Beginner Banjo Course

1. Introduction to the Course: Hello, my name is Jodie Hughes and I'm gonna be your teacher for this beginning banjo course here. And it's my goal is that you'll really get something out of this and I'll just gets you off and running right off the bat here. And kind of what we're gonna do is we're gonna start with the right-hand because really the right-hand is the most important part to this type of banjo picking. We're gonna talk about the fundamentals of the right-hand. Make sure your technique is solid. That's, like I said, is the most important part. Don't worry about speeding the beginning, just go through the exercise is really slow and we're going to start from the right hand and then we're going to introduce a couple of chords, G, C, and D7, and then an E minor. We're also going to go through some tunes. I've got Cumberland Gap and Cripple Creek gonna be the first songs. And I picked those songs because they would actually come up in any bluegrass or folk jam in the world. You could go up to them and say, Hey, let's play these tunes and they would know them. And even if they didn't, these tunes are easy enough that capable of musicians, they'd be able to pick up on this really quick. So if you have a friend, you can communicate and say, Hey, these are the chords on the guitar and they'd be able to jam with you pretty quick. So these are really short tunes and their standard 2D. So that's why I picked them. So basically by the time you're done with this course, you're gonna have a nice solid foundation in your right hand, your left hand as far as recording go and then some songs. And then also I'm going to also talk about how to read tablature effectively. And that's going to set you up to where you can as you get down the road here, as you can teach yourself, basically, that's kind of the, the model here. And if you do have any questions, just put them in the discussion that I'm here to help. All right. Take care. 2. How to Wear Banjo Picks: What I want to do in this video is show you how to wear your pics. And before we start, so when you put your thumb pick on, the thumb pick as you're looking down at your banjo, is going to be looking back at you've pointed to the torture with this, don't pick this blue one is called a Hiroko thumb pick. Some other companies are Golden Gate, they make really good thumb picks. Also planet waves by the arrows. Those are great thumb picks. Those are the three that I personally recommend. They last a long time, it won't break on you. You don't necessarily want to push this all the way down pasture second joint, you just kinda let it right up there and that'll be what do they do make metal thumb picks. But I personally like the plastic ones for the tonal reasons, but there's nothing wrong with the metal ones too. If you prefer those, you can shape them to your thumb a little better. If the plastics don't work. If you have a rather large thumb, I would recommend Golden Gate, they make an extra large thumb pick. Those are great for my metal picks. I use what are called Dunlop. And these were great because they are the cheapest ones you can buy. Now, if you look at your pics most of the time, they're going to have weights on them. So I used the 0.02 to five done LOPS. I've used the 0.02 fives and the points 018. And I prefer these because they're kind of in the middle. I would say you don't want to go any lighter than the 0.01-eighth because then they get to sounding kind of a, a bit PNG. Now the important thing to note here is that the thumb picks point up to the shape of the contour of your finger. You know how many times people have came in like this and they're calling had the Pancho and you don't want that, It's not going to sound good. You want your thumb picks two face up upwards and if they're not been up like this, you can actually take them and bend them up. And what that's gonna do is when you hit the string, it's gonna create a little bit less of friction and it's gonna be a smoother sound if you will. So I recommend curving them up to shape the contour of your fingers. And then also, how far down do you want to wear them? One of my heroes, Alan shot and he wore them like this, which feels really awkward for me. What I do is I push them down on my finger. As long as your fingernail is not coming out, that just allows me to feel like the picture not going to slide off when I'm performing. I don't want the peaks coming off, so I push them down a lot further than some people. Okay. So it's up to you as far as the comfort goes, you have to kind of play with that. I will say that when you're getting used to these, they'll probably dig into the cuticle of your finger a little bit. These guys. There's some really good finger picks called pro picks. I think ACR depicts or another one. Lots of pics showcase 40 ones are picks that I used as well. Some of those are a little bit more comfortable to wear, but I like these because of the tone. So these are done LOPS you can kind of, I kind of encourage you to try a bunch of them. But for this, I would just say avoid the plastic fingerprints because the metal ones are gonna sound better. That's what people like Earl Scruggs, Don renal, Bela Fleck use. And then the other thing about the metal ones is they can be shaped to your fingers, whereas the plastic ones are molted, molded and you cannot do anything with him. So metal finger picks, plastic don't pick as my personal recommendation. At the same time, you can get a metal thumb pick if you really like that. That's just a little bit about the pics. It'll take some getting used to because it's not your bare fingers, right? But some just information about picks. If you're gonna play bluegrass or if maybe you're interested in playing like say Bela Fleck, maybe some jazz and stuff like that. I would recommend playing with the finger picks and the thumb pick as much as possible. You know how many times I have seen students practice like this bare finger. And then when they go to put the pics on, it just doesn't work really well. They have not practiced with depicts. Why do you want to use the pigs other than just Earl Scruggs, non-renal bailiff like they all use pics. So if you want that sound, That's what you gotta do. But the peaks are going to allow you to play faster and also allow you to play smoother because you won't get the sound of the flesh or the fingernail hitting the strengths. So you're going to actually be able to get a lot more sound out of the instrument and a lot more speed out of the instrument if you use your pics. Now at the same time, maybe you're interesting claw hammer, but that's not what this course is covering. That would be more of a bare finger style. 3. Basic Right hand Tips: Some pointers with your right hand as far as how to hit the strings. It's not really the most obvious thing in the beginning, some things to look for, so I want to go over that with your thumb. It's actually not hard at all. You're basically just taking the thumb and just dropping it. Things to look for though, is you don't want anything like this with large circular motions because that's ineffective and inefficient movement basically. So one thing you can practice as hitting the fifth string with your thumb and stopping it like that. That's teaching your thumb to get back to the string as fast as possible. That's kind of the motion you really want. Like if I just play normal, it you'll see that my thumbs not making any wide wide excess motions there. Now as far as the other fingers, it's kind of just like making a fist. And what you would notice is that most of the motion comes from these joints here and not these down here. So I always warn everyone is you don't want your fingers jumping hurdles. They're not supposed to be coming up so much like I don't pop up and come off of the banjo. I take my hand and I push it in towards the pump Now it doesn't touch the palm of course, but that's more of the motion. I'm gonna just dead in the strings. So it's not overwhelming with sound, but basically you push more in and up towards the palm and not up in the air like that. So if I just play across the strengths three-to-one, you'll see my fingers here. They stay very tucked in and very close. You don't see anything like this. The thing you're looking for here is make sure you don't look like this while you're playing. It's way too much motion. So what you basically wants to thumb that come down, It's like gravity. It just falls and then it comes back, it bounces back. It's like the last ticket. Soon as you hit, it comes back. And then these figures pluck and then they come back into motion to so kinda like just pluck and then release pluck. At least you can actually do that away from the estrogen. I find this nice because then you can kind of feel it for yourself, but you come in and then just relax. It's the same thing here. Come in, relax your hand. Come in, relax your hand. That's how you're going to get the sound out of the instrument and you get a nice full sound using these fingers like that. So here I'm just going to play a little something. You can see. Main thing is don't move your fingers too much. 4. 1st Right hand Technique: Pinches: This first little right-hand technique that we're gonna do is a very simple one. I'm calling this the three pinch to pinch. Okay? So let me first explain what I mean by pinch. So a pinch in the banjo world is when you take the fifth string, the first string and you hit them together like this. Now, I'm bringing my fingers off just so you can see, but don't do that. You want to keep your hand on the banjo. We'll talk about that. Hitting 51 together. That's what's called a pitch. Now, in order to kind of keep some time here, I'm gonna do for notes to represent the four beats. What I'm doing is I'm hitting the third string with the thumb and then pinching with my thumb and middle finger. So it's going to be 13. I think that this is a great start because it just keeps you in time. It keeps you up, basically teaches you how to keep time. Just like counting. Once again in this motion coming off like that, I'm going to introduce another one. This is going to be the second string followed by a pinch this time. So I'm gonna hit, hit the second string with my index finger. Then I'm gonna pinch 51. And you can just do this. You can go for beach, just like you did with the third string. So let's try with the third string, first. Second string. Most common in the band dual role. And you're going to see this in songs like foggy Mountain Breakdown and famous tunes is they're gonna go free pinch. So here's the whole thing. Now, remember four beats one. I want you to do this with me a couple of times. Ready go. This is what I call the timekeeper. You're going to see this a lot at the end of songs are moving from the first to a course. Sometimes you see that in the middle of a tune. But this is a very common technique. I referred to this as 23 pinch to pinch. And most of the time it is in fact open like this. Alright. 