melody. Uh huh. On trying to memorize the actual ability. This is probably the hardest part of learning. Blackberry blossom is memorizing ability everywhere. Progression remembers. The core is also because when you're playing with people, um, ultimately, you don't wanna have to have the music in front of you want to have it in your brain, so you want to have a meme arrest course. And Millie, also, you're going to remember it's in G major. So something you could do when you're playing with people is if you're you haven't got the Milly total I memorized yet, or if you can think you might screw it up because you just don't have it memorized. You have Now, you know it's entry major. So when it's your turn, take a solo. If you're not comfortable with the melody, you could always just mess around with the old it G major scale. So playing through the basic course from that in the country strong that in the actual true melody and then improvising using the open G major scale. And that's black ribosome, this is a great one. I use blackberry blossom when I feel like I need to get my guitar skills back in shape and get my chops back again. So I will play like Herb. Awesome, because especially when you go through higher tempos, it is, uh, very demanding, very demanding. We're going through the melody and we're alternate picking down, up, down, up, down, up. And we're changing strings so quickly. It's a great and it'll get you in guitar shaped very quickly. All right, so have fun playing blackberry Bolson. 15. Billy in the Low Ground (pages 36 - 37): Let's play Billy the low ground. This is a very cool bluegrass or fiddle tune. It's in the key of C major, and as you can see, we have one record in this one. AIM Honor pops up quite a bit, so that kind of makes this one with all right, so billing Lou Brown is a standard bluegrass style. So we've got part one and part two. You can also think of this as the a part and be part, but I like to call it part one or two. Okay, Eso every measure, which is within the dash, has four beats. So for beat Sun Sea or four Strong's for Pete's on the next, see for being some minor for design fire like that. Well, he gets in the second line here. You've got to Strong's on the G into strums on the sea. So just every measure within the dash has to equal four beats or forced rose. Um, so you play part one and then he played for one again. That's what the Times two is. Then you play part two and you play part two again. So part one part. Want to get part two part two again and all right. So pretty simple, straightforward. I've got my guitar plugged him to practice up, and I got my, uh, looping bill, which really usedto play around with the melody in just a minute. Let's go through the basic courts. Trump's So this guy's trump down for each be, um, and we'll go through and get used to the court progression first. Okay, this one's gonna go at kind of ah, medium to medium high tempo. So, - uh , really good. Really good. Okay, so that's the basic strong. Um, let's e wanna take just 30 seconds and show you something. You may have seen this in some of the other videos that have done, um, and this is popped up in the lessons with students all the time of my F court. Okay, The court. So, in the world of acoustic guitar, bluegrass folk, just easy songs, we the F court is the one that pops up that gives people the most trouble. It's a bar. Court has to be a bar court, meaning that we can't really hit open strings with the F court. Um, you could, but it's let's not go. There just is a bar chord. We cant hit open strings so well. There are two versions of the F court, which most people will do. There's the full F bar court, right, Right. Barring all the first friend here, the low to the high ago. One 3321 We had a full left for work. Hard to get to you in a hurry if you're not used to it, so that's probably the most full comprehensive. And this is the F court is one of the hardest course to play in all music, this particular F court, because it's got the highest resistance because it's right next to than not right here. So for me to have to press down all six strings in the first friend, I've got the highest amount of resistance right here. So no matter what other crazy jazz chords, some guitars will be playing. When you're doing this right here because of his, it's so close to the nut. We've gotta put so much pressure rise just really truth one. But that's the report that you're told to play a lot of times, and this is a good one. It's got a nice So what a lot of people do is what's called easier and easy off is where you have a secret. And then I just bring these to my ring finger, my little finger, everything down a string. So he's going 123 in order. Then there's the dance of the one that you see me doing. Sometimes it's essentially the easy up, but what I do is I mean, my ring finger down. Kind of like I'm doing a C court and then my pinky is gonna go on anything on the D string . I just has a little bit of horse sound. I don't have to do the the I still have these guys in the same position, But I'm just going for you. This, uh, first front on the B string where the two diamonds. So, uh, so anyway, if you see me doing some kind of funky looking f court, that's what I'm doing. You could go, Okay. Getting back to building the low ground. So we did the basic strum Let's now do the country stroke A We're gonna go low, high, low, high, low, high, low is known each court. So the secret lowest up on the rest of the corner. Okay. What? I play the g chord. It will be the lowest in the G chord, which is on the rest of the court. What do you know? Maybe the easy F. So I'm just gonna go the D string here. 123 for one of these. So one of the low knows from the death. All right, so let's go Country strumming Building the low graphs. - Sounds great. Sounds really right. Okay, let's jump into the melody. All right. Um, let's hear how sounds first. - Very cool. Very, very cool. Okay, what's Let's record the cords onto the looper. And here with Billy. Sounds like with the court's country. 1234 Okay , let's jump in with Milady. 