tune on the list we have here is John
We've discussed Dark Hollow and Tennessee
Waltz, which are you know, lighter,
lighter tunes to play more melodic based
kind of things and this is gonna be one of
the first kind of opportunities to, you
know, really get into more.
We talked about different bluegrass
voicings and how to enhance a melody with
you know, just the, the chord shape that
we choose to choose to use.
And so here's, but the same other all the
other sort of you know,
strumming kind of ideas we're going to use
and thinking about the phrasing, listen,
as you listen to this.
Listen for the melody, and listen for
what's inside the melody, and,
at the end of the phrases and how
different sections are to find and
how I can hopefully help enhance that.
So, here's John Hardy.
One of the first things I noticed about
that is the melody.
Starts on the C chord and
then again, it has a quick F back to C,
dic, dic, dictated by the melody.
you know from bluegrass voicing.
And so one of the things I'm gonna do is
because that's a strong part of the melody
that again we talked about in Tennessee
Waltz, when you have, you know,
new sections with new chords, sometimes
it's just great to just let those
just play the chords, don't feel like you
gotta really jump on them.
And this, this, the the strength of what
the moment is,
is just the fact that there's the melody
in the, in the tune dictates the, the,
you know, what might be kind of definitive
about that tune and for and John Hardy,
the immediately gets into that
So that's that's the way as a rhythm
player I'm gonna enhance that as opposed
You know, that,
that gets in the way of it, and much more
effective, is to just play the chords.
And it, and it follows the melody.
as it gets back into the, more of the, the
the busy parts of the melody.
And so that's the way it just enhances
And then it, one more time.
And so that,
the fact that that's happened twice
dictates that there's,
that's a big idea of phra, the, the phrase
is kinda complete.
So the second time
You know, that's, at that point, you know,
you have an opportunity to to throw a G
run in there.
or to, to add some strum,
you know, kinda enhancement there and and
it'll do that one more time.
It does, you'll notice that, that phrase
happens three times in John Hardy.
And then it goes to new
section which is not really a chorus but
it's this whole section of, of D chord.
so, I define that by walking into it with
that chromatic run right there.
And it kind of sets it up as a,
as a new, as a new statement, so from the
top you know we.
And you're kind of ready for something.
Now we're coming back around to home.
We've got all this, all this section of D,
and we're in the five chord and
a lot of times a five cord will always
lead back, lead back to a one cord.
And this is a, John Hardy is a good
example of that, it's a whole,
a whole couple of lines worth of D.
Back to the G.
as a rhythm guitar player you can put your
stamp on that moment with a tune.
But remember you gotta jump right back in
to the next the next verse, or
the next solo that's happening.
here we go.
So, that's putting
a lot of little elements together right
there, but it creates a real interesting.
But you know, again, you're outside of the
phrase, you're not getting in the way of
the melody at that point or whoever would
be singing, you know?
And so, you know, you have the opportunity
You know, that's basically walking into G.
Followed by a G run.
Walking into C.
And then back to your more.
So, what you've done there we,
we've created a complete picture of, of
you know, giving, giving
the song a template upon which to kinda
lay and, and, and you've enhanced it and
you've also giving yourself a sense of, of
how to really how to make this song work.
And, and you can do this with, with any
tune, you know.
We got one more to look at.
And we'll move on there now.