5. Alternating Thumb Roll: The main thing you want to understand about role patterns are they are finger motions and not strings. So this first pattern that we're going to look into is what's called an alternating thumb rule. And all that means is that you're gonna start with your thumb, some other finger, thumb, some other finger. An alternating thumb could simply be thumb, index, column, index. However, most of the time with banjo, what you're gonna see is thumb, index, thumb, middle. Now that pattern can be used on a variety of strengths. But what I suggest first is before you even put your hand on the instrument is just going thumb, index, thumb, middle. And you can even practice this on your leg or in the air thumb, index, middle. I think it was Earl Scruggs that said he used to just sit around and practice on his legs, sometimes the finger pattern. So that's the motion behind thumb, index, thumb, middle behind alternating thumb. Now let's get into some exact strings that you can use for this pattern. This is the most common one. We're gonna start on the third string with our thumb. Then our index is going to play the second string. Then our thumb is going to play the fifth string. So far what we have is three. Then the last one that we're going to play is to first drink with our middle finger. What this is going to look like three to 51. Recommendation is to just simply practice this over and over. What you're looking for is for those notes to rhythmically stay the same meaning, just like counting 12341234, you would not want it to be 1234, something like that. So make sure that you stay in time. Now the other thing is to make sure you have a nice tone to, so you wouldn't want to have that to stand out really loud. So it's actually quite difficult to make it nice and balanced sounding. At first. As far as the rhythm goes, these are what are called eighth notes. So it's going to actually take two of these alternating thumb roles to make up one measure. What I mean is the really count this one. That's four beats, and that's gonna be the typical measure in banjo music. So once again, That's one complete measure. Now, moving on to another alternating thumb pattern that you might want to practice is this time it's the exact same thing, but we're going to start on the fourth string. So we're gonna go 451 this time. Once again. These are two different sets of alternating zone. We've got one that starts on the third, one that starts on the fourth string. Now, there's infinite amounts of different types of, of patterns that you can use. You can also start on the fifth string, and I'll give you this one too. It's 5341 and this one is common as well. Now by no means do I expect you to master a hole of these all at once. My advice is really just stick with the third string 1 first and then move on to the fourth string. You will not need the filtering one for quite some time. But if you get bored, you can go 5341 twice. You're going to see that. So that's what I would say is a third pattern that is quite common later on you're not gonna see it in this course, but later on you might see that. Now, the next thing you can have are what I call combinations. So what I mean is now I'm going to mix in the third string and the fourth string together. So I'm gonna go 3251 and then four to five ones. So here it goes three to 5145. I suggest practicing this one as well. And when you put these two together, it sounds like this. Ideally, when you really have mastered this, you should be able to just move in and out of all of them in order. But at the same time, once again, don't overwhelm yourself at first. You don't have to try to do all of these, but I'm showing you the possibilities so you really understand what a role means. It is not three to 51, it is a role Is your fingers that you're using. You might find this really difficult in the beginning, you might just practice doing this 332 back and forth, just two fingers. And then maybe 313 on. These are all alternating thumbs roles as well. So try those. That is your alternating thumb rule. 6. Forward Reverse roll: Our second roll that we're gonna talk about is a forward reverse roll. Forward just simply means going forward with your fingers. So thumb, index, middle. So it's the most logical kind of movement here. So that's always forward thumb, index, middle. And then reverse of course is the opposite middle index though. So I call this the Tim MIT role because its thumb index middle, and then MIT back, right? So the TIMIT role, and just like you're alternating thumb role, you can have this on a number of strengths, but we're going to start from the third string today. This is gonna be three to one. That's the forward part. And then of course the reverse is 123. But we have a serious problem here because this does not add up to eight notes or four beats. What does it do? It's 123 in, so we're missing wanting one beat, so it's an incomplete pattern. What we do is we're going to go 321. We're going to add our little fist string up on top there and we're going to have three-to-one five. Then MIT. You're saying, okay, that's only seven, man, whereas the last note, the last note is your first string with your middle finger here. Here's the, I'll say the numbers 32151231. So here's the thing. Unlike alternating thumb rule, it only takes one of these to make four beats. 12. You don't have to do it twice. This is, I would say one of the most common roles. I would say it's also probably the second most used roles and all of banjo music. So you really want to practice this. I really liked this out of this one. It's a sensical wave of sound, right? You get this nice. I'll do this slow a few times. Okay, Ready go. Now, just like in our alternating thumb, you can start on the fourth string and I'm gonna go 42151241. Same exact pattern with your hand, your fingers, but different strings just starting and ending on four. Once again, you can have the third string. You can have the fourth string. You can even start on the fifth string. And so this pattern starting on the fifth string is going to be 521531. Typically you don't go back to five when we see this in songs, I don't really have a good explanation. I just know what happens on the recordings and we're going to have 5215 and then 1231. Like you start on five, but then you end on three. Next to last note, you have third string, string, string. Finally, you can have a combination. So what I want you to try is I want you to start on the third string. But on the way back you're going to go to the fourth string. I'll see you the numbers 32151241. Here it goes to four. We see this a lot on what's called a C chord and I'll just play it. I'll show you the C chord in just a moment. Now, why do we do this? It's because sometimes the melody starts up high when it goes down low. So you might need this row pattern. With these role patterns to Melody tends to be the thumbnail, by the way. Just like with your alternating thumb, you'd really want this to sound smooth and keep your time. 12345678. Always make sure you're staying in type. Don't go too fast, okay, That's why you don't see me doing it fast in these videos. Just take it in a nice slow pace. Concentrate on the sound. That is your forward reverse role, I would say it's the most, the second most common role pattern in banjo music. So you really want to spend a lot of time on this one, okay. 7. How-to-practice-Rolls: Hey, welcome back. And our last lesson. We talked about our roles, so we're pretty much done with our three main roles for now. And what I want to do now is talk about out of practice them. So we have alternating some way forward. Reversal on way. Had a forward through these once again. Alternate some 35251 And it takes two of those to make one measure, and then a forward roll is three. I remember with that one, you're gonna have 1/4 note at the beginning, I think. Ford Reversible 321 500. So you probably gonna practice this for a while. They take you a couple months to get all these. Okay? So don't feel bad if you don't get them in a week. It's kind of like a month process. Now, once you can do that and what is kind of the next step, So remember, First thing first, you wanna make sure you have a nice the solid timing you can practice for the men Sonoma. Just make sure that everything is 1236 And also make sure that the notes are even, So you don't get a a jacket. Sound wanted to kind of envision being a smooth so that after after that, he was kind of I would say, stage two of all that is okay. And we're talking maybe months from now. But you want to take one roll and then go into the other one. So I'm gonna take alternating thumb and then go into Ford Reverse will be Theo. This time we'll do alternating into forward. So, Theo, two goals in this practice going back and forth between all right? And then what? We would say maybe the final stage to this final stage. But the next stage is to take all three of them and kind of jumble them all up. So here goes alternate way. Theo. Basically, what you want to do is one Practice these randomly so you can jump from, say, forward reverse Ultimate thumb forward for turning film for every person just jump around over and over. Okay, We call that Inter, leave a random practicing, and that's gonna get you further long ban block practicing, which is just doing the same thing over and over. All right, so wait till you know them kind of solid before you start this journey of this type of practicing because it's gonna take a little bit to get used to jumping around. But that would be what I call states to there and let me know if you have any questions. 8. Your First Chord GMajor: The first chord on the banjo is the easiest one. And this is something that us banjo players have over on guitar players. They don't have this. And that is if you take the banjo and you just strum it open, It's actually a real chord. It's tuned to a G chord. If you take any of your roles. It sounds very harmonious because it is h0 ct. So that's your first chord, is your G chord. We're going to learn three chords. To start with. We're gonna learn a G chord, which we just did, and are going to learn our C chord second and then our D7. And with those three chords, we can actually make a lot of music. But for your G chord, I just say recommend just practicing your roles and getting a good tone out of the open strings. That's actually pretty difficult to do. Because what can happen is you can hit one louder the other. So you really want to make sure you get a good sound out of the open. And we're gonna talk about these other courts in just a moment. 9. Left Hand pointers: Other issues that you may encounter is maybe you fret something and you get a sound like this when you hit the other string. Well, that's because your finger is, as I tell the kids, Is your fingers not standing up on its tiptoes enough so your finger is laying down flat and it needs to be more bent. And you also don't want to have long fingernails that can get in the way. But the other thing I would say it is hard to demonstrate this on camera, but your finger has quite a bit of surface area. If you fret right next to the fingernail, let's say then the backside of your fingers gonna be hanging off and it can hit the other strings. It didn't get those sorts of sounds. So you might want to come over more to the backside of the finger to get out of the way. Now another thing that's going to happen, most likely in the beginning as you may have to bend the wrist just a little bit to get it out of the way of the other string. That's okay at the beginning, as you get more flexible with your fingers, the wrist is actually going to flatten out so you don't have to do this. This by the way, is very bad for your wrist carpal tunnel waiting to happen. So it's okay to have a little bit of a bend, but none of this stuff, otherwise, you're going to be in for some hurt later on. That's the thing. The other thing too is try to not do this, see where my fingers are at. It really far away from the fret. So you want to be as close to the fret as you can be without don't want to be on top of it because you get a buzz that way right behind it. Not up there like that. Because the further you are away, the more you have to press it leads to intonation issues as well. Those are just some left-hand pointer so far, okay. 10. Your 2nd Chord-C MAJOR: What I wanna do in this video is show you one of your first course here. This is going to be called a C major chord. And the fingerings that you use are super important. So don't invent your own. What you want to do is you want to take your ring finger here and put it on the second fret of the first string. The index finger goes on the first fret of the second string. Now, there is in the future going to be what's called a full C chord where you have to do something with his middle finger. But today we're not going to worry about that. It's gonna be a two-finger court. So once again, second fret of the first string, first fret of the second string. And you can do any of your roles on this court for right now. You could do an alternating thumb role. In fact, before you start any of the tunes, what I would recommend doing is just practicing going from G open into this chord, back and forth without stopping. If you feel like that's a little too much for you, what you can do is you can take your thumb and just kinda struck the banjo like that and streaming it only on the top three strings and practice going. And that way you're not focusing on your right hand, you're just focusing on your left hand, but make sure you get that time and real solids like counting one. And then once you feel like you can do that, you can go back and try the more difficult one, which is to do your alternating thumb roll. 32513253251. Just go back and forth until you get really good at moving between the two. Start to speed it up. To kind of prevent boredom, I would suggest using different roles. So maybe this time let's do for reverse. Or really want to challenge, mixed them all up. River. That's the cool thing about a banjo is that just with those two courts right there, you can already make it sound very useful. All right, so that's your C corps. I'm gonna show you a D7 next. 11. Your 3rd Chord-D7: Okay, so here is our third chord. This is called a D7, and it's similar to the C chord that you already made. Like let's just start from the sea that way you have something to derive it from. And what you're gonna do is we're going to lift up your ring finger. Notice my pointer is still down on the first fret of the second string. And your metal fingers gonna