1234 Did your It's go time 234 Nice . Sounds great. Sounds great. Really. Welcome together, milady. Okay, So that is the written down melody, which you're going to memorize Your remember as the courts and then the melody and, you know, memorizing these bluegrass abilities, you have to give yourself a little patients. Just go through a little bit every day. Keep it your brain. You don't need to have your guitar while you're working on it. If you have worked on it, you could be at work. You could be out and you'll be thinking about it, and it's going to just help you to reinforces, to keep it in the top of your brain. Okay, so you can still jam it with your friends even before you have a melody completely memorized and ready to play with them. Um, we've got the open sea major position so you can play the course, but you're still trying to get up to speed with milady. But when you get together with your friends to play, you can use the open sea major position scale. All right, all of those notes, we can play around with all of those notes through the courts. Um, and I said this before before to hear this frequently any time you are solo, and you should always be thinking about the courts of the song, what I mean is, I'm in the middle of a solo. I should know exactly what court is being played. Somebody else displaying courts. With this course being played, I should know wall of solar and get at any given time. What court is being played? Soloing That suggested a minor court Soling. That's the F court soloing. This the G court. I should always know what the court is. You don't have to know that I'm day one, but that's what you're working towards is being able to know the cords lawyer soloing. It's going to make the notes that you choose that are you will choose. Better knows he will put your strings of melodies together in a more meaningful way when you know what the courts are. Okay, so let's go through, Of course, over time and less improvised bills, try out the C major open position. This one just stays and see Major all the way through. Okay, - off last ball, Small said. That's something that I could sit there and just play around with for a long time. Long time eso. And that's what I want you to do is to play with the open sea major position. What, you're not ready to come out with the Milady because memorizing the actual ability will take you continue. Few days could save you a week. Two weeks. It's really up to how much time you put into it. If you said I'm gonna have this thing memorized by the end of the day, you could probably make that happen. If you trying to If you try hard to do that tree could make that happen. Oh, but you know, even if you didn't have it memorized when you get together with people you sometimes are like, uh, you know, your brain just gives up, and I know I know this I was playing earlier today, but now that I'm in front of you Euros so that happens when that does happen, that's what you got the open position major skills for That's the whole point of Still got something you can do to be creative, to stay with spirit of salt. Okay. So quickly shop. Um, the four things that we can work out with 1,000,000,000. The low ground is thes straight, strumming just from down for each and then also the country's drawing. Um, we also said no to the, uh f course. We looked into three different, of course, full F many f in the damn f. So be able to bounce around with those. Some are going to be better for getting to hurry its everyone just be fuller sound. If you have to hang out with the F court for a while, you may want to go for a fuller sound. So have be versatile. Was your of course, um, playing the actual melody? Number three. And the number four is improvising, soloing, having fun, being creative with the open sea major position. So go have fun with 1,000,000,000 programs. 16. Red-Haired Boy (pages 38 - 39): Let's play red haired boy. Her boy is a very cool bluegrass or fiddle tunes. Um, it is in the key of a, uh it's got some special qualities to it which will tell you about in just a minute. First, let's take a look at the courts. Right. So, um right there, boy is in two parts. We see this also all the time for one or two and some beautiful a part of the people are, so you'll know what they're talking about. A part is part of the keyboard support, too. It's the same thing. Okay, um, support one we've got inside of every dash. You've got a total of four beats. So, um, if you got one court, then you have four beats or strums. And if you have to course inside the dash, they each get two stripes for two kids. So you got, like, four strums on a here to you and to on the D than four and 4422224 And so what happens with the tickle Progress style is that is in two parts and you repeat each part. So we played for one part one again that we play part two. We play part two again for long purple in or two for two. That's what these times twos or so let's jump into sea. Of course, that, like, got my guitar plugged into practice and up here so that we can use the limber to, uh, play around with the melody in just a minute. Okay, so let's start with basic strumming. I'm just going to strong the quarter notes down all down scraps. Um, okay, let's go way. - Did you notice how the ends when I go from this last A to this first day, it was just no pause. It just went, continues strumming. So 123 way Just keep strong. No pause. You don't stop. I'm just beginning like nothing happened. Seamless transition. That's what we want. Okay, so that is the basic strong kind of help you get used to. The court changes. Um, let's talk about country strong. Okay, Country strong. So we're gonna hit the lowest note of each court first eso for 1/4 going to open a strings That's lowest for the court on struck the rest of I going. Teoh hit the I could hit the low again when I had the rest of the court keep up. So de cord Milos deport is the d string way, Theo. Countries drawing whatever the core is you go for the lowest note. You hit the lowest note by itself, then you get the rest of the court. Some people call this Carter style. As in, uh, June Carter and the Carter family. June Carter was Johnny Cash's life. Johnny Cash used this style and hold his playing. It says, Chris, this boom chick chick bass drum, snare drum Low, high, low, high kind of effect. So bruise a lot. A lot of cool, cool sounds music I call the country strong. Yeah, All right, so it's country strong through redder boy. Okay, 1234 So if you couldn't tell that I've got next beginning, that's kind of good, because I didn't want you to know that I had gone to the end. And what, you didn't know that something happened because the song ended. I just went right back to the beginning. Seamless transition. This would want at the end. We just keep on going back to the beginning. No pause. Okay. So that is the country's trump. Sounds very cool. Let me talk just for another 30 seconds about country strong. There's a lot of ways we can use country