This is a public version of the members-only Flatpick Guitar with Bryan Sutton, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Flatpick Guitar with Bryan Sutton.
Join Now

Basic Guitar
 ≡ 
Intermediate Guitar
 ≡ 
Advanced Guitar
 ≡ 
The Improv Workshop
 ≡ 
30 Day Challenge
 ≡ 
+Music
 ≡ 
Video Exchange Archive
 ≡ 
«Prev of Next»

Bluegrass Guitar Lessons: “Soldier's Joy” (Intermediate)

Video Exchanges () Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory
Lesson Specific Downloads
Play Along Tracks
 
Tools for All Lessons +
Metronome
Collaborations for
Submit a video for   

This video lesson is available only to members of
Flatpick Guitar with Bryan Sutton.

Join Now

Information
 ≡ 
Course Description
 ≡ 

This page contains a transcription of a video lesson from Flatpick Guitar with Bryan Sutton. This is only a preview of what you get when you take Bluegrass Guitar Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
X
Log In
X
[MUSIC]
Here's the B part Soldier's Joy.
You'll also notice at this point I'm
choosing to play this out of an open C.
A lot of people play this with a capo out
of D But
you can basically read the same tab line
under that same,
same selection of notes and mainly trying
to get across, you know, a lot of,
you know, basic picking embellishment and,
and different versions of melodies.
So the B part of Soldier's Joy picks up
with a quarter note, pick-up note.
[MUSIC]
So it's basically a different version of,
you know, the big melodic statement of the
B section of
Soldier's Joy is the little walk up to the
F chord.
[MUSIC]
Is basically what's working underneath
this embellishment and what we're doing
here is.
[MUSIC]
And what we're doing,
keeping with our eighth note up and
down picking pattern choosing notes out of
the, you know, C scale.
[MUSIC]
With our target
being the downbeat of that F chord.
It's third beat of this bar this time.
But again.
[MUSIC]
Serves as a way to,
to think about you know really wanna feel
rhythmically the, the,
the down beat of that note and that's why
there's a quarter note on that, that F,
to give it a little bit of a break and let
you know that this is you know,
important part of the thing, important
part of the melody.
[MUSIC]
A little bit of a break.
[MUSIC]
And
then, we're up to a, in the first bar of
the second line.
[MUSIC]
Wor,
working the same sort of effect, back
through to the F.
And then our last phrase.
[MUSIC].
[MUSIC]
Gives us
an opportunity to let a G ring through the
G chord.
[MUSIC]
And so as G.
[MUSIC]
Transitions back into C.
[MUSIC]
We have an open G ringing through that.
Which, which, you know, again, adds to the
sort of a smoothing effect just by,
you know, having an open string.
Do what's called a drone, if you will,
through,
through the different chord changes.
[MUSIC]
One more time through the first half.
[MUSIC]
And notice we had one of those little.
[MUSIC]
Which is the same basically that we had
in one of the hammer-on exercises earlier.
We're utilizing this in a tune to set up
the downbeat.
[MUSIC]
You can isolate that.
[MUSIC]
Right.
[MUSIC]
So here's the back half.
[MUSIC]
Now this time, through this melody.
This is one of the reasons why I chose not
to put repeat signs, and
just play the same part twice here.
Just, you know, we wanna think about
improvisation.
You don't have to necessarily play, even
though it's AABB form with a lot of these
fiddle tunes just another basic idea of
adding,
adding interest is you know, doing things
one time and not the second time.
You know, sometimes an improvisation
especially in jazz,
repeating yourself is kinda something you
want to avoid.
And we're gonna borrow from that, we're
going to borrow a lot of things about,
you know bigger more improvisational forms
of music and sort of, sort of feel,
use what I think are really good,
important lessons from that and
apply them to these fiddle tunes.
And the basic lesson here is, there's a
different way to go about you know,
making that melodic statement known.
So first time in our basic melody we had.
[MUSIC]
In the intro to this intermediate
version we have.
[MUSIC]
And now that we,
we come back through this section again on
the repeat of the B.
[MUSIC]
You know, it sort of smooths it down,
actually moves the emphasis back down to
the next downbeat of the next bar.
So you see how that, all that kind of
phrase, sorta arcs.
And then falls back down to the bar just,
you know,
just adding some interest all, you know.
Still working out of a C scale.
[MUSIC]
A little.
[MUSIC]
A little quick six 16th hammer on
thing there.
[MUSIC]
This time we're gonna end this B part like
this.
[MUSIC]
We'll, we'll avoid the.
[MUSIC]
This time we just go straight to the C.
[MUSIC]
We're done with the tune.
Instead of you know, we're choosing to use
less is more now.
We're choosing to say, here's, here's the
down beat C and we're not gonna.
[MUSIC]
Just go.
[MUSIC]
Cuz you know,
we've got this sort of nice little
embellishment before it.
[MUSIC]
Just let it, let it, let it fall there.
So here's the whole B section again.
[MUSIC]
All right, I'll play the A and B now of
Soldier's Joy, AABB form.
And our rhythm track here for intermediate
is 72 beats a minute.
>> One, two, three four.
One, two, three.
[MUSIC]
Here's a call for videos.
Take one of these tunes that we've just
looked at.
Submit a video.
Submit a version of you playing one of
these songs and I'll give feedback.
And we'll look at how these, all these
elements are being used in tunes now.
Apply, applying them to music.
And so what I'll be looking for are, are,
is specific use of the things that are
written in the tab and
we mentioned earlier if you feel that you
know, again using these as tools to
apply to these things I want you to think
of these as set in stone.
Necessarily if you feel at this point in
your playing that you wanna start,
you know, branching and trying some of
these things.
But again, I'll be you know, extra, kind
of, keen about that.
And and if I, if I feel it sort of impedes
the overall rhythmic sense of what I,
what I, you know, the music that I really
wanna feel and hear.
I'll be able to feedback, give you some
feedback on that and
encourage some of the things to work on.
So that's a big batch of tunes and
a lot of different ideas and I look
forward to hearing all that.
[MUSIC]