come down to the second fret of the third string. So first fret of the second string, second fret of the third string, and then everything else is gonna be open. So you can just do a strong. Now the good thing about this, when you strum it, you can actually strum all four strings. Practice going open G. I'm doing something in this video, It's a bad habit. Don't do this. I'm doing this only so you can see my fingers. Your fingers naturally should be up here. Keeps them in position and ready to play. Once you get that, you can practice your alternating thumb. That's your D7. Do the exact same exercise that you did with the C chord, with that the seven. So a couple of little pointers though, I will tell you that generally this finger gives people a lot of problems because it can bounce into this other string. Get some horrific sounds like that. You may have to kind of roll the risks that way or this way rather, sorry. So pulling up like that just to get it out of the way. Check the, check the strengths and make sure they're clear one at a time like this. But your pics and just make sure you're getting a nice clear sound on your D7. That's going to be a super important cord later on. 12. Putting All Three Chords Together: Now when you've been through all three of these courts are gee, you're seeing and you're D7. Now what you can do is practice putting them altogether. You can go straight in order. You can go G, C, D7, back to G. You always want to begin on G for now. That's not going to always hold true, but for when we first started is always begin on G and NLG. Now, you can mix and match all sorts of order. You can maybe go G to D7, then C. You're going to find out that moving between one-quarter of the other, they present their own unique difficulties. Like if you go from D7 to see, well, your pointer finger is already down. He can just ring Johnson. But if you're here and you've got to go to D7, you've got to lift him up and then this one has to come down. So that's the thing is pay attention to what do they have in common this index finger. What I'm gonna do is I'm gonna go G, alternating thumb. Oh, by the way, see these seven. Back to G. That's one exercise, GC, D7, and G. The second exercise we're gonna go G to C and then G to D7, and then we're gonna end on G. So here it goes, B2C to D7. Then resolving back to G, just because we have to result. I'm gonna do that again. Have fun with this, play around with it. All sorts of orders. You can even move between them faster if you would like. It's supposed to be fun, right? So always just kind of mess around with it in the beginning. As long as you're moving your hands about and staying in time. That's all that matters for right now. All right. Take care. 13. 4th Chord-Eminor Chord: Time for a new chord before we get into the song Cumberland Gap, it is imperative that we learn this. So as usual, I always like to start from something you already know. So let's make our C corps here. The ring finger is on the second fret of the first string. Our index finger is on the first fret of the second string. So this is a C chord. In order to make an E minor, which is the code for the day here you're simply just going to take if this index finger and you're going to lift him up. Now, if you take this and then you strum the first, second, third strengths, just these top three here. You're gonna get an E minor chord. Now, if you want to strong the force string all the way down, it will not sound right? So what we have to do is you have to take your middle finger here and put it across on the second fret of the fourth string. And now you can strum all four strings. Remember when we strum or not strumming the filtering, we're just trimming the four strings. Sometimes you're gonna see what's called a partial E minor chord. Sometimes you're gonna see the full email. And even sometimes you might see the E minor chord played with this finger, which will probably be the case in Cumberland Gap. But most of the time and songs like foggy Mountain Breakdown, you get this full minor. Most bluegrass tunes and folk music is going to have this full E minor. But when we get to commonly gap, you're gonna see a partial. It's very closely related to c. But not getting into too much theory, I'll just go ahead and tell you that C to E minor is a really beautiful chord change. Has been quite a bit of salt and it's written with just those two ports and then you can throw into E. So kind of what I encourage you to do is experiment a little bit, Have fun with this, is maybe start on a G. Maybe go to E minor, and then to a C. That's just a common. Maybe you want to go a different route. Maybe you want to go to C first, C minor, maybe D7. Just anything to practice moving from the court shapes. So you can now try to combine your three cores from earlier with the E minor and then just expand your horizon. Now you have this more lonesome sound, if you will. Very pretty sound on the banjo. Lots of songs are written in the key of E minor in Cumberland Gap, which is about to come up. We're actually going to be going just kinda show you what. You're gonna be going to that partial E minor. But you won't be using your ring finger, you'll be using your middle fingers. So fingerings do change even sometimes I use the index finger if I need to get up here faster, so just be aware of that. Okay. But this is the standard E minor fingering. All right. 14. Forward Banjo Roll: Okay, so our next rule pattern is what's called a forward roll. I'm gonna tell you right off the bat that this is the most important one that I will show you. This is the one that is used more than any of them. And from our prior videos, you should know what forward means. It's the Tim, the pattern with your thumb, thumb, index, middle. Now, we have a problem here though, because if you just put your fingers on the third string and you just go down the strengths Three, 21, you're gonna have a problem because it doesn't add up to an even number six. And if we go one more, it's nine, not enough or too many. So how do we combat this? So what we're gonna do is we're going to go 321 twice. We're going to finish off by going 31. So basically what we're doing is we're skipping the second string on the final one. So here's the pattern three-to-one twice. Now some books might show 32. I'm not a fan of that because I frankly just don't see that happening much in banjo, real banjo music on recordings. It's mostly three ones. So that's why I'm showing you this pattern. So that's your forward roll is a pretty straightforward role pattern. Once we get into our according in the neck higher up, that row is gonna be used a lot because one of the reasons that it's used so much is it doesn't, you'll notice it doesn't involve the fifth string. And later on we're gonna have cords where the filtering, this doesn't work like something like maybe this filtering forms a dissonance, so we would want to avoid it. So up the neck we use this role quite a bit. I say that this is a backup role, so I use this a lot in my backup plan. But you really want to learn forward role in once again, I'll just count it for you. In 32131, you can have variations. You can have one that starts on the fourth string. It's not as common, but I'll show it to you anyways, it's four to one. Twice for one. Once again, just switching all the threes, two fourths. You might want to practice going back and forth between the two. Like our forward reverse role. You only have to do this role one time to make a complete measures. And 234, that's an entire measure. The other thing I was gonna tell you is this is what I call a level one afford role because it turns out that there's two different types of four rolls. So this is the one I want you to start with. And in the next video I'm gonna show you what I call level two of the four roll, but this is one of the most important ones here. I'll do it one last time. Ready? Go. Every now and then in a tune you might just get a piece of a four roll to like you might. Just a few strengths. You're gonna see this later on in Cumberland Gap that it doesn't always do a complete cycle. So that's also something to be aware of, but that is level one of the forward roll. 15. Cumberland Gap: So our first two we're going to learn as a song called Cumberland Gap. And I don't know if this was the first time I ever learned or it was the second. He was one of the two. And it's a really simple tune. It's only four measures in form. And it's all going to basically be built around open strings and a piece of the E minor chord that I just went over. Basically two roles in this video is you're gonna have ford rolls and forward reverse. Now they're gonna be some modified forward roles. But I'm gonna walk you through this. Not much going on here as far as your right hand. So here's the, here's the Role Pattern. I'm just gonna say it out loud first and it's gonna appear on the screen over here and numbers. So you can see that as well. It's 4215. So that's the forward motion because your fingers are going thumb, index, middle, of course. These are just open strengths. Thumb, index, middle, thumb. I'll do that again. The timing is just 12 when I want. And now from there you're going to come to the third string with your index finger, not your thumb, but your index finger. So here's the whole thing. It right? And then the next thing we've already went over, that's called a pinch. You're going to pinch the first fifth string together. Now the rhythm here is 1234. So make 34 long like this. I'm gonna do this a couple of times. 1234. When I teach the kids, I tell them to make it not three, but three, make it really long. Okay. That's the first manager. It's only four majors, so we just knocked out twenty-five percent of the two. Now, from there, you're gonna come to the second fret of the third string here with your middle finger. And then your right hand is simply gonna do a forward roll. But this time we're gonna start on the third string and we're gonna go for 3153215. Both of these are forward motions. So just one little note. Check for that and make sure you're not getting a a dead sounds, so make sure it's nice and clear. Three 2154. Then the middle finger, He's kind of hop over to the second fret of the first string and you're just kind of pluck the first string, OneNote. So here's the whole thing. Okay, I'll do that again. 12. And just like the other 13 is long, your right hand is going to appear on the screen, three to five. And then we're gonna do a pinch again. When you do the pitch, makes sure the middle finger is still down. You don't want to take them off. Okay. Here it goes. I'm going to put those two measures together. Ready? Go a little faster so you can just hear what it'll sound like. The rhythm for both of these measures, 1234123 for your finger jumped over here, right? It's going to stay there. And this time we're gonna do a forward reverse role. The role pattern is going to be 5215123 on the rope pattern is just afford reverse roles starting on the fifth string. I'm gonna do that again. 5215131. This finger is down while doing this role. But there was unfortunately just a little bit more to it. On the way back, I say that basically on the reverse part of the role, he comes off, jumps back over to where he originally was, the second fret of the third string. So I'll do this again in slow motion. Now, my fingers are out of the way, but this is not a good habit. I'm doing this for demonstration purposes so you can see my fingers, but try to keep your fingers like this. Close to the fret board. That's really going to help you out. So I'm gonna break this down one more time. 5215, hop back over 1231. I put that together. I'm gonna do all three measures from the beginning. Ready? Go. Stay there. One more time, just to clear that up. Now, you're gonna love this next part because the last measure is the same as the first. So there's only four measures, and the last measure is the same as the first. So you just go back and do what you already did. You do this. It's really only three patterns. You've got to remember. You've got what I call the first pattern 4215. And then your finger comes down, stays down, jumps back over, back to the original. So here is all of it ready to go? Just make sure you play through it really nice and slow in tempo with me. And then I'm gonna play it fast for you so you can kind of hear what it might sound like sped up. Now you're probably wondering, what do you do after that because it's pretty simple. It's just for masters, right? Well, there's gonna be, eventually going to be some variations. We'll talk about that later on as you get through Cripple Creek, I'm gonna come back and I'm gonna show you some slides and some ornamentation you can add to this. And then of course on the Earl Scruggs recording, he moves way up here at all kinds of stuff so you can add and build onto this tune as much as you want. But as far as the foundational melody, you were just shown that and that is the Cumberland Gap. It'll be like this. That's more performance speed, if you will. If you have any questions, just let me know in the discussion. All right. 