strong if I am just going. I so that is just the crash course of country strong. But I can start using my palm muting on my picking hands, doing some palm muting to give me even more drum comes too close way. So if you want a wide open and nice and loud usual everything ring, if you want to be a little bit more than background and give it a little bit more of a was called staccato, it means it's a little bit more percussive, and it's not ringing as much. So what I do is I I just take this part of my hands and I pretty much go directly over my strings, right e. I wanna be like, pretty for bag. So that one what your strengths. And I just wanted to get a little bit way right now, my record or whatever. I think thats is good because, um, let's say that playing with various bluegrass musicians, okay, it's a banjo player and fiddle player and a mandolin player and a guitar player and others Me. Okay, pretty much everyone. Everyone of those instruments is gonna be really loud because their instruments are very loud except for me and the other guitar player. Guitar is a mid range instrument, so most of these other instruments are high Ridge Madeleine. The banjo ends the fiddle laurel high range instruments so they can hit these really high pitches. And guitar is right in the mill of the Frequency Ranch, so guitar players have struggled wars to be heard. So what? What that means is that while the fiddler or the banjo player where the mandolin player is doing their solo, I could go wide open. I can go as loud as I want to go because I want I want to be heard. They're gonna be loud Anyway, there's no way when the other guitar player starts taking his lead back, hold it because he's gonna be struggling to be heard because he's got quite instrument so way, doing a little bit of the palm, using all of you my country strong, because I I want to give him a much opportunity to be heard as possible. Okay, so makes us. You could do palm muting if you want to quiet down and make it a little bit more staccato floor percussive, Lesser immune. Let's listen to the melody off red hair, boy. Good way, Right. Good. It sounds great. Um, okay, so, you know, I was alternate picking on those eighth notes. Down, up, down, up, down, up. Okay, so no record the cords onto my looper s so we could hear with the melody. Sounds like with the course at 1234 Great . Okay, so that is the melody for red hair, boy. Um, less, uh, go to the last piece of playing right here, boy, which is soloing over it. You're soloing over it. We are. We're mainly in the key of a, you know, because it looks like it's in the key today, um, for our open position, we're going to use to different open positions. And it's simple because any time you see a line that has the g on it, we're going to use the open D major position. And when you have a line that doesn't have a G on it, you're just going to go for the A major position line with the G chord on it is going to get the D major. Well, the position as a line with no GE is just gonna be a major, as it should be. So basically, the top line is going to be the major open second line is image. Third line is going to be D major. Last line is image, and the reason for this is getting into a little bit of music theory. A little bit of guitar theory. Essentially, when we're playing the what we're playing the D major over the first and the third line. The D major scale is the It's the D major scale on it winds up giving us the mode of a pixel idiot. And the A makes a Lydian mood is the mode that we need for these lives. The first and third line words got the G court. If you don't understand what I'm talking about, that's okay. Don't worry about it. Just do the D major open on the 1st 3rd line. It makes redder boy a little bit more of a challenge, and I'm definitely seen this, uh, jamming with bluegrass folks is it's a little tricky because on where the G chord pops up, you want to be on your toes because you have to kind of really just one note that you have toe stand Gino instead of the G sharp note. One note you have to watch out for because But you know, it's the G. Not that you sharp, but it pops up in a few other places. So it's like instead of that, you sharp here we can play the open G string. Or is it that she sharp here? We could come down to the Gino Cure, so pops up in a few different places, so it makes right here, boy a little bit more exciting to play. Let's see what happens when we improvise over forever D major for lives one and three and then the last two and four. Is that a major skill? Okay, so let's see what happens. - Good . All right. That kind of access. Yeah. So let's go one more time. Okay? Let's go one more time on that. No rush here. Okay. - Great song. All right, So we've got the four things to work on for. Red hair boy. Got the basic strumming, got the countries coming, which we talked about. We can also do this staccato where we're doing a little bit of Paul meeting over the country's drugs. We have the melody, and then you got soloing in the two open positions D major D, as in Dan D major for the first and third line and then a major for the second and fourth line. It's a little tricky first, but makes it a little bit more interesting. Gender toes, Um, and this is definitely a great one to go play with your friends. So I hope you do and, uh, go hustle on playing right here, boy. 17. Bill Cheatham (pages 40 - 41): Let's play built you. This is a great bluegrass or Filton, which is in the key of a major. So let's start over the course. Good. We've got two parts for one part, too, just like standard bluegrass, most bluegrass songs. We're gonna have to parts, so people call in an a part B part, but we'll call it part one. Part two. Every measure, which is what's inside the dash, is going toe have four beats so total for beach or four strokes. So four Strom's on a force drums on the next day from streams of the D four strips of D In terms of a and so on like that, when we get to the second part, we see there's two courts inside of the dash or measure. So we're gonna go to Strong's two strokes to Stroh's two strokes. Actually, every court in Part two is going to get to schtrops, so standard bluegrass is in two parts, and will you repeat each part? So we're gonna play a part one and then really put one again. That's the times two. When we play part two and then we played part two again. We go back to the beginning. Just keep on cycling through it like that. Um so key is a major. All right, so let's take a look at how the courtroom sound Got my guitar