We got Daley's Reel here.
It's at the advanced level.
And it's gonna challenge most of what
we've talked about
up to this point with the curriculum.
Lots of good opportunities here for you
know sustained notes,
big note value, big musical statements.
And we got our capo on the third fret
playing out of the key of B-flat.
And so I'll jump in here.
I'll just play this tune all the way
through from the tab at 85 beats a minute.
And then we'll get into it [SOUND]
>> One, two, three, four.
It's a lot going on there
we'll jump right in here starting with a
triplet into the into the downbeat.
And, and, and the goal with that.
Again, we've got hammer ons.
Wanna make that wanna make those make all
those notes the same volume.
it creates the, the idea rhythmically of
what's going on, going on right there as
to really establishing, we're sort of
laying again for the downbeat.
Because what's gonna immediately happen
if you look through some of the other
versions of this tune.
The easier or the intermediate basic
versions less complicated versions.
There's a rest right there.
here we're gonna get into you know, more
intricate flat picking so
we got a steady stream of eighth notes to
we got some left handed pick stuff kinda
going on here.
I'll talk through it here.
Again in our first measure, lot of open
Get a little hammer on,
little trill kinda effect right there.
what we want out of those little, those
little, you know, embellishments.
You don't wanna, you don't wanna draw too
much attention to them.
They should lay fairly seamlessly into the
picture of what you've got.
So we've done a lot of these things where
we start with a little bit of
just rhythmic right hand before we jump
those things should basically, you know,
enhance the next downbeat that's coming
You know, that.
I think of that as sorta one phrase.
It's a way to, you know, a lot of the
Working on little intricate things like
this is to spend,
you know, I want you to spend time
And getting your fingers used to where
that, to how that works.
But again it, realize that the bigger
musical idea that's going is
As opposed to.
Just adding a little trill there.
With a hammer-on and pull off.
And then back to our steady stream.
And another little pull off trill.
Embellishment kinda thing.
16th, 16th, little pull off.
And again, those should feel fairly
seamless in the bigger rhythmic picture of
what's going on.
what that sorta does is when you set your
pinky down on that fourth fret.
That's the bigger idea.
So don't get hung up on just
You know it might help,
it helps me sometimes when I'm working
with smaller intricate kinda ideas.
To remember what's going on rhythmically,
in the big picture and
that's what's going on there.
So, from the A part again.
Noticing in the A part of Daley's Reel
It's cert, it's a, one of a good thing to
with your right hand we're talking a
rhythmic right hand.
All these ideas, bigger rhythmic pictures,
think about just, just down beats.
Over emphasizing the down beat.
Allowing the up strokes to kinda serve you
can hear this one.
Or the [SOUND].
But you notice the, the right hand really
the sense of what the right hand's doing.
Really doesn't change.
It's as thought you're playing rhythm.
[SOUND] Talking about smooth transition
from you know from playing rhythm
to playing lead.
Same kinda movement.
You know that, that's the idea when I say
make those little you
know little embellishments fairly seamless
in the bigger rhythmic picture.
If your right hand is doing what it needs
to do that should happen.
that gets us through the A section, and
we'll jump into the B, the second inning.
your first big phrase of the B section.
And so the idea here was that little pull
off in the first measure.
[SOUND] As opposed to just.
If you'll notice in the other sections
that's the way it goes.
But the pull off there just to allow for
another level of smooth kinda left hand
ac, action going right there.
when it pulls off
It already gets your left hand kinda
moving back to that first position
Into, into the fir,
not only the first position, but again to
this particular C position.
Because what's coming up is you know,
some more notey kinda things.
there's a lotta, a lot of big, bigger,
smoother phrases right there.