16. Cripple_Creek_Part_ONE: I'm gonna walk you through the first part on this Cripple Creek song. And it's very simple tune. It's only going to be four measures on this a section, and you repeat the a section twice. By the way, what I want you to do is you're gonna come down to the fifth fret that really matter which finger you use, but the fifth fret of the first string. And then I'm going to take your middle finger down here and you're just going to hit that note twice. These are gonna be a set of four quarter notes, so these are just counted one. And then the finger is going to come off and you're gonna hit the first string open. And then the second string open. I'm gonna go through that again. So you're hitting the first string really 123 times. And then the second string, that's a total of four beats, four. And then I want you to come to your C chord, which is the second fret of the first string. And then the first fret of the second string here. And I'm just gonna do an alternating thumb roll 32511 of those. Okay, so if we put that together, notice how that's faster. It's 12 In 3412. And then your fingers gonna come completely often in gonna do alternating thumb role again, 3251. The phrase goes as follows. Gonna come to the second fret of the third string. Keep doing your alternating thumb rule. We get to stay with that guy. So here you are on the second fret of the third string, 3251 twice. Now, things to watch out for is you've gotta be really careful. If you're not careful, this finger up here is going to get in the way. And you're gonna get a click. You might have to rotate the wrist a little bit, but certainly don't do this, otherwise you hurt your wrist. So just try to get it out of the way as much as you can. You probably don't want to have long fingernails either. That's not gonna help you either. So two times, almost start from the beginning. Ready go. Here's our last measure. You can hit the fourth string open. And then you actually have a choice here. Players do one of two things. I'm gonna show you. The first one. The first option is open for string, fourth fret of the fourth string. And then the third string open. Some people go open. And then second fret, third string. It doesn't make any difference. You can do either one. I'm gonna stick the fourth fret for right now. Yes, those are all with your thumb because they're quarter notes and slow. Then you're gonna do what's called a pinch, which is hitting 51 at the same time with your middle and your thumb. So let's start from the very beginning and go through the entire thing. Ready go. I repeated it so you understand twice to that section. So that's four measures repeated twice for a total of eight bars it, so that is the a section or the verse to grip, grip. 17. Cripple_Creek_Part_TWO: So I am redoing some of these older revamping, some of these old videos. So your public gonna notice some background changes on a few of these, but this is gonna be the second part of Cripple Creek updating here. And the good news is, is that all the tools you learned in the a section are gonna be applicable to this section. So it's going to actually be a lot easier for you if you've already been through the a section. So we're just gonna start on the second fret of the third string. And you're gonna do that alternating some role again, you're gonna go 32513 times actually. So three times in a row. The third string open. And then what's called a pitch 51. The third string open and the pitch, or quarter notes. So here's what it sounds like. If you want to count that rhythm, it would be 12341234. So 34 are longer now onto the next two measures. So that's two measures. I'll play it faster. Next. It measures here as you can go to the same exact thing, It's a very repetitious thing. And this ought to look very familiar because the last two measures of this section are the same exact last two measures as the other section. So are you gonna do is you're gonna come back to the second fret of the third string. Here's your alternating thumb twice this time. Then you're gonna go open for string. Second fret of the forest training. Then third string open, and then pitch. That last measure is, if we put those last two measures together, this is what you're gonna get. Now, some people play the fourth fret on that last mixture. They go the fourth fret of the fourth string. So you can do either one. I'm gonna go through the entire second part just really slow. So you get this, remember three alternating thumbs, third string, pinch, two alternating thumbs. And then your little phone com, thumb. Here we go. I'll play it a little faster this time. When you put both of these parts together, you get something like next section. Before that time you can kind of see him improvising a little bit already. And that's because you can like I said, you can go to four. You can go to two. It makes no difference here. That's the end of Cripple Creek. So just to reiterate something, if I haven't made it clear, it's the first section that you already learned is twice, and then this section is twice. So a total of two times on the first section, two times on the B section, and then you're done. Okay. That's all there is to Cripple Creek. 18. Ornamentations: Slides for Cripple Creek: Today we're going to learn about our first ornamentation. And this is what's called a slide. And I've got a really close up view of my banjo here. You can see this really well. What I want you to do is I want you to take your middle finger. We're gonna slide with our middle finger, put it on the second fret of the third string here, and we're gonna hit that note. That is what's called a slide. What I'm doing is I'm hitting the note with my thumb. Notice I'm not hearing it again. I'm just my hands over here. Strike the note. The left-hand makes the second part of the sound. If you don't want what I call the speed bump sound, you don't want to go multiple notes. You want it to just be at the same time. You can slide too fast, you can go and you get a too fast. Okay, Now, what are we gonna do with this? So going back to our alternating thumb roll 3251. So remember that three to 51, I'm gonna hit the note 51. And now the question I usually get is do I hit the second string, right when I start sliding? If you wait till you get to four, and that's when you hit the second string. So you're gonna go 32, and as soon as you get to the fourth fret, you hit the second string. Keep that finger down as long as you can. You don't want it to be. Chucky sounds so the reason that sounds Sharpie is getting there and I'm lifting up and neatly. So notice how my finger stays down. To get back to two, I just lift a little bit and I reset. I'm showing you with a two to four slide, but there's also a two to three slide. Just a little bit more of a bluesy kind of tinge to it. If you've ever seen he hall or something like that, that's the sound that they get. Why is this abuse to us? We're gonna put this to work in our tunes. We're gonna do this on Cripple Creek. So if I go back to Cripple Creek the way you learned it. The third measure, you did this, you went. But instead of doing that this time we're now gonna do our slides. That makes sense. Hopefully I'm going to go from the beginning of the slides. The tricky part is staying in time, 12, in, staying down the entire time. I'm going to do it really fast. So you can hear likewise on the B section, you can put it in as well, lots of times. So anytime you have the second fret of the third string, rest assured, you can put in this slide here on this too. So now on the B section I'm gonna go string pinch. And now I'm gonna do it twice. Here is the whole thing. Once again, sometimes people do the two dash three slides and I do that in real Scruggs does that. Here's all of Cripple Creek with a new ornamentation with the repeats. Probably asking yourself, man, he went to for one time, you went to three the next time. I did that on purpose to demonstrate that you can choose your own adventure here. You can pick which one you would like to do, which one sounds best to you, which one feels good to you? In the beginning, maybe start with two to three and then graduate to two to four or backwards if one is easier than the other, just a couple of words as you're sliding, what could possibly happen? Pesky second string is dead again. The reason is because when you slide your finger kind of folded over and hit the string, make sure he's on his tiptoes, as I say, like that and he stays up straight. Another question I sometimes get is the thumbs back here. Do you move your whole hand? You can you can move your whole hand. But you can also stay there and just kind of pivot off of the thumb two That's two different ways of sliding. Most of the time I just moved my entire hand. Depends if it's two to three, I'd just stay put. It's close by. So just to understand that and this is really going to wear on your finger in the beginning, especially if you're new to this and you've never played guitar, banjo or anything like that, you'll get a callus. So don't do this too much in the beginning of the slide, can really burn the fingers, so to speak, just enough to practice a little bit and concentrating on good tone and keeping it down throughout the entire length. But not too fast. And then of course, not too slow. Multiple sounds, you don't want that. That's how we use it in Cripple Creek. I'm gonna show you how to use it in Cumberland Gap next. 19. Adding a slide to Cumberland Gap: Okay, so how do we put the slide to use in Cumberland Gap? Well, it's gonna go on to the second measure. It's the same slide. It's just a different role. I'm gonna be going 3215. And then here, once again, slide. You're gonna slide from two. And as soon as you get to four, you're gonna hit the second strike 15. And then two here. Only one measure on this one, so it's a little bit easier actually. There I did the slide with my whole hand. I hope you saw that. Fester. 20. Adding a Hammer-On to Cumberland Gap: So this next ornamentation we're gonna talk about is called a hammer on. And we're going to add this to Cumberland Gap. I'll play it and then we'll talk about it. Hope you caught that there at the beginning and the end. How do we do this? Basically, are you going to do is you're gonna hit the fourth string open. Just like with the slide. Your left hand is the guy that makes the sound. You're gonna hit the fourth string. In your middle finger of your left hand is going to come down to the second fret of the fourth string and you're gonna get this sound. Now I'm exaggerating my right hand motion. So you can see that I'm not playing. Now a couple of pointers you want to get as close to that Fred is possible without being on top of it. If you're back here, It's not going to sound good. You're gonna get kind of a buzz, if you will. But the way this works is as soon as you hammer on, you keep going with your Cumberland Gap roll. Five. So the timing, I just recommend kind of looping that and doing that multiple times. But it's kinda like you're going 1234, but those are what we call 16th notes are really fast. You're going to put one at the first measure and that the last measure. So here, one here. When you put this together, it starts to sound more professional, more polished like you'd hear on the recording. Because now you have a slide and then you also have the hammer on. I'm going to play it faster. Once again, I call this the one-inch punch. You really want to come down with your finger. If you don't come down, like if you come down at an angle, let's say you might get incorrect sound, it may not sound good. So you've got to come down perpendicular to the string. And then with just a little bit of force, not too much, but at the same time, if you don't use enough force, you won't the sound. And I'm gonna kinda zoom in here, but just like that, I just recommend you can even use, do an exercise, something like this. And try it on different threats or different strings just to get your finger used to it. So that's our second ornamentation or Cumberland Gap when you add in the slides. And then this hammer on, it's concerning, very polished. And we'll talk more about once again, doing hammer ons Freud fretted note to another friend note when we get to train 45 later in the course. All right, Take care. 21. Forward_Roll_Level Two: Okay, level two of the forward roll. Now this one is used more in the melody or the lead playing, whereas the previous one, I would say, is used