gonna to jump into an intermediate version
of Jimmy Brown and the Newsboy.
It's a classical tune.
And we're gonna to employ some elements
that we worked on in
the intermediate curriculum with some
And again sort of encouraging some
smoother strums and
single note kind of smooth transitions.
And so I'll try to just play it all the
way through this sort of exists is that,
there's no rhythm back in track for this.
It, it exists as a good thing to practice
and play as a solo piece.
You, hopefully can start working these,
this tune like this.
Up and play for your friends and, and and
you know really get the sense of,
you know not only learning it but being
able to play it for somebody else.
And so for Jimmy Brown
I'm just going to pick a slower temple to
So you can see how we're stepping into
a little more adding some complications.
But act, actually adds a little more sort
of element of beauty to a melody
As far as specifically what's kind of
appropriate in flat picking in,
in bluegrass, with these kind of tunes.
And so, what, just walking through here,
simple walking bass into the down beat.
And then adding a strum right there.
the smooth transition idea there is
where the in beat four of that first
measure, there's a.
A G and a C ringing there.
That's almost like a separate smaller
strum within, within the bigger pattern.
Preceded by the hammer on.
So, as for the first little el,
element of, of how you kind of smooth
The melody is.
Now we're moving to our F shape
So, we're just allowing the strums to kind
of define the pocket define the rhythm and
the melody at the same time.
It's kind of a maybelle carter kinda
we're gonna jump right in with some cross
We had our whole cross picking with hammer
on's exercise this is how this is gonna
apply right here from the bar before.
the thing to make this smooth the way,
what I'm thinking about is more my right
hand cuz it's just basically you know out
of a C chord position there.
So what I'm doing,
I'm actually sort of introducing some
It's not really sweet picking but
because of we, we talked earlier about
You know, when you have a hammer on or a
it kind of breaks a little bit of the up
down, eighth note pattern as opposed to
And so, in order to
keep a smooth rhythm going,kind of the,
the idea exist, existing in our, in our,
in our picking hand.
Will follow the down down stroke of the
Kind of continue with the down stroke
because the up stroke's kind of taken care
of from the hammer-on.
And so everything's going to be a little
So that high C is gonna be an upstroke
which is gonna, it's gonna work great cuz
it's going to set up the next two strums.
And then to the downbeat of the next bar.
So, lots of little,
little ideas there working of how you set
up for beats.
And then the overall picture is a,
is a very smooth kind of transition
through that, through that melody.
The basic melody of that part of the tune
and so we're embellishing.
thinking more of cross picking as you know
from the banjo type kind of roll.
how rolls kinda just fill in the gaps
around and helps to find the chords
So there's bar into the next bar.
And a five-chord.
And so, we're gonna help outline that with
another bit of cross picking.
And so that upstroke sets up the next low
For the next part of the melody.
This is some more cross picking.
All open strings we're in a G chord.
our last little melodic phrase is couple
of hammer ons.
those are all down strokes good, you know,
That's a, it's interesting how some of
these you know,
it's all from heavier down strokes that
deliver a bigger tone
at a point in the melody where it's you
know it's, it's coming back home.
It's, it's you know your, your letting the
listener know that you're getting ready to
finish the whole thing so our picking kind
of enhances that.
You know with all that sort of exists to
set up the, the last downbeat.
So we use the first ending there to,
basically this is what's tabbed out as, as
basically strums with an alternate bass.
Is, is the move there.
And then back to the top.
And so what,
one of the things that makes that also
smooth in that transition right there is
getting things to try to ring as much as
Notice that, that C-note the,
on the first fret can, can hold down
through the F
And, and there too with these,
that's the great thing about cross picking
the more you can get these things to ring.
And because this is in the key of C we can
utilize a lot of open strings.
So there's a lot great stuff within a,
a beautiful simple little tune to kinda
work on a lot
of the ideas that we're bringing up to
this point in the intermediate lesson.
And so I'll play it one more time all the
way through maybe a little more speed.