plugged in. Yeah, to the amp. And we're going to She'll use the looper pedal in minutes a look, a melody with the courts. Just go through the courts for a minute. So I'm going to do some basic strumming. Just goes from down for every beach. So, like I said for beach for each one except for this last measure here we do to to way, way back your seamlessly And when I say seamlessly when we get to the end I was gonna play . Just is very last measure of the to ease into days right back here. It's gonna go like this. Ah, okay, so that's the basic strumming Starting everything down like that. Now let's take a look at the country stroke. A country strumming is where we're gonna go low, high, low, high, low Gonna hit the lowest note of each court. So for the accord hit the extreme Open on I struck the rest of the court I from the rest of the court. I'm not gonna hit the low note again. I only hit it a long time. I had it first hit the rest of the world and playing the d chord apply the lowest of the D chord, which is the interest rate on a record is the low e string. Okay, so really a country strong Where he's the same rhythm. Um, 12341234 was going, Although high, low, high for each one. Let's go a little bit faster, tempo. Okay, I'm gonna push it too much, but just a little faster. Theo Way. - Ah , right. So, countries from last month, you're going back to this first video. Okay, so that's the country. Strong country. Strong is what I would recommend you do mainly for bills, you know? So that's the That's what we want to get to. But you can also makes it up by just doing basic stroke. Okay, so let's say look at the reality now. No. No way. - All right, so it's good. Okay, So that is the melody. Um, you're gonna go through it. You got your pdf. So you're gonna go through that and try to memorize it. And, um, less trying with the courts. We can kind of get a sense of how it sounds with the courts. All right, so I'm gonna go for the courts onto the looper, and I'm going to play the melody on top of that. OK. 1234 Good . OK, now try again with the melody this time. Way, - Grace Sounds very pull together. Okay, so, um, we've got the basic strong we've got the country Strom on the courts and we've got the true red melody for bills You Then we have what comes after, which is the improvisation. So blue dress goes very quickly through the songs superfast Maybe 20 or 30 seconds and going through the entire song so you can only play the melody so many times You really want to play at least once or twice? Um, the way that of a big jam could go Even if you're not gonna sit down, we're in a jam on Bill Shootem. Let's say we're gonna play for 20 minutes, Okay? Which happens that definitely we would usually start out with theme melody and use your ability once or twice, maybe three times. Then you would start to hear some solos and improvisations based on ability based on key. Cute, A major. And they will go on for a while. And then as we close it out, maybe the last pass would be playing again. The truth, milady. The actual readability. So it's kind of when you start and end with the actual melody. Andi, all the in between stuff is playing around soloing rounds, trying to explore and be creative with the song. Okay, so we've got the open a major that we can use to solo with it. So this is perfect song practice of the open position off. You're a nature. All right, let's check it out and wall long doing this. You don't need to do this right from the get go. But ultimately, and no matter what style of music you're playing, we're doing bluegrass right now. But whenever you're playing anything, you should when you're solo and you should be thinking about the courts, no matter what you're playing, whenever you are soloing, you should be thinking about the courts. You should know what the cords are there big played while you're doing your solo. So it's going to make your solo make a little bit more sense on, and it's going to make the song. Just make more sense. It's going to sound there. You will be really pushing the song into the direction that you wanted to go. Okay, good. So let's, uh let's try it out. Good. - Very cool. Okay, so trust me, I can keep doing that for a while. That is the fun part of soloing this stuff. So I want you to work on actually improvising with you in position while you're working on this stuff, you have to work on the courts. And really, you need to memorize the courts for yourself. So working on memorizing records, getting to where you could just do basic strums on these without looking same with Melanie . You want to be able to have milady memorized so that you could pop it up? He really benefit to being able to improvise to Seoul. Like I just did with these open positions. Is that, uh I want you to get together with other people. I want you to get together with your friends. It's are playing this stuff. A weighted plate, progress with your friends, people anyone that you know this willing to play with you. They don't even have to be guitar players, a banjo, mandolin, these Phil or any kind of stringed instrument. And while you're going through this, you may see them. Hey, I've been working on Bill GM's. Can we play that? Let's try it. And you, You know, maybe you've got the courts down by the courts. Maybe you're working on the melody and really close to having it, but you don't quite have it yet, So that's a great opportunity for you just to kind of, you know, go off and play around with the open scales. At least we can get some kind of a jam going on and you're still banging out the courts to the song. So it still is kind of these pretty much built Cheeto working towards being able to get that melody. Okay, so you got your basic strong you got your country strong. You've got the actual melody, which you know how it goes and improvising, using the open a position of a major city out in the open position. So have fun with Bill Cheeto. 