more often in backup playing, although it is used a lot and lead playing as well. But I kinda make the differentiation between these two because this one is used more down here, lower. Okay, So now there's something interesting about this one in that this is the first role that we encounter that only has seven notes. It doesn't have eight. The reason for this is because one of the notes last longer. Here is the rope pattern and then I'll break it down for you. Hopefully you noticed that one of the notes is longer. So if you pay very close attention to that first note, notice how it stands out. Where is the forward motion in this role parent, I want you to start on the fifth string and we're gonna go five with our thumb. But here's the weird part. Three is going to be with our index finger, and then one is going to be with our middle finger. Tim has got to be on the fifth third first drink. Now just like our other foreign role pattern, that's only six notes. So here's Mr. seven, whereas the seventh note, I told you that there'd be seven notes. The seventh note is the third string with your thumb. That's going to be held twice as long as the other notes. So what I mean is the way this is counted as 134. So make sure that this first note last long. It's 531531 or 1234. When you say one, just make it long one, don't make it 11, and then jump. You don't want this too fast. So 1234. This is, I would say, I would dare say this is the most common rule pattern of all time is to hit quarter note. Like our other videos, you can have the first note beyond different strings. So it's very common to have 4541. That's a tough role. You actually are gonna keep keep your index on three. So what I mean is it's 451521. This is real common if you have a melody down low. Let's practice step 453153. That's if the melody is this string. Now, here's a new one for us. We're gonna have a melody notes sometimes on the second string. So what we're going to want this time, this is super common up the neck, by the way, is you're gonna hit your index finger. And instead of playing 531, we're gonna play five to one this time. So 252121 twice. So here we go. Basically I'm just setting you up to where you see patterns to in songs that you have played in practice before. So I'm trying to cover all of the main ones before you get to too many tunes. Okay, so you'll see this when people come up here and play really high, they use it down low as well, but a lot up the neck. So one more time, I'm gonna start with the third string, 13531531. Now we're gonna move to 431531. Now we're gonna move to 2515. I play all these little faster so you can hear them. Finally, to really spend a lot of time on this one getting it to sound nice and smooth. And your timing, because it's seriously is the one that is going to occur more than any of them. So what this level and in the previous one, you have all your little four-year-old parents that you might encounter, alright. 22. Nine Pound Hammer : Onto our next song. This is nine pound hammer, and I would dare say this is one of the most common tunes in all bluegrass. So you really want to learn this one. You can pretty much go to any jam on the world that plays bluegrass and call this, and they're gonna certainly know it. It's a short song, it's only eight measures long, and then those eight measures repeat for a total of 16 bars. Let's go ahead and get into this and you're gonna start by hitting the fourth string open. And then you're gonna come to the second fret of the four string here. And then you're gonna hit that same string with your thumb again. It's open. Second fret. Then you're gonna go into the role that you should already know. The level two forward roll, 3531531. So if we put those phrases together to pick up notes and then our level two forward roll. And then you're gonna have the third string open. The whole thing. Remember on level two for unroll, the first note is a quarter. Should him on the third string, that takes us into measure two. Now from there we're gonna have a slide, but it's not gonna be like the slides you've done before. Same spot, but without a role. You're gonna slide from two to four on your third strain. So it's just a single note, no role yet. Now, when you get to four, you're gonna reach over with your index finger. And you're gonna hit the third fret of the second string. And it happens right after you get to four. Then you're gonna go right back to the fourth fret of the third string. What makes this slide a little bit different? And so we're not going to be building like a role with the slide. We're actually going to be sliding in, hitting that third fret of the second string and then coming back to the, a fourth fret of the third string. So it sounds like this. It's not really a role. The right-hand is going 323. From the beginning. That second measure is third string, open, slide, capstone own, and then come back. They're gonna come same string. Stay on this string. Notice I haven't moved. When you slide in and don't move, Don't lift his finger up, just keep him down. And then he's gonna cover the second fret of the third string. Hit that again. So you're gonna have fullname, index, lots of thumbs. Now you're gonna jump into a C chord and you're gonna do an alternating thumb roll. Five lawn. Then this finger comes into your full C chord, 4251. This is one of those combo alternating films we talked about three to 514251 while holding a C chord. One more time. Slide. Keep it there. And this time you're gonna do a forward reverse role. You're going to catch the fourth string all the way back. Make sure you catch the floor. From the top. You want to catch that for string on the way back. And the reason we're doing that is that's where the melody is at. Now from there you're going to go back into your level two forward roll 3531531, just open. So here's the whole thing from the very top. See forward. Next measure over the D is a bit strange. You'll probably never see this again. I'll play it for you and then I'll break it down. In what we're doing is we're using the first string as a drone as opposed to the 5th Street. So be very careful with the rhythm here. You're gonna hit the fourth string. Let it ring by itself and then go 4144141, if you will. I'll do that again. They're all open strings. And then after that you're going to catch the second fret of the fourth string and go for 11 more time. You've got to go for one. The very end. So it's 4414141. Put on that last for 1. Second fret. Please be beat very, very careful there and that, that first note is longer. And 34, and that's how that's counted, 1234. Then we're in luck level to forward roll. You've seen that before. I'm going to start from the very top one more time. Last measure is our favorite of all three inch, two inch. Do the whole thing a little quicker, ready? Go. Three inch. Now, on the repeat, remember I said he was eight measures and then you repeat. On this repeated. Got one thing you've got to remember is that these pick-up notes, they're not gonna be there because they just kinda signal that you're starting the song. So when you get to the end 32 pinch, you skip those initial pick-up notes and you just go right into the forward roll. I'll start from the three pinch to pitch to pick a forward. Hopefully that makes sense. I'll play through the entire thing this time with the repeats. The green, any display three pinch to pit. So it's eight measures, repeat the same eight measures, but leave out the first two notes and hopefully that makes sense. Let me know if you have any questions. 23. Train 45 Prerequisites: Foggy Mt Roll: This next row we're going to learn is often called the foggy Mountain Breakdown role. I'm going to call it the train 45 roll because that's where we're gonna be using it later in the course. That's the song we're gonna be using this on. I'm gonna just kinda play through it and then I'll break it down so you can hear it. Once again. Oh, I'll show you the left-hand in just a moment, but just so you can hear the sound. That's what we're gonna be doing, okay, once we get through with the right-hand. So there's a couple of things unusual about this role pattern. The numbers I'm going to just give you the numbers first. They are 25215. I'll say that again. 2215215. Now, watch my fingers here and see if you can figure out what's different about this. Kinda break one of our rules that we set up at the beginning of the course, which is our thumb, comes to a different string that we expect. That what you're gonna do is you're gonna hit the second string with your index finger. But the next note is going to be with your thumb on the same string, striking the same string twice in a row, but it's not that fast. The first node is a quarter note. It's the two is coming in a little bit later and then we go to one immediately afterwards. So it's like this is the rhythm. I'll say that again. Why in the world are we doing this with our fingers this way? Well, it's gonna be faster to alternate the fingers on one string versus trying to do this over and over in a row, but also the thumb accents the second note naturally, so it's kind of like you're putting an accent on to put a little bit of an emphasis. And you'll hear this in Earl Scruggs playing and gt as well if you listen to those guys, so onto the role. And then from there it's very simple. It's just a forward motion, it's 55. So you're going to end on five. I'll do this again. The first note is a quarter note and everything else is an eighth note, so it's 123. That is what we call the foggy Mountain Breakdown or what I call the train 45 role. This time I'm going to try to emphasize the thumb a little more. Certain things to watch out for. I couldn't do it a little bit myself there just exaggeration. Exaggerating the motion. You don't want your hand, your arm in your hands and move the thumb to keep your thumb. In music. The thumb and not the arm, if that makes sense. Not like this, okay, so be careful of that. But this, this row here is one of the most important ones and I recommend just looping it. I'm gonna do a couple of times. You can play it with me. One, two, ready go. Bad is the foggy mount breakdown. Okay. 24. Train 45 Prerequisite: Adding Hammer-Ons: Okay. So we're gonna move on to what I call the train 45 lake. I'm gonna play this and then I'll break it down for you. I'm using the fog amount breakdown or the train 45 row, but now you're gonna see that I'm doing some hammer ons with this finger up here at these two fingers. So what I want you to do is you're going to come to the second fret of the second string, hit that note, and then make the third fret sound. With this left-hand up here, I'm only plucking the string once, like that. Okay? So notice though, that the index finger and never leaves the string when you hammer on, but he doesn't lift up. So watch out for that. When you've hammer on. Just leave the index down. And here's why. Because you're going to have to do it again. And if you lift your finger up, you've got to put it right back down. So it's just wasted motion, if you will. What we're gonna do, the role is gonna be exactly like the train 45 rolls. So I'm not doing anything different with my right hand. I'm going to lawn 5215. Now. There are variations on this there. I took my finger off after the second hammer on, I went open. That's what Earl Scruggs did in FY20 Mountain Breakdown. However, you can also keep the finger down on the third fret of the second string there. And that's also another lick, and that's the one I'm going to use and trained 45. So I'm going to keep him down. Now, once you get to that second homework hammer on, you can take this finger off, so that's not a problem there. So once again, the pattern is 5215. I'm gonna come in a little bit with my left hand so you can see this better. Hammer. Hammer again. At the exact moment that you get to that hammer. Keep him down five to one. Now, the rhythm, as we talked about in the roll, if you want to know the rhythm, you can just go back to the role. What is the role do it is 1234. Even though we're doing extra things with our left hand, the rhythm doesn't change. So this pattern is one which you want to do is you want to get to the point where you can loop this. In. This left hand is going to be the limiting factor in the beginning, you're gonna have a lot of trouble with that. You just have to practice. Just doing just that much there is enough. Okay. Now, a couple of other things too is you got to really watch out for that. That's recombinant. When you hammer in, you've got to make sure that this finger doesn't collapse into the other strings, so make sure that their first drink nice and clear. They're also noticed that index. That's the accident that we talked about in the other video, is heavily accented. That is the