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Bluegrass Guitar Lessons: “Gold Rush” (Intermediate)

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going to jump right into the B part of
Gold Rush here.
Here at the intermediate level.
I will explain it, kinda show it here.
Then I will play the whole thing down from
top to bottom.
A, A, B, B.
This one picks up.
Again, a lot of our ideas here smoothing
things out.
Adding eighth notes, but also adding
elements of smoothness.
To kinda create this you know these big
strings of notes
that make a lot of melodic sense.
And allow our right hand to kinda just
keep a solid pulse moving so we,
we get right into that with this, B part
of Gold Rush.
There's the first phrase and
what's going on right there, once we, once
we work our way down.
I was thinking that's just, G, major
pentatonic form.
Now we got a series of hammer-ons, and
it's sorta almost a cross-pick kinda
hybrid kinda thing.
And a, and a real smooth kinda effect
Is what it sounds like in tempo.
so, again as we talked about our eighth
When you have a hammer-on a lot of times
the, the eighth note up and
down pattern is, is broken.
And, so, you know you don't wanna just
stop because of that.
Because you know, you wanna realize this,
sorta full sense of what's going on
So my hands actually continues to move.
So the, the option is.
notice when I start on the, from the low.
You know,
the, the note that is played is an
if I were to play that second fret into
the open fourth string.
It would be a down stroke, but
because I'm not going to play it, I'm
going to play the upstroke and
allow the hammer on to happen
And so, our eighth note pick up
into the down beat again we're talking
about strong down beats.
And how these, how these up strokes
emphasize the down stroke.
The primary stoke is the down stroke and
the up strokes almost secondary.
As you, especially as you're building
It's a good way to, a good way to think
about it.
A lot of times people wanna think and
it is, there's a certain element of
building strength for your up strokes and
down strokes.
To make this really really really, even
the most mechanical sounding
version of these kinda things.
And this is a way to sorta build that
sorta kinda a back door
way of building it,.
As, as you think of more of just these
pulses and downbeats.
The strength of those upstrokes.
They're, they're kinda put in their spot,
as well as developed the strength of, of
them as, as it is.
So and, and plus, you know?
A little picture of our, of our parts, the
rhythmic, will make a lot more sense.
So that's a whole little passage you can
kinda isolate right there.
You notice when I go through that, my
right hand Sorta stills it, you know,
its hard to see.
[SOUND] What's really going on,
You notice when I hit the hammer on my
right hand actually falls down because
I'm, I'm, what I'm doing,.
I'm not doing that because I want the next
I'm trying to maintain this sense of, even
though I'm not playing every eighth note.
I want my right hand to not necessarily
break its groove.
So that's why, and
it adds that effect of smoothing in it.
So all my downbeats and all the strokes
that are, all the,
all the strings that are struck are in,
you know, in their proper sorta place.
Within the, in the groove and the pulse of
things, so moving on, I'll start again.
All right, so this
is going to set up an ascending, another
ascending kinda pattern with hammer ons.
So one more time.
Same kinda idea.
Second half.
And notice,
I changed the melody right there.
The first, the first the first time we
entered the B section, you,
you have this melody.
and for this, the second half.
But again, in Gold Rush, the that C form
right there is kinda it's it's our target.
Still using notes out of the out
of the G-major form scale form.
You know into that same move right there.
Just demonstrate a little bit of ways you
You can just add a little interest, you
Just, it's not really, and we talk about
improv being some possibly,
you know, alternate version of the melody.
And really, you know, and that's one of
the beautiful thing about these,
these old tunes like this.
Is you can kinda do your own
improvisational version, stamp if you will
on, on these kinda tunes without really
changing a sense of the melody.
Well, we'll talk about melodic
And this is, you know, sorta opening the
door to that kinda idea of giving you two
examples of getting to this note right
With the,
the first phrase of the B part of Gold
You've got.
it also sorta sounds like Turkey in the
Straw so we're sorta quoting another song.
Back in.
The same, ascending.
really work on keeping that obvious pulse
in the right hand.
Here's our variation.
Break right there.
Now here, we worked our way to the end,
and I've thrown in.
We're gonna introduce some other little
tricks and embellishments and
kinda little little tidbits that kinda
fancy up little solos.
And this is we had the.
16th little hammer on,
pull off trick [SOUND] That fits into the
pulse of things.
Here we're going to have a little 16th
note triplet.
And that's you know, pretty technical term
for basically what sounds like this.
If you don't wanna play that,
your completely have my permission to
avoid it.
I put it there to kinda challenge.
And again,
it's the idea is keeping this same pulse.
And what's,
what's going on is you're really working
your left hand now.
All the things we've talked about.
Hammer-ons and pull-offs are used here and
this is,
you'll notice I use a lot of these in my
own playing.
You know just, it really,
without taxing your right hand anymore.
It adds another level of interest and, you
spark and whatever you wanna call it to to
versions of songs.
And so, I just threw one in there just so
you can have it, you know,
mess around with it.
Because what happens is
the hammer on the pull off is this.
And again, it sets up.
It all fits within the eighth note
Down, up.
And if you can, if you wanna work on it,
you can isolate it.
But that, that fourth finger
on the fourth fret there, it's all working
in everything we talked about.
Just complicating it a little bit.
So that whole bar again.
Into the last bar,
so once, once we've hit that note right
there with the other, with the upstroke.
And once again we're, we're setting up for
the next thing.
so that's, that's the whole B part there.
I'll try to play it through one time here.
If you find yourself working this with,
like cuz a lot of this things are things
that I do all the time, and
they're instinct.
They're instinctive and instinctual to my
kinda approach to this kinda song.
And I've tried to write in things, as I
would do them.
Sometimes as I'm playing these things I'm
actually kinda adding hammer-ons or
pull-offs at slight little, little
movements here.
And again like I, I'll just lay it out
If you don't feel like you wanna play this
with the,
At the end, you know, when I,
if you submit these in, with, with videos.
If you submit a ver, version of Gold Rush
and you choose not to do this or
choose to add something of your own.
I give you permission to do that, but
what I'll be listening for is are you able
to deliver that idea solidly.
You know we, we open the door to improv.
Back in the strum and scale, ideas and
little exercises and what not.
So, from here forward we, we,
you do have a bit of freedom to kinda
experiment with things.
And I want you to do that.
I definitely want you to be able to look
at these as,
look at these things as tools to apply to
And you know, if you can apply it here you
can apply it to every other song you play.
And with the goal being that it
strengthens and solidifies your,
your technique and your sound.
And so, you know, if you feel like you
wanna add, add little elements like that
then you're, you are more free, more than
free to do so.
But, but know that I'm gonna, I'll, I'll
notice it and I'll look for it and and
if it's, you know, if it needs to be
worked on I can, I can point it out.
So that, that's Gold Rush.
I'll I'll now play it all the way through
A-A and B-B.
One, two, three, four, one.