tune in this series is a bluegrass
classic, Salty Dog.
We started with Banks of the Ohio, which
was a little slower tune.
Big Sciota Was more from the fiddle tune
tradition, and now, we're, we're a.
Right in the bluegrass world here with
And so what we're gonna do we're gonna
look at ways to kinda we talked about in,
in Big Sciota how we're playing tunes at
You don't always have time to do a lot of
the intricate kinda stuff.
So my goal for these tunes as, as if I
were playing them.
I'm thinking more how to make this as
solid as possible.
And so we looked at-
And again, in bluegrass, our voicings, and
the way they kind of emphasize downbeats
with this, with this particular move in G.
But, it,it, it I'll be doing that a lot.
And and, also, you think about the song
Salty Dog, it's the chords are-
One, and we go to a E seven-
And then A-
And so you've got a lot of low,
open strings there.
So we'll try to see if some good good
Can kinda fit the spirit of this song.
So let's let's check it out here Salty
Pretty good bluegrass there.
It's a classic song.
And that's pretty much what I would do
anytime playing that song.
Not a lot to it, but just giving you some
examples of ways to think about getting in
and out of those chords, as opposed to
Salty Dog is one of those songs,
if you look at the lyrics.
it's not a funny song per-say but it's a
light hearted kinda thing, and
the chord progression to me kinda mimics
that with the.
if you've sung this song you know there's
lots of alternate
verses that end up in jam sessions that
are salty themselves.
So sometimes those moves like that are
they kind of support that basic emotion of
what's going on.
And that feeling and the spirit of, of how
that music and
how that particular song is kind of
And so beyond that, you know, the basic
kind of techniques going on there.
That's all the verse.
It's all sorta one big phrase, so I'm
gonna try not to get get it,
get in the way of that too much with a lot
That's why I did more bass note kinda
passage, passage kinda thing.
So when it does go to the five chord-
That's when I-
There's where your G run comes in.
You've got all that space there and
that's, that's why those things exist.
Is to connect the verses and the choruses
in a, in a sense is sense of how the,
the melody and the rhythm can kind of
support each other and
provide each other what they need.
And, and so that's a, that's the advanced
rhythm right there.
I'd like you to submit a video now.
I've given you three exercises with three
bluegrass and fiddle tunes.
And, and so what I'd like to see you know,
at the end of,
of the advanced rhythm exercises in
We've covered a lot of the concepts to
So what I'm gonna be looking for is the
way you're able to you've got the lead
tracks there with the, with the click you
can download and play along to and
just looking to see how again we've
introduced more concepts here and so
looking to see how you're thinking about
And listening for, for ideas inside the
Listening for how you voiced some chords
for certain effects and things like that.
Those are all things we've covered up to
this point so
really look forward to seeing those and