train 45 link there. And I'll play this a little faster. Essential banjo set on there. That's one of the most popular Wix. 25. Train 45 Prerequisite: 302 LICK: This is what I call the 300 to lick and it sounds a little something like this. The reason I call it the 300 to leak is because of the frets that you use to play this. So what we're gonna do is this is all just a forward reverse role, by the way, 3251231. But the left hand is what makes it the 300 to Lake. And it's kind of a weird thing. It's very dissonant actually, what I want you to do is put your middle finger on the third fret of the third string. And then your index finger is gonna go on the second fret, the first string, and you put these both down at the same time. The second string is going to be open and that's what's going to give it this weird kind of dissonance. Now, just do the role and then I'll explain in just a minute. That's the position there is you have the third fret of the third string, second fret of the first drink. Why you do this three to five? On the way back? 123, the fingers come off so it'll sound like this. Come in closer with my left hand. However, we're still not quite done here, so fingers are here. Notice that my middle finger just came back to the second fret of the third string on the way back, so open. And then this is here. That last part you move up to here, the second fret of the third string and you just play 1231. When you put this together, you get this faster. Once again down here I'm just doing a forward reverse roll. 321, very common link. It's usually going to resolve to a G chord afterwards. Sometimes you're gonna see this, sometimes you can slide into it. That's a common variation. And all I'm doing is I'm doing the same thing, but I'm just sliding into it from the second fret, third string. I'm going to add a pull off to this too. But for now, this is basically a prerequisite for being able to play trained 45. Okay, so that's the 302. 26. Train 45 Prerequisite: TAG ROLL: Okay, So this next role is what I call the tag role. And you're gonna hear this in all sorts of songs, fog them out, breakdown. That's what the final product will sound like. But right now we're just going to go over the right-hand and it's kind of related to a cross between the forward roll, 3531531 and a little bit of a forward reverse. And I'll show you what I'm talking about here. Now. The way this is going to work is you're going to hit the third string with your thumb. Then 531, just like you did in the forward roll. But where this differs is you're going to come down to the third string with your index finger, and then the fourth string with your thumb. So far, 353134. Now, a common error. I see an awful lot with students is they do this. They play the third string and then the fourth string with their thumb all the way back like this. Do not do that. That's going to really slow you down. So you've got to make sure when you hit that third string all the way back, that it's with your index finger in the four strands with your thumb. The final note is going to be the first string. I'm just gonna say the numbers. It's 3531341351341. And just like our forward roll, the first note is in fact a quarter note, so the rhythm is 1234. And I recommend just looping this and doing a, doing it a bunch of times. So 353134. Now this is a role you've got to really pay attention to your tone on because you don't want stuff like hitting certain strengths too hard, really make it balanced at first. We're gonna need this role for trained 45. I'm gonna come back in just a moment and add the left-hand with this role pattern. That is the tag role. 27. Adding the LEFT HAND to the TAG ROLL: I'm going to break this left-hand part down for you on the tag roles. Remember you're just playing 3531341 and you want to try to keep that rhythm going. So the way this is gonna work is to finger is off in the beginning, but then he's gonna be coming down to the second fret of the third string. And then on the way back, he's gonna be lifting back up. I'll show this to you, slow down and then up. So the way this works is you can hit the third string open. And then the middle finger is going to come in to the second fret of the third string. And you're going to play 531. That's like inward part of the motion. One with this finger down on the second fret of the third string. Now, what's tricky about this is all the way back when you hit that third string again, he has to come off. Okay? So here's the thing. Comes off. So 35313 is open. And then this last thing you gotta do is just complicated second fret of the fourth string. And then finally our destination is what? I'm gonna do this a couple of times. Break this down with the left-hand a little better. So we have third string open 531. While down, he lifts up three, he jumps across to the fourth string. The first string open. When we put that whole thing together. You're going to hear this on recordings fast. We're gonna be using disk in our trained 45, which is about to come next. 28. Train 45 Banjo: Okay, so I'm gonna break down trained 45. And if you've went through the prerequisites, this shouldn't be hard at all because really there's only one new thing that you're learning in the context of this tune. So we're literally going to take our finding Mountain Breakdown or are trained 45 rolls and we're gonna play it three times. So remember 1515, but then the next measure, Is it real easy, 13 inch to pinch. Now, the one thing I will say here, this kind of a bit odd is to three, you want to play with your index finger. Pinch your index and pinch. Now why did I say to use your index finger here? And there's a reason behind that because when you do the funding amount breakdown role, you end on five. And it's too difficult to play five with a thumb and then the third string with the thumb as well, because those are quite fast on this team. This is a really fast to, I'll do this again. Remember three times. Here's what I mean about the prerequisites. You ought to know what I mean here. This is the 300 to roll. So now you just grab third fret, third string, second fret, first string. And you're gonna do the 300 to roll, which is remember the right-hand 4512, free play all through it. So you've got three funding amount breakdown rolls, three pinch to pitch, and then the 300 to roll. Finally, we're gonna get to some new information here. So then what you're gonna do is you're gonna take your second fret of the tertiary and you're gonna hop him over to the second fret of the fourth string. Now, come out his three-year-old to roll, you're gonna have this new idea that sounds like this. But if you know your roles, this shouldn't be hard at all. Second fret, fourth string, 34. Coming out of the 300 to roll from their hits. Funny, we're kind of playing a game here. It's like this. You're gonna come back over to the second fret of the third string and just play a forward 531. I'm going to slow down here because I know that was fast. Second fret of the fourth string, 3241. Back over to the third string, 531. I'm gonna break down just that one measures. So second fret for string 3241, he comes back over to the third string. From the 300 to roll. You're going to end on five, thereby the way so that was a 5315. Don't want you to leave out that last note so that measure 5315. And then here, once again, prerequisites come in handy. The tag role that you already know. Hopefully you remember that. So I did want to mention this, is that when you're doing the tag role, you're going to want to use your index finger here and not your thumb because you're just played the fist ring with your thumb. And this is going to be much faster. The other video, I think I showed you with the thumb and that's because most of the time you can use your thought. This is kind of an unusual circumstance, but the tag role can be played with the thumb, index finger. Start this from the 300 to roll one more time. Tag. The tag is with the index finger. Guess what? The next measure is? You're going to love it. Three, pinch, pinch, you are done. Um, I'm gonna start this in kind of like 4-bar interval. So what I mean is the first four bars or the foggy Mountain Breakdown roll three times. The next four measures are 300 to roll. That new item where you skip over to the second fret of the fourth string and you go hop back over 5315. Tag role, punch, punch. You are done. I'm going to pay the whole thing this time without stopping. Ready, go. Here, it goes fast. This is a really fast tuned. So if you go and listen to recordings, are going to hear it at light speed, but at the same time, you don't have to do it that fast. I mean, performance speed. That's okay. So just keep that in mind. Hopefully enjoyed this, this has trained 45. It's a fun one to play in jams because it's real easy for guitar players is just g and d. Okay, so that's trained 45. 29. Left Hand Fretting Technique: Hey, welcome back to Jodi Hughes music. And in today's lesson, we're gonna talk a little bit more about the left hand in particular, the pressure that you're using to play the instrument and how that can affect your speed. Okay. And the other video we talked about anticipation, What I call jumping the gun. Hopefully you've checked that out of not go. Look at that. And maybe that will help. You is well in particular you nice to beginners. You definitely want to watch that. All right, so let's talk about this most of time. In our day to day life would grab objects and we kind of squeeze them. And a lot of us bring that same natural reaction to the instrument. And we want to grip the thing and squeeze really hard. Ah, lot of us are making the assumption that just because the instrument has France, if you put your finger there, that's gonna play in tune. But if you listen closely, who here go here. You can actually banned the note sharp. Sometimes that people have a lot of pressure. They actually physically been the string as a prose, depressing it. So let's figure out how to fix that and what you need to do to kind of and steal the right feel injured in your mind as you're practicing. Okay, So what I want you to do, I'm gonna put my finger on the third fret of the second string, but I'm not gonna press in. There's no sound sound coming out of it to set it on top of the string. And hopefully I'm gonna turn So you can see this a little better. They're gonna get that. I get a thud. Do not press in yet. So what I want you to do is just set your finger there, and then I want you to gradually press in and listen. You hear that buzzing? You have press in just a little bit more to get that buzzing going away. I want you to do it again. That's as much pressure as you need on the strength. Unfortunately, what happens is people keep going and they it's that Yeah, that kind of swell sound, if you will. So to figure out how much pressure you need to play, you just put your finger on top of straying Impress in until you make it clear sound. If it's like this, it's not right. You have to have a clear sound. But what I want I want you to understand is that is all the pressure that you need anything beyond that is just wasted energy. And not just that, but pressing really hard. You have to release really hard before you move. So the less you press end unless you have to release, thereby speeding you up. If you're pressing in a lot, you're gonna have to release a lot and then move. So the less pressure that you used the batter as long as you're getting a clear tone, we have to be very specific about that. You have to make sure it's a great tone. Otherwise, you're not pressing it enough. Sometimes that could be a problem. Most of time. People pressing art of their fingers are not in the right position. So that's my little quick tip on the left hand. I might go on a little more detail. It's a more video Stay tuned. This is my website. Jodi used music and my block. I gotta last stuff up there for you guys. Maybe we'll get some more out of other than the left hand stuff. Take care 30. Left-hand advice for increasing speed: Hey there. Welcome back to Jodi Hughes. Music has been a little bit since that, giving you guys some stuff to play around with. Today. I want to kind of help my beginners, maybe even beginner to intermediate students out. And this is something that's come up a lot and lessons here lately with my in person and my online students. So I want to kind of go over that it has to do with your left hand. And I call this anticipation, meaning that you're trying to move before you almost need to. Okay, so let me just kind of demonstrate. Let's just say you had a gun. A fret, The third friend of second string. And I'm just gonna play 15 to 15 to 15 to 1. I'm just gonna keep that forward roll going after the one like this, Okay, now, let's say that I needed to jump to the