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Bluegrass Guitar Lessons: Slides: Exercise 1

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Here's an exercise to work on building
building awareness of slides.
And how to, sort of, place 'em into, into
I'll show you the exercise first.
You download the tab according to this.
You can read along.
Starts on the the A,
the second fret of the third string, slide
up to the B third, fourth fret.
And then, and
then strike the D on third fret, second
And then slide down to the open G.
Sliding from four to two, there,
on the third string is the first bar.
And I may just do that a little while.
And again, what you want is a, is a,
the, the full three notes need to, need to
feel like one idea.
No, one and two.
You know, that's some of these
points where some people can, it's easy to
just get a little sloppy with these.
But you don't, again we are gonna practice
this with a metronome for
the reason of, of really trying to hammer
in a solid feel and.
So here's the rest of the thing.
There's first bar again.
Bar two starts here on this third fret
of the second string.
We're sliding from three,
fret three to five.
then playing, notice that when we slide it
puts, it puts our first finger and
keeping with our left hand concept even
though we're moved beyond this point
we're moving beyond working from fret one
to four,
our slide from this D to the, that's an,
the, the E note right there.
It puts, because, hopefully our left-hand
technique is, is becoming more and
more solid.
You'll notice that your index finger is
right there ready to work.
when you slide down from the fifth fret to
the third fret.
Now we're back into this first position
and there's your index finger again.
So, this is again ways that slides and
things like that allow to, for
moving positions smoothly.
And so here's first bar again.
Same kind of thing.
Put our, put our first finger right in,
right into position to use.
Second bar.
Third bar.
Just like the first.
here's a little bit of a jump starting on
the second fret of the fourth string.
Up to the fourth again.
The chord here that's basically being
formed is the D chord.
But once again, we slide from,
we're using this middle finger to slide
from this position to this position.
Basically what you're doing is sliding
from first position,
which means all the notes are accessed
from the,
from the first fret to what's called the
third position,
which means all the notes accessed with
the index finger on the third fret.
Is the fourth bar there.
So sliding from the D, or the E on the D
string to F sharp.
And, that,
that sort of forms out the the D, the D,
sound there.
And then we,
we repeat, that's the first ending.
And you repeat back to the top.
The last bar second ending.
Sliding down again from the F sharp,
fourth fret fourth string.
To open D.
And in a quick little slide, we've done
two fret slides so far and
this is just a, a, sort of a,
embellishment or
a sort of a grace note into the, into the
G, from the fourth fret.
So that last bar sounds like this.
And once again,
I'm using all down strokes.
For what we talked about in the last, the
pull off exercise.
If I were to play all these notes.
It would sound like
And notice that it's choppy,
and this is another, another thing that's
great about slides it smooths, can smooth
things out, especially when they're done
with a strong sense of rhythm.
And so, you sort of see doubly the effect
of what's going on.
Not only does my right hand become more
efficient because I'm able to use
left hand to actually create notes.
It smooths it out as well.
So the tone's better, the sound's better.
My playing sounds clearer.
You know here's me picking all this,
here's the exercise.
You know,
it's pretty
And so when you're able to, to use the
slide, I'll go ahead and, and
show you it at 50 beats a minute, how
things smooth out.
And once again, you want to play a little
bit of rhythm.
Alright, now,
I just got in sync with the metronome,
One thing to add here, if you look at the
exercise, you'll see the eighth notes and
a quarter note, eighth note and a quarter
note and.
The way these slides can work rhythmically
and, and where it can really smooth out
playing and this is, this is true of a
flat picker of any level at this point
is these notes within this bar are one and
two, three and four.
So the slides should be the one and, and
the three and like in the first bar.
One and two, three and four, so the way
that really needs to sound,
and this is when you work on the accuracy
of the slides.
One and two, three and four.
You know, and so it's, it's being aware of
those things.
A lot of people,
there's a tendency I see to get sloppy
with things like that where it's.
You know.
And it can fall out of rhythm.
And the way to practice, the way to build
is to do this with as solid a sense of
rhythm as possible.
So here's, I'll show you this exercise at
60 beats a minute,
adds another level of challenge, I play a
little rhythm.
When you feel comfortable,
then you just jump in.
So that's the basic exercise there.
And so those are three, three great
exercises to start building.
You know what, again are key elements of
solid, flat picking.
And now we're going to move on to some
Alright, here's a call for videos.
I'd like I'd like you to submit a video,
and I'll give you feedback.
What I'm going to be looking for,
in a video, we've discussed hammer ons,
pull offs, and slides.
And so what I want to see is how your left
hand technique is building.
So, we've got those three exercises and
you know, we started, I encouraged you to
start with you know, playing some bars of
rhythm and then jumping into the exercise.
So what I'm gonna be looking for are the
smooth rhythm transitions.
Again these are building blocks of very
solid music making in this kind of style.
Rhythmic transitions and the exercises
themselves so
if you wanted to combine them all you can
at 50 beats a minute play a little bit of
rhythm, play the hammer on exercise.
Go back to rhythm for a little bit and
play the pull off exercise.
Go back to rhythm, play the slide
exercise, and go back to rhythm.
That's a challenge.
Play all three exercises at once.
I can, I can look at that, and, I can tell
if there's,
if there's you know things to isolate and
work on.
Maybe there's, you've got the hammer on's
with the pulloffs that look a little
you know, a little sloppy, or a little,
We can, we can address that there, and I
really want to, I really want to see
how that's come along, because, you know,
once we get those nailed,
then then a lot of the things that are
going to come later, will come quicker,
and, and you'll feel yourself making
better music you know, sooner.