18. Blackberry Rag (pages 42 - 43): Let's play blackberry rag. So like a rag, it's another BlackBerry song. Not to be confused with BlackBerry balls. Uh, left. Iraq is very cool bluegrass tune or fills in, Um, and it's a rag. So and what makes that kind of interesting is that rag is, uh, is a style of music. I came from jazz, so the truly American genres of music, styles of music that were created in America, our blues, American blues, bluegrass and jazz eso these air styles that actually were created in America and one of the early kinds of jazz music was the rag. Did you think of Scott Joplin of the Entertainer? That kind of stuff, those racks. But in Blue Grass, there are a lot of rags ragtime tunes. So it's interesting that both jazz and bluegrass Cesaire totally different styles of music . Bluegrass is more country mountains at legend and jazz. Do you think more of your leans? Um, and it's got a lot of work blues route to it, but they both adopted the rag form, so we're gonna look at blackberry rag, which is very cool one. All right, I've got my guitar plugged into an AMP. So we can do the Luber so we could look at the Milly and first look at the court structure . Eso It is standard bluegrass in the sense that has got two parts. Part one or two. This one's in the Q C major. Um, now over here, her one. Well, let's start with the fact that every measure, as in within a dash, we're gonna four beats. So if you got one quart inside of the dash, then it gets four beasts or force trumps. Everything has got four strong's, except for this one measure right here in this first ending. So four strands, four strums, forced runs to to and then four strums Force transports Trump's. We've got four strips here on the sand. These are called alternate endings. Don't be freaked out by that. It's real simple. Show you how it works, because in most bluegrass we've got Portland or two and we repeat each part, so you will play Orlon and then you play. I don't want to get your point or two. You'll play Part two again. That's very basic bluegrass, and actually, that's exactly what we're doing here. In Part two. We played for two and then we do it again. That's what the Times two is. Okay, But sometimes what will happen is this second time you repeat it, you have to do that last measure a little bit differently. And that's where you have alternate endings. Say the first ending. We're gonna do this secret twice, and then the geek, or twice CCG. But then here is telling us on the second pass, just do the C chord four times. So essentially rely on sea for F four G four in the first inning C to G two and then go back again for the second pass, C four at four. G four and then we jump straight to the second cause we're ready to the first Tell you the secret four times makes us okay, let's go through the basic strumming, which is just gonna be down Strom's on the quarter house. So 1234 way Just keep doing the same thing. We want this to be a seamless transition. We don't want any pause between the end. So if I just pick it up right here from this very last see court, right? And we're just gonna go ready to this very first see court. Gonna go from very last. See quarter to go around the beginning again. 1234 So when we get done here 12341234 There's no pots. We just go right back to prepare for C course you keep counting. 1234 Okay, so that's basic strumming. Um, let's try the country strong, Okay? This is where we're gonna your low, high, low, high, low, high, right? And we're gonna do one thing for each feet. So before were, we were just on the sea measure. No, Lo Stone on this case is on When I get the rest of the court, good. Gives us the boom check. Boom chicka boom chicka boom check worth up. I kind of feel the bass drum in Syria, so let's go through. With the country struggling like Iraq, 1234 makes us okay. Good. Um, sometimes something that you could do is you want to figure out if the country strong should be done in quarter notes like we just did. Or should it be done in eighth Notes One and two and three and four And so since Blakely Rag I It's not that faster the tempo. So we can bring a lot more life into it and energy by just doubling the country strong and seven requirements. 123 Or we'll just go twice as fast with the units one and two and three and four. And so, for example, this first sequel right here, instead of going like this, what I do is I go one end to end three and four end and am's will be the rest of the court . I want you before will be the basis way. So let's try with country strong on eight minutes. And this is actually the way that recommends we played one to 34 Sounds good. Sounds really good. Okay, let's take a look now at the melody. All right, So, um, Milly, um, well, let's listen to how sounds first. Right now we've got this walk in, which is also called Anna Crucis. So you'll see that in the music. It'll just be a couple of notes in the beginning of of the song. It doesn't equal a full measure is just a couple of notes that you Plato walk into the first measure. So that's the end, Cruces. That walking and a cruise. This is just a fancy classical music term for, but it's the walking way. - Sounds great. Do you hear that? A rag feel it? Almost has a little bit of a jazzy this to it. Okay, that's the rag. Um, Okay, great. So let's see what it sounds like with the court. So I'm going Teoh record the course with the country Strom, and then we'll go over it. And here with the melody. Sounds like 12 Good. Just stop for a minute. Okay? So now let's listen to what it sounds like with Milady. I'm gonna go ahead and do my walk in, which is the and then what? Hit this. Uh huh. I was never here. That's exactly the one right here on this third. Fret. The Gino so great . Sounds very cool. Sounds very cool. Okay, so the last thing that we want to talk about with BlackBerry Iraq, we already sent us in the key of C major so we can use the open sea major position to improvise over it, to create a on solo, because this is a really fun song to just go around several times Bluegrass goes quick, right? So you get from the beginning to the end superfast in blue bresil So you don't want to end it You only he'd go and have fun with it Explore it. Eso you want to do the different court things that you can think of to do, which is basic strumming and then going through the country strumming So now inside he really facing up the court stuff When you have a solo you it's good to play through the actual true Melanie first. So you go through the actual true melody and then after that, you want to play around with it. We've got the golden C major position that we can play with. Good. So the open sea major position and, um e when you're doing it when you're soloing, sometimes you can just wing it and just fuel your way around the notes. But if you if you do know what the notes are that you're playing in the open position, think about the courts. What core is being played and it's a good idea that trying maybe hit those notes from the C major position over that court. This is how you can start getting a little bit more control over your solo. Your improvisation is, for example, if the F court is being played, then I've got my C major position. The court is being played. Focus on it or, you know, focus on it. That his nose around it. So I want to play around with knows from the F court, the actual Lefcourt, or actually go for the court itself. We're on the G chord hit. You go for a G note and then you could kind of, like, play the notes nearby from the sea. Open position. Okay, let's try it out. Let's improvise for just a minute, okay? No Good . Good, good, good. You're good. So closing thoughts on blackberry rag. How to practice it. We want to do the basic strumming just down all the way through the court. 