eighth fret of the second straight. Okay, so maybe something like this. Okay, so I went 15 to 15 to one jump 5 to 1, and I went to the eighth. Forensics drink. Now what affordably happens with a lot of beginners out there is. They don't properly anticipate the motion, so it couldn't. Doesn't have to necessarily be this jump, but this is just a good example. So what they'll do is they'll go 15 to 15 to one, and then they're gonna hit five, and then they try to move after they've already hit five. So they might do this on you see, they don't get their quite on time. And so a lot of times analyzed how my students will move their hands and this is the exact problem that's causing him to say quote, get out of top. So what you have to do is I always tell people anticipate with the open string, let that kind of get you there on time. So under this again and this time a. I noticed that as soon as I hit five my hands like a rocket, so to speak and gets out of there is jumping the gun a sprint, if you will. So I'm going 15 to 15 to one loon and then I'm already ready for the next note. But if I do this on, then try the move on late. So here is what it would look like if you do it properly. So a lot of times when we have these kind of giant shifts or things like that, it could even be safe from here to five. It doesn't have to be a far jump. It could just be on. Then you try to move your late once again. So what you want to do, Seo? What things? I have people practice to get their hands faster, so to speak. Their left hands and their fingers is I try to tell them to go one mawr mawr than what the measure says. So you would be going 15 to 15 to one, and then one more 5 to 1 and you practice. Maybe you have to do the five to. We could just go to the five. You could practice doing this on. You don't have to hit the second strain. You just you just practice. How did that? So it's this anticipation and that speed your brain and you thought up to say, Get there faster in your hands and everything will just work quicker and more coordinated. So aren't you to try this? It doesn't even have to be there. You could practice. It's a on the first ring you could play, you know, moving and just think. OK, how did that That one had a little bit more time? Because I had the second string open so soon as I hit five on there on the fifth fret of the first drink. So try to get your fingers to get there before they need to if you can, and you do that by moving them when you hit an open strength one last one. You could also do this sometimes when you're hitting the first train. So let's say I don't know. You have just 5 to 1 on. You needed to get to say the fifth fret of the second string. So what you want to do is you don't want to go on, then try to move. You want to go on, try to move as soon as you hit the first, right? Right, just kind of practice. The anticipation and the jumping the gun, if you will, maybe is a good name for, And I hope that this will help you speed up your left hand on a variety of songs. Take care 31. Barre Chords: Hey, welcome back In today's lessons, we're gonna talk about how to play in different positions, and this is gonna help you as you want to learn how to play in different keys. Okay, so hopefully most of you already know the bar chord like this, OK? And basically all I'm doing you don't have to bar across all five strings. I'm just for the purpose is off today. I'm only gonna bar the 1st 3 strings. So hopefully understand how this kind of works is that your banjos tune to G, and this works just like your Siris of notes. So this would be g and then the second Fred is gonna be a and then be is two frets up, see, is up a friend And then finally, here we are d on. And that's where I want to talk about today. I want to concentrate on how to play out of the key of D. It's a very common key that you're gonna want to learn how to play. Okay, so basically what we can do and I'm just gonna be doing like, a for 32132131 Roll A Ford role you could take this deep position here Instead of just doing this sort of thing, you can start to add other fingers. So the 1st 1 I want you to try to add is the ninth fret of the first string. And you could do this with your ring finger or your pinky. I'm gonna use my pinky here. And so you can do things like and all I've done is I did the role. 321 Pinky comes down 32 on Pinky comes back up. And so with that little pattern thistles. Moveable. So another court in the key of D is a G court. So you could say, move up to the 12th fret And now here's your G Same exact pattern s. Here's maybe three. Let's go back to Dio on And then another court that's in the key of D would be in a court. So then you could slide up to the second fret and once again, eso with just one pattern moving through these various courts, you can, you know, come up with variations on this. It doesn't have to be Oh, you could start with your finger down and then take it off. You could do something like this thing. Okay, So but I want what I really want to kind of emphasize here is to get out the sound of where you just kind of rolling through courts. Because that's a big problem for a lot of people is you use the free fingers thes thes guys here to add in notes, and you're gonna learn how to just kind of pop in, Theo unquote improvise with those. Okay, Another one. Just to kind of throw this at you is you can also add the ninth fret of the third string with your pinkie or your ring finger here, and it would sound like this. So I'm gonna be up, down, and then back up. Do this again. What's again? You can move it around, so it's kind of give you a little demonstration. Now, I'm certainly not gonna cover every bit of this in this one video, but I just want to show you where you're headed with this thing. E o e. Use these fingers, Theo, You know, I often have. Students will try to do the barker with this finger, and I say, Well, the reason you don't want to do it with that finger is because then this is not gonna be so fun. So make sure you're using your pointer finger here. Make sure you're getting really close to the fret without being on top of it. You don't want to be on top because then you get a really dull sound. And then the other thing that's really important to see my thumb back here blind your thumb up with this finger. Don't make it up here. That's a common problem. Or down here, line it up with this or your middle finger here and keep it like that. Like a clamp, if you will. I've been playing a long time. It's still kind of hurts because you can't really callous that part of your finger. So just kind of stick with these bar cores. But I go out with just kind of one more demonstration real quick and hope you get the idea . Used these fingers and fine sounds. I think you could do all of them. You could. Okay, so that is showing you how to play out of the bar chord. More on that later 32. Shady-Grove: Hey there. In today's lesson, I'm gonna talk about the old classic Shady Grove. And before we begin, I want to make sure you understand this, that there's only two chords in this song. There's a D minor on a C major chord. Now, when you hear other professionals play this, they may play a fancy arrangement. You know, they might throw saying F chord and that's a common thing. But for the most part, the bare bones part of this tune is just the minor and see Major. And as we move through this arrangement, I'm gonna point out where those occur. Okay, so let's just go ahead and jump right into it. First thing first. You want your fifth string tuned to a on. You can do that by spiking, and if you have to tune up, that's OK. I would prefer that one day you get a spike those so you don't potentially break the string . OK, so mental finger is going to go on the third fret of the second strength and the right hand is going to go on. That role pattern is 25 to 15 Do it. They pay very close attention to the rhythm. It's 12 and three and four. And from there this finger does not lift up and then reset. What we want to happen is you're here and you simply are just going to move your finger down his slides down. Not inaudible slide, but just kind of eases down to the fifth fret of the second strength. And from there I'm gonna play to one, and they watch my pointer finger here. He just pops into the fifth fret of the third string. So it's 213 long on back to 321313 And at that point, I'm gonna do what's called a pinch, which is you pitch the fifth and the first drink together. So these two bars at that point, once again, this finger never leaves the strength. He just slides right on back up to the third fret of the second string again. And once again, we're gonna have 1/4 note, And then this ring finger is gonna pop into the third fret of the first string and you're gonna play to 52 on. And then this one slides up to the fifth fret the of the first rank. I'll go over measure three again. So 252 on one are the string numbers and we're kind of holding our fingers down at the third fret of the first and second strings. Kind of that little shape there. So too 5 to 1. And then this finger just slides up a long string fifth fret. And then here, this is our court. This is I d minor court that I was telling you about. It is spelled out 76 and seven counting from the first string up and you'll see this in the tap. OK, that is a D minor court and I came up this little role. It's not a standard role, I don't guess, but I like the sound of it. It's 132313 to 3. And it sounds like that point. You're gonna take these two fingers. Don't use your thumb, these two fingers, and you're gonna hit the first and second strings a same time. So that measures. Sounds like this on. Finally, we just fill in. I call the festering at timekeepers. Sometimes he's just there to keep your time. Not really carrying a melody percent. So let's play the first line of our tab. Okay, here goes Theo. All right. And now on to the second line. Now, at this point, you can take your pointer finger and just bar the 10th fret. Okay? And you don't have to bar all the way across. I'm just barring the first to string some of my students. Like the bar. All three strings are all for it, You know, it's up to you. Whatever. You feel comfortable. I like to borrow his minimum as possible. I don't want to do any more work than I might have to do. OK, it's kind of like lazy fingers here. So at that plan to use a role and it's going to be one too long Fight. And I will tell you that that is a standardized role that you're going to see quite a bit on 215 And from there we jump back to our D minor position. 1215 Again. So that is. Here goes, uh, so we're jumping from the bar. All right, we're gonna learn later on this. That list looks like an F board, but it turns out of the mire with a little extra note on top. I don't want to get into it in this lesson. Maybe another lesson. And but just understand that it's a special kind of D minor. So you're not really playing an F three? Okay, those are just the miners with 1215 rolls. Not gonna jump to a Sikh, warned you gonna bar the fifth fret and same role. I kept it the same 1215 And then finally in your seek or down here, which is the second fret of the SEC up first ring. First fret of the second string in 1 to 1 thought. So let's put all that together D minor and our 1 to 15 roll that's up to you with that bar . I just go ahead and tell you that sometimes in my videos you'll see that I don't do the bar . I used the ring in middle finger. I like to do that because if I use those fingers, then when I go ready to play that the minor Aiken Lily, slide that now again and then same thing here. I don't have to reset my ring finger along that for a string. You kind of just moves like this. But if it's easy for you to do the bar and reset your finger, that's okay. We're not talking about 100% correct answer here. It's a little subjective, but whatever you know works for you is what we want. So we have the minor to the minor, and then this is the same major to see, mate. Oh, all right. Last couple measures here. We're gonna grab a D. Minor court appeared top, and that is spelled out 33 two. Okay, right there. And once again, we're gonna have a kind of a The first string is gonna be our lead note, but the role is gonna be a little bit different. It's gonna be 13 to 5. So 13 to 5 while holding 18 minor chord, and then go to your what I call the partial. See, I called the partial, See, because you're not having to fret that you're not playing that strings. You don't have to fret. Some people ask, Do I need to make the whole seek or master? That is No. If you want to, you can. It's just more work for you to have to do okay. Or if you just want the practice of moving around with your fingers. So here's the pattern again on 3 to 5. C chord on three. Too far. So once again on, then I'm gonna jump back to what we did for the very first measure of the song, which is I'm gonna play the third fret and second string, and we're gonna go to 5 to 15 to one. So I want to play through that whole thing really slow for you this time. Okay? Okay. So on that last measure, make sure you start with your pointer finger with your right hand. 5152 Okay, so that completes the first variation of Shady Grove. Let's go ahead and get into the second variation. And with this particular variation, basically all I did was I took the variation that we just did, and I add what they call ornamentation is to it. And I just changed it up slightly, so we would have some variety. You know, this tune doesn't have a whole lot cord, so we have to create interest in other manners. So let's go ahead and talk about this. So whenever we have a melody, that's just simply they're one of the ways us banjo players. We create some interest. So to speak is we hammer on on hope you already know what the hammer on is, but I'll go over this briefly. You're going to start from the second fret of the second string. You hit the note and your left hand does all the work. See, I only hit it one time. I didn't hit it twice. I didn't go with this hand only hit it once and then with my middle finger, this hammers into the third fret of that same strength. So we have. And then once again, 5 to 1 and then we're gonna drop this finger into the second fret of the first string, and we're gonna play 5 to 1. So I kept the role the same for this measure as in the first variation. I just added a couple of things a to that point, this finger lifts up. This one does not move. He stays where he's at. Like I said, we want to have a little motion is possible. And we're gonna play 5 to 15 And then this finger is gonna hop up to the first fret of the second string from one little single note. So here's measure two of the second variation. Okay, it will be measured. 