Gonna show you another exercise.
An etude in for Bluegrass guitar.
It's gonna deal with a lot of things we
talked about with how to make
Bluegrass guitar, you know, sound like
What, what makes Bluegrass guitar, you
know, have that kind of feel.
And, and some of the, some of the origins
of, of, of note choice in Bluegrass.
And, and, and so we got a little etude
here to practice, you know,
certain things, it's just gonna isolate.
Again, you know, our technique for
But also, getting into some, just
basically giving you some ideas.
I look at these things as opposed to just
showing you licks,
that you can apply on the solos.
I've, I've put lots of ideas and, and
little things that you can hopefully glean
from these kind of things.
And, and apply on the solos.
So what I'll do-
Is I'll play this all the way down and
we'll talk about it.
So, here it is.
There's a little, exercise a lot of,
a lot of sort of cool Bluegrass sounds in
We've talked about kinda the influential
notes that make Bluegrass
that kinda lonesome bluesy.
So jump into that from the top of this
thing right here with the-
We're looking at that,
that, that D-flat note note right there.
that's you can see there's two frets that
kinda mirror each other.
They kinda give it you know,
the angular sound that a lot of Bluegrass
guitar players kinda go for.
he, here's a, here's a way to isolate that
here, on the lower strings.
So this is gonna set us up to go into C.
So we talked about the,
three shapes earlier that are-
Working out of our F shape up in G, but
with a G minor, flatted the third.
Okay that sets up moving to the C chord.
We're moving within the C chord.
And it gets a little tricky here.
That's basically working now we got our C.
Out of that shape right there.
again that's just more,you know, Bluegrass
information right there.
We've got a flatted seven and
a flatted third.
So once again from the top of that.
So what we're gonna do, we're gonna land
on that C note right there with our index
finger on the fifth fret of the G string.
And again we, we're, the way this relates
to, to building technique,
is we're talking about position shifting,
So that open E provides us a, a point to,
to jump into this middle of the neck here.
that sets up, now we're gonna move into D.
Which is a lot of that same kind
of information, position wise, at least.
we're gonna jump again with, through a
Which that's basically for
the way I look at this, is kind of out of
That position right there.
That that shape.
So from the C So
from the C Now we're gonna start going
back down the neck.
Takes us all the way down down to the the
D which kind of
turns the whole thing back around for the
One more time through that.
It's a lot of information to kinda get.
So, there's that, that's slowly.
So that, that puts us right back to the
top of the thing again.
And then ends with our a slide from
Might as well play-
Play that F there with a open G.
And slide both fingers into the G,
that's kind of a cool kind of a sound.
More of a you know of a,
Bluegrass power statement if you will.
So here's one more time through this
More at a, at a tempo you can kinda go
One, two, three.
So once again there's lotsa,
lots of good ideas in there you can apply
to, to solos.
You know, the basic sort of general ideas
of how this, little practice piece works.
You know, and getting from chord change to
We've talked about improvisation.
And these are, these are things you know,
ways that I, I kind of, move in and
out of positions around the neck.
And a lot of note choices, that I'll, that
I'll usually go for.
So good luck learning that.