1234 Then we wanted to country strumming on a country struggling eighth notes would be my recommendation. This is always something you want to think about. With countries struggling, you can country strong almost anything. Okay? And I'm not just talking about blue dress you can country strong. Almost anything. Almost anything you're playing on guitar, any style of music. It's a great thing we call the country strumming, so people call it Carter style. It's got a few different names, but people have been using this technique for a long, long time, but you can use it in other styles. You could play rock or jazz close. You can country strong anything. Uh, when you're doing it, you want to ask yourself, What's the rhythm? Cure was the feel of the meter. Are we going to use the quarter notes and go have a slow country strong with 1234 punk? 234? Or is this song a little bit of a slower tempo to where we need Teoh go faster with country strong like Caithness where we're gonna go one thio thio And that's what you should be doing for Leopard Rag Country Strong has 23 and four hand. Okay, so we're going to a country struggling. Then we are going to play the actual melody, the actual Milady on. And then after that, we are going to improvise using the open sea major position and we're going toe try to the attention also to what are the course to that grand courts being played. So I'm gonna try to hit those notes if I can. So that kind of course being played. Um OK, so far like very rag. 19. Foggy Mountain Breakdown (pages 44 - 45): Let's play flunky. Mountain breakdown. So this is it Looks pretty simple, right? This is actually one of being one of your show of songs. Uh, believe it or not, it's, uh, when people say you Oh, so you're playing guitar. You're learning how to play guitar. Uh, let me something. This is probably what you're gonna want to pull out on. Uh, you'll find out why. And just so yeah, it's pretty simple. There's, you know, just one part and just keep on repeating this sequence of courts. Um, but there are a bunch of cool little tricks in between that we're going to were right now. Um, and banjo players love this song. This is one of the first songs that every vengeance student will learn. Um, so, usually within the first month to playing and you students will start, we're kind of talking about breakdown. So if you ever be individual, player has been playing for a long time. They were probably amazing this because they've been playing it ever since they started playing. Oh, so it's a fun one, and yeah, So, uh, let's just jump. Right. Okay, so I got my guitar plug. DNC my practice, amp. And also gonna plunge into my Luber so we can try soloing over with cords. Okay, let's go through the courts of the basic version of the courts. Um, will go one video. Well, we'll just go through with quarters to start out with to see what is happening. Okay, so everything guest four beats every court gets four beats, so we'll just go for bees. Lunch one to kind of used to sequence. Okay and find not breakdown is usually a breakneck pace. We're gonna go breakneck, but it's fast, so you won't play it as fast as you can as fast as you can play. Well, way that's it with Quarter us. Now let's do it. Basic. Ah, but with a business. Okay, so I'm going to be Oh, so do everything Down. Um, and one and two and three and four. - Simple . Right. Good. Now let's add in the country stroke a country strong is going out a little left of this thing, um country strong. So whatever the lowest of the court is going to get that first record that loaded first. And then I strongly arrest record. It's reversed. According don't wait for this country's from one end to end Three and four Anslow high, low high, eighth note country Strong way I started to have fun. Okay, now, in so walks, we're gonna walk from the courts to each other by what that means is it's kind of like a combination of what we're doing with the country strong. But we're going to use the baseness. Teoh, do a sequence into the next court. All right, so going, Teoh, go play through real quick and then we'll talk. OK? 1234 The first measure is just normal cell going on the cheek or 1 10 to 10 3 had four hands. No todo way. Way. Um uh, Theo For what? Four end. That's where the walk is. This one doing this and that's all of this right here and then going from the G to the D. Right here. This'll one. We're going todo one note earlier and for and says the end of three and four and starting it on the second front of a string. Do a little chromatic walk, which means I'm just going one front at a time single for at the refresh fourth fret to the open D string on a stream second friend and the third friend in the fourth fret and a string second fret through forefront and counting it like the end of three. So if I pick up from this G right here, Okay. I'm gonna start my walk on the end of three. This second front of a string of the G chord here. Way to my country. Same deal in the end of three. The way the strings. And then what? I go open G string on the one, um on is the one b one of the G quarter here, so just re arrested. Way that last measure. Okay, so let's look at it again from the very beginning, right? - Wars ? I way. Awesome service. I'm very cool. It starts out very cool, okay. And so where we're going from the D, sometimes what we're doing Those walks the since because the countries from we're in the basement up and then we're going into a walk, follow country strong, and then do the walks where I'm telling you, go from the G to the e minor is four aunt for and but, you know, we don't do it this guy. We do it going from 1/4 the next. This guy's just normal left alone this guy walk four and one walk for n one walk for any one walk for N one Going from the June. The day is on the end of fruit and for end So and four end Want to the D The D does the same thing on the end of three. And for one to open history