10 I believe in the tab there. So on, then we're gonna do a pinch, which is dis functioning as a timekeeper once again. So we have those two measures way. So those are the first to measures of that second variation, so to speak. Now we're gonna jump right on back into that hammer on. But this time this finger is going to pop in its the ring finger, and he comes down to the third fret of the first drink. So after the hammer, on 5 to 1 again, we're gonna keep going back to that. 5 to 1. Better on here. We go straight out of the first creation. Now, here's where it does change. We're gonna jump back into the d minor. But this time I changed the role on you. I want to creep some interest. Okay? Want to keep some variety? So from here, we're gonna play 15 to 13 to five. Go over that again eso is 12 and three and four and is the rhythm. Here are the numbers of the strings that you're playing one 5 to 13 to five holding a d chord at the seventh fret. Okay, So from the top of the second variation, I want you to hear a little quicker so you can hear the context. It's kind of hard to hear all those ham rolls and stuff really slow. And here, the context of the two. Okay, so last line of metal tab and we're gonna be on the 10th fret barring once again. And we're gonna also be playing one too long. Five. But I kind of played a trick on you when I got to hear, we expected to go to the 1 to 15 again. But I just actually just take took these two fingers and and I pinched the first and second strength. So it sounds like this thing on five for a timekeeper on. Then I did the same thing here, barring on then looking those two and then I have a timekeeper on my father. So let's go through that last line on on. We're gonna hop into that d minor shape. But there's only one little difference. Then from the first time I did it here, I'm not gonna put this finger down. I'm going to leave him up because you're gonna see I'm gonna need him in just a minute. Some. I'm gonna be playing the third friends of the first and second strings, and I'm gonna be playing 1215 Now, did you catch that? On the 2nd 1? This finger hops into the second fret of the first string. So and that ring finger, he had the lift Get out way. Uh huh. So, to five. And then I jump into what looks almost like a d seven shape. Second Fred of the third string and first fret of the second string. And I'm just gonna do a reverse. 1231 I was called out of reverse because your fingers are moving in the reverse order than a forward. They're going middle in next thumb. So with that whole measure and you're gonna end on the one on, then I'm going to slide from one into three on the second string, and then I'm gonna play 5 to 15 to one to finish it up now from there. Why not use to slide from one? Well, because my fingers already there mention it sounds great, too, but I'm kind of a big fan of efficient fingering, so anything I can do to cut down on my emotions and my movements, that's what I'm to take advantage of. Especially if it makes it sound better. 25215 to 1. All right, so let's play through that second variation Really slow one more time. Okay, so that's the entirety of the arrangement. But let me give you some performance tips, things that maybe necessarily the tab doesn't indicate unless you really pay attention and listen to the song. So first thing first, on that second variation, you're going to hear me. I really like to emphasize that that pinch or that pluck rather on even there you're gonna hear me emphasize that first string eso you're here a lot of kind of first string emphasis expensive. That's where the melodies at here on this note This line I really want to bring that out and put some punch into that thing and really make it sound nice. And strong, See? Okay, So going back into some other things that you can do is we don't want this song to just all be just the land in the same level because people don't speak like that. So we don't want to play like that either. So one thing I would tell you is you don't want to come out too loud, like you don't want toe come out really loud like that. You don't have anywhere to go, So you might want to make it a little bit more of a moody type piece where you could start softer, Louder. Now, this stuff is subject. If you could take everything I just said and turned around backwards and try it for yourself and it might just sound just as good. So my whole point, though, is experiment with the tomb. Um, the point of is not to just memorize the arrangement is also to learn the melody and then expand on it and also be able to play very expressively. So if I'm playing this for real, you know, I might think there it almost seems like I'm kind of slowing down, Even though I'm not on the volume level. You could hear it 33. FarewellBlues: way the oh, So that was the farewell blues. And today's lessons. I'm gonna teach you how to do just that. All right? This song is in the key of C on. A lot of people retuned down the four string, but this requires no tuning. Hey, the old banjo won't stand tune as it is, so let's minimize the retuning. Okay, so let's get started. It's largely going to be using this seaboard here and this secret here. Hopefully, you know, those If not, I'll go over them again. So let's grab the C chord. It's 21 open counting from the first string up and we're gonna have some pick up notes and the way this is gonna work, we're gonna hit the third string open On the second fret of the third string noticed that these fingers are not moving. They're staying down on the first fret of the second string. Eso double summing on the pointer finger with your right hand. Now, that point I'm gonna slide from 3 to 5 on the second string. OK on then as soon as I get to five, my rent thing is gonna drop into the fifth fret of the first string. Some people make the mistake in making it to fetch. You want it to be 12 and then the old forward roll 5215 So from the top way So that's 51 But now that point these fingers are staying put. I'm just gonna slide back a friend and I'm gonna pluck a pitch Those with the first and second string at the same time with these two fingers on and then five and then moving back of Fret five again. These are just quarter notes on four on into a partial See here pinching one and two again . 53 Now, when I get to three on that role Dr Teoh on to I'm gonna jump into the third string. Second fret five. At that point, I'm gonna play four Roll staying where I'm at 2552 Let's go to the hole. A section again thing 51231 That last measure is 1/4 note on the second string. 551 more time. Thursby section is pretty unique. But before we get to the B section, understand? At the A section repeats twice and then the bees only gonna play once, and then you go back to the A. It's kind of a weird form. Okay, so let's get into this B section on Fair World Blues. So we're gonna grab a cord, right? And you're going to play a forward reverse role. 32151231 on. Then I use my pinky. You can use your ring finger. I'm gonna hop into the fourth fret of the third string into the same old Ford reverse we owe. All right now, here's where the rhythm got a little tricky. I grabbed the d chord here for 32 and I play three and then I a pinch wanted to again. You hear that rhythm? Hopefully its three and And in the pinch, do that twice. Three. Bench three. What did I do? I took the d A professor otherwise known as e flat. So we have from the way, all right, and then back to the ice section. But we're gonna leave out to pick up. So here, the way we have to go back to the A section because going to the B section again. I don't want it in their doesn't sound so So we have to get back to see and the way we do that way. Final first time through the apes, The salt. Okay, so a a b a. Now there's another variation on the tune where people play off of the seventh Court, and that's the next part that I want to get into today. It's very similar to what you just learned. So then at this point, you're going to go up to the eighth fret the first string and a friend of the second string Boy, was that awful sound, right? Let's not do that again. So a friend of the first string and then a friend of the second string and using the same fingers, right? And at that point, what you're going to do is you're gonna play to burn quarter notes one and and then 5 to 15 Keep returning to the 52155215 Once again, thing hit 15 backing up a fret one things time We're not gonna play the chords. We're gonna play a single note, so starting here again. Seventh fret five. So from the beginning of the next variation thing. We're gonna drop into the fifth fret and we're gonna play 15 to 15 to. So here we go again. I think now, at this point, I have this little position that I love to use them and lift up my ring finger and the pointer finger is gonna drop into the fifth fret of the third strength. And I'm just gonna do a Ford reverse role way. Use the whole thing. Beat two aces, and now we're gonna go into a B part. But this people have created is a little bit different than the other one. I want you to have some interesting things to play with. So grab in a chord here. 756 counting from the first drink up and kind of what I did. This is a kind of a quoting a little bit of Don Reno here. And what I've does have taken the car and I've lifted up this finger. So the second string is open on. Get this kind of interesting sound here. Now, what I did is I took this and then this finger is gonna pop into here to emphasize the seventh every other one and My role is just the old basic. 3 to 432132 one. Okay away. Right. Let's just do the right hand parents. So it's 3 to 13 to 13 to 13 to 15 bum. All right, now what is hard about this, though, is this finger has to come in every other like that. So here it is, this thing coming in. 3213 to 1. You'd slow Theo faster, though. Now, from that point, with that second string ringing that creates this really nice tension there, we're gonna drop into a D seven. Now. A lot of people don't know this particular D seven. So I want to go over this seventh fret of the first string seven friend of the second string with your ring. So it's pinky and ring and then fits. Friend of the third string with your pointer finger and back to my little pinches that I did remember. This is the same exact thing. I'm just playing a different court. So three on notice that I'm kind of dampening, and after taking my fingers off a little bit and then you're gonna move up to the E flat seven. Okay, so let's start all the way back from the new variations because I want you to catch this thing way. Did you catch that? So the last time you actually have to go back to the first variation that we learned after this stuff I don't want to hear. And the reason being is because once again, we wanted to sound resolved. And that c seven, we want a pure, just basic C major. So after this, back to your first creation, that is the completion of farewell blues. Take care.