The next exercise we're gonna get in to
with advanced rhythm, is we're gonna work
with the classic, fiddle tune, Big Sciota.
It's a modern jam classic a lot of people
work on the lead of this but
we rarely spend time thinking about the
So at a lot of times in Bluegrass, you,
you can take rhythm for granted.
And some of the opportunities that are
do something special with the music.
So and that's what, what we're trying to
do here with advanced rhythm concepts.
Or take all these things we've discussed
with a, you know, solid sort of sense of,
of how the rhythm dances and, and adds
some introducing some
improvisational kinda awareness in
listening to phrases and all that stuff.
So, with Big Sciota one of the things I'm
gonna look for is
It's, it's a usually a faster tune.
My version here is a little bit slower.
So I'm just gonna be looking to try to
support the the way the melody falls.
It's usually done faster, so I'll, I'll
present this sorta a slower version of,
of the way I would, I would, and I would
interpret this at a faster tempo.
So, so here's how it sounds.
One, two, three.
Show you what I just did there.
I took the A part as an opportunity just
to settle things.
I don't wanna, I don't wanna get into a
lot of this stuff too soon,
and that's, you know, a reminder for you,
as you, as you know,.
Apply different techniques and concepts
with playing rhythm.
You're a rhythm player first,
you're a supporter of the, of the beat,
and, that's, that's your key role.
And we're gonna, look at how, within this
tune, you know,
started applying some of the stuff later
on down the tune as it developed.
And that's one thing to remember if you're
in a jam session, is to, you know,
let, let the tune establish.
Let, the, let the groove establish itself
and everybody kinda find each other.
And, then, as, as you interpret as you
feel, feel the need, feel the,
feel the inspiration, then you can, you
know start using some of these things and
that's kind of what I did there and
especially these tunes that usually start
out pretty quick there's a lot of notes.
And so it's important to let that happen
before we start, you know,
doing a bunch of walking bass and all that
kind of stuff.
So, because that changes chords pretty
quickly immediately when you dive in.
Then again, the phrase.
Is the first thing.
The first full phrase ends there.
And so step it up there.
And then walking into those chord changes
is always effective.
there's a lot of chords together there G C
and D you can make it
effective kind of establishment of those,
of those down beats.
Which, which it further deepens the
And in one of the things that I did in the
back half of the B part you know,
towards the end of the thing as, as it was
had sort of established itself and we,
we'd had a lot of a good sorta rhythm
Well, first thing I did in the in the
first half of the, of the B part, as I
remember it, I kinda played, I didn't do
so much of a full strum I actually
did what more of a, almost a swing rhythm
kinda thing to introduce
a little bit of a new idea of, of chopping
a little bit like a mandolin.
What I'm doing,
once I hit the strum, I'm kind of lifting
up on the strings and muting.
you can use that as an effective tool to
kind of further help, you know,
drive the beat home on these faster tunes.
again once that second half started.
I went up to this we talked about our
I'm playing this G chord.
I do this a lot where
I'll lift the third there and
we talked about our Bluegrass voicings.
And again, we're,
we're kind of moving from fiddle music.
Dance music into more Bluegrass, kinda
So, that's effective voicing for
a rhythm player.
Cuz what's neat about that,
because the next cord of the B section is
So, there's our walk right back into D and
back, back into the rhythm.
you know those are things I think about as
a rhythm player.
And with Big Sciota.
It's it's got a lot of great chords, a lot
it's a great, melody it's a great tune to
work on these, these kinda concepts.