way. Very cool. All right, now I need to show you the, um, walked in There is intro, which is very cool. Actually learned from a banjo player. Go figure. Okay, um and, uh, So what's going on? Sure. And you've got this kind of all documented on the road this out for you of the pdf. So you can kind of analyze it. Deconstructed, but Michaud teeger slow. Okay, um, let me play first, and then I'll explain what do? Okay, so walking. Let me do it again. What was happening right there is that, um that is taking place over these 1st 2 measures of G. And right where I finished that last note that I played. It's gonna go right into that you admire. So if I play that in true again way So let's deconstruct that intro the key to Because I know you can see it on the pdf and you're looking at in your cattle. I think that here's the trick off area. Okay, so it's like I got magique. Or so I've got this ring finger on the high string. If you don't make your record like that, you should definitely change it for the salt. At least ring finger on the hi there, Fred. And it stays there. It stays on. I heard fret for this whole sequence. So going pointer, fingers going to first Fred on the B string, this guy stays, plants it on the high street. Ready figures these places in my street. Three strings figure goes on the string first. Now pointer figures will slide up to the second front. Just take one more Look, those three strokes first. So keeping this guy plays it, ring finger plants, it doesn't move and then open pointer and employer has to slide. Has to don't use your Bilfinger flavor has to slide up because we're gonna do this hammer with our middle finger. So now what has to stay in the second Fred ring finger stays planted through this whole process. Understates plays it in the middle fingers going to hammer Iran's third fresh here on 1/3 front on the street. All right, great. This whole flam effect this little brook Brook too quick knows, like Brooke Super fest right after the two Quick hammer's gonna go, Chuck, Chuck up, down, up, down, Walker, Just do two hammers again in another truck. Truck up. Good. Okay, let's recap. Good. Now we're gonna do one hand with this last time. And do you? Sorry is only one Chuck that Chuck. So whatever of the s. Okay, so we're the two hammers chocolate chunk of two hammers, chocolate struck up one hammer and the down, off access trying make. This is simple for us. Possible goji straight here to be Oh, Theo. First was a pull off the rest of picked ah, to open to the 1st 1 on the way. You got this on your pdf. Just trying to show you the technique of the first part. That's the tricky part for a lot of people is to see that's what I assure you so when we put it all together. These us Now what? We're doing that true? All right, it starts with its It's got Anna Crucis has got the walk into lead it which starts on the the and it through and four ends. So if you can imagine, it's starting at the very end here and four ends. And so the 1st 2 hammers her right on people one and that one and that one. So what? We're doing that walking thing, huh? That's are leading. The leading happens before we get to be just here. So the lead in you can think of it as being at the very end of our last measure, where you could think of it as being right, very beginning this song. Before we get to be one, there is no I'm saying that is because if you play it or just keep repeating these course sequences, then you're one of playing the intro with very ends on the end of 33 and four ends. So, for example, I pick it up this g Cordray's here. - He says, All right, you this is a great one. And so, like I said, we're playing a medium tempo right now. So when you get to where you can play a little bit faster, you definitely impressing some people. You play guitar, play me something, you go way school, right? Okay. The last thing I want to talk about is jamming on this one. Just going through that is a great workout and finger over. You know, you want to be able to improvise with it. So we got the open G, um, the open G major scale that we can use to improvise over it. So let me record the courts just doing the basic country starting. I'm not going to play the intro. Just going to do country strong. We'll do the walks also, but I could do you true. Um and so the in true takes place over the very first Tucci courts. Good. So if you play that will skip these first teaching courts. If you do the intro and you'll skip these first teaching courses, just go directly into the e minor afterwards, or it could give the interim play that G course it's up to you. It's good to mix it up, probably. So I'm going to skip the intruder just going through the course and will do the walks, Teoh. Okay, we'll see what happens with the G open scale, G major open position. And we want to be a lot of cameras and pull offs. And stuff like that really used the open shape and, uh, real quick for the challenge on this one. Because without getting in a music theory here. But G and E Meyer are incredibly close. Very similar course. So to try to reflect each one in your solo, trying to get the minor selling e trying to give the geese energy, that's a good thing to shoot for. Okay, - cool . Right. Display around with it s Oh, that's what I recommend you do start working and playing the full version of talking about breakdown. Oh, and it's a pretty easy core progression to memorize. Just remember, you go to the miners twice. Okay? Good. You Myers wise and G um, get in the habit of doing the interim, fearing out how to throw it in where, um, you'll go, right? You minor after use it. It's the tops. Feel Skippy intro. You go through the G's. Um, always be doing a walks from the courts to each other. That is a very cool thing. Learning how to do this will make it possible for you to start walking and a lot of other socks to. You'll start walking courts a lot more often. What you get in the habit of doing it usually is the counting off the walk that screws people up. South actually notes its accounting. So just get in the habit of accounting for the G in the minors for end and then from the last records is the industry and four end and floor. So get used to that and then just start playing around with the G major open position. Excess All right, have thought with foggy mountain breakdown. 