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Dobro Lessons: Left Hand Efficiency Over Chord Changes

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All right, guys.
Well welcome back for another lesson.
And I got a special lesson here.
I got my friend Scott Law here with us
today to help do a little bit of
And I titled this lesson
Left Hand Efficiency When Playing Over
Chord Changes.
And the idea of this [SOUND] lesson is to
sort of [SOUND] expand your
knowledge when you're playing over chord
So, [SOUND] we're gonna use the key of C
as an example.
[SOUND] And so, for instance, if a chord
progression is [SOUND] C,
[SOUND] F, [SOUND] and G, [SOUND] it's
common for
Dobro players to want to play
over that bar chord and
move the bar to that position.
And that's definitely very natural and a
good way to play over changes.
But, another thing which you can learn is,
you actually don't have to move your
left hand all the way to those positions
to play over those chords.
[SOUND] So the idea being, you can use
some of your knowledge to keep this bar
kind of right in this position while the
chords go by.
And it can create a different sort of
sound for you.
So, for instance, [SOUND] over a C chord,
obviously, I have all these notes here,
but when the chord changes to F,
I can play all kinds of notes that
are in that F chord right here near this C
And we went over some arpeggios.
That's an F arpeggio right near the C
I also, if you were to go to G,
the five chord in C, I've got a G arpeggio
right here.
On the third fret of the second string,
fourth fret of the third string, fifth
fret of the fourth string.
So, so knowing where some of these things
are can really change the way you play and
give you some more options.
So, I'll just do a little demonstration.
And Scott, if we could do the like, play a
one, four, five in C, maybe in,
like, a waltz time.
And I'll just show how you can play over
these chord changes without
moving the bar, necessarily, to these
So, one, two, three, two, two, three.
So, you can see you can get sort of a
different sound.
Now, of course, in conjunction with that,
you can move your bar to these positions,
and you've just sort of doubled the area
in which you can play.
So if the chords are going by, I can still
move up here.
And then, I can stay down in this area.
So, so this just gives you, sort of, and,
and you want to keep that in mind.
Whatever key you're playing in, we're
using C to demonstrate, but
you can do that in any key.
And all you need to do is learn where the
different notes of the one, four,
five chord are, right around here.
So you've got,
here's all the notes in the C chord,
And then you've got a few
different arpeggios for an F chord.
That's one.
Seventh fret of the high string,
sixth fret of the second string, fifth
fret of the fifth string.
That's a four chord.
You've also got a five chord.
The same pattern, just up a whole step.
And then you've got this four chord
Sixth fret of the second string.
A C note right there,
which is fifth fret of the third string,
seventh fret of the fourth string.
You've got this [SOUND] G.
And so you can refer to the lesson with
some of the different major arpeggios and
use that to help you.
Now, one other thing we'll just show here
is how this also works for
a relative minor chord.
This can really work for any diatonic
But if we play a C chord.
if you would, and then play just an A
minor chord.
Well, you can hear right there,
there's notes right there in that fifth
fret where the C is
that are also in the A minor chord.
A minor is the relative major of C, so
let's do that C back down to A.
So here's the C.
And then here's the A minor.
So right there, instead of going down
into this fret, which you can do as well.
But you can also play it right here.
So this little arpeggio is
seventh fret of the high string.
Fifth fret of the second string,
fifth fret of the third string, seventh
fret of the fourth string.
So, and that pattern is movable, anything
you do in a closed position on Dobro,
you can move that to another key.
I can do the same idea here in D or E or
any other key.
So, hopefully that'll give you a little
something to think about when you're
trying to develop new ways to play, new
places to play.
Keeping that left hand efficient
and not necessarily moving it all over
the fretboard to play over chord changes.
So hopefully that'll help you with that.