20. Closing Thoughts - Moving Forward: Well, you got through it. Congratulations. I am so happy for you. I can't believe that you made it all the way through. But that's awesome. That is wonderful. You did a good job. There was a lot of stuff that we went through. Uh, we just finished off a lot of bluegrass socks, so it may not seem like a lot, but it waas you did 10 songs, and that's big 10 songs is a set list. So that is great. You do a great job. I want to talk for a minute and go through a few closing thoughts on where you should be going next, What you should be doing next. You've got all the guitar fun amount. So you have a very solid understanding of the guitar and all the stuff that the guitar could do. You've got a least a few songs, if not all 10 that you can play now. Uh, so obviously you're going to continue to work on those songs and try to improve them, to get better, to prove rhythms, to get more accurate when you're playing the standard melody and to try to put together always better and better licks and riffs and solos when you are improvising over his office . So that's just a continuing playing guitar. You're always going to be working on that stuff. Continue to watch the videos of banning Times is you need Teoh. I've said that before, but I just want to remind you go back and watch them again. If they're helpful to you, Continue watching up. That's what they're there for is to help you. Um okay, So where to go next? Um, if you feel like you are ready to move on and start interacting with other people, we're learning more songs. Um, then a couple things I recommend. First thing I recommend is to get your book. I'm not recommending a specific book. I don't have a particular book in mind. However, there is a word called Thick Book Fake book. It's just weird name, but they're cold fake books, as in this fake it's not real fig book. So big books. They are published in almost every single genre of music. Um, you could get rock fake books, pop fig books, country thick books, jazz, thick books, blues, big books, classical fake books, bluegrass baked books. So something you they look for is to see if you could fly a bluegrass fake book were some kind of a bluegrass songs book. Now, when you're looking for the book, there's a lot of different books out there. I don't advocate for any particular blue dress book. Ah, fake book would be a great place to start. The things that we're looking for is we want the music to be pretty much just like we've got it Okay and RPGs. We want to make sure that because the courts just the basic chords up above and we want to have the standard melody standard melody could be in the traditional notation or could be in the tablature. So if you are not reading standard notation yet that make sure you get a book that has the melody in tab or tablature. It's not a bad idea to start working on reading music because a lot of bluegrass eyes going to be standard temptation. So that could be a good next step. If you haven't learned to read standard notation yet, and it's not that it's not hard like people think it's a big, hard thing to do, and only that's positions do it. Not true. You could you learn how to do it in probably 20 or 30 minutes at least, to get open running to where you can read bluegrass abilities that you don't know but reading from standard notation translated onto your guitar. So that's something you could do learning to read music. Um, get a book, uh, bluegrass songs book with chords and melodies. That is the important thing that we want being. The reason I say that a lot of progress books will have the cores and the lyrics. If you get bluegrass songs that have lyrics, a lot of rest books will have the chords and lyrics that is not as helpful, unless that's not really what we're you're looking for here. Those air good if you're playing with someone who sings or if you want to sing of the problem I've always had with those books is that the rhythms are not clearly defined. So if I see a G chord and C chord and this will be over a line of lyric of the works to saying, I don't know how many times has from the G chord and then how many times has from the Sea Court. Usually these these kinds of books were not clearly defined. They're good for if you already know the song and you just need the words and the basic core changes already kind of know how the song is supposed to go. So that's not the kind of book out what you together when you get a book that's got courts and standard and they tab notation so that you can read it just like you learned how to do here. Number to get a friend or other musicians to play with, um, so wherever you live, you may live anywhere in the world. Um, bluegrass, I realized, is it's an American style. However, it is based on, uh, European in English, as we learned. And so you will find pockets of potential bluegrass players, probably in almost a part of the world. And it may not be these songs that we're doing here because bluegrass isn't a traditional music, so you can imagine the roots of bluegrass being going back to traditional Irish, Scottish, English, traditional Canadian and the interesting thing about traditional music. This is a whole different study, but the gist of it is that traditional music tends to be very similar across the globe. Across the world, traditional music seems to be very similar. Human beings seem to want to create the same kind of music no matter where we come from, so that's a very interesting thing. So even if you live in a country that people have no idea about American bluegrass music, there is a traditional music where you're from, and those musicians would easily be able to play this kind of music and something that you may do. If you don't have access to people that play American bluegrass, that's fine. Just get musicians that are nearby you. They live near you and you could teach it to them Because music is a universal language, everyone as a musician can read, music, can listen to music, can play it. And so you could teach some of these songs to people that you know, no matter where you live. There's no reason why you could not educate some other people in the bluegrass form so that you guys could all have fun playing in together. So that would be the two pieces of advice that I would have for you moving forward to get a book, get a friend, were gets other musicians that you can start playing this stuff with. And I am really excited for you because you're gonna have a lot of fun with bluegrass, I hope for the rest of your life. And thanks again for taking this course. I really had fun making it. And I think we need more bluegrass musicians in the world. And I'm sure that you agree with that. Uh, but, you know, were up and running, So let's go play some bluegrass.