jump into the tune here called Daily's
It's a tune that I learned when I was a
kid, and heard a great band,
the Carol Bess String Band, played this
around Asheville, North Carolina, and so
it's a great tune.
You don't hear it a lot.
At jam sessions, but it seems like it's
I recorded this back three or four years
ago on a record called Bluegrass Guitar.
And present it here.
it's basic level and
it will have two more levels beyond this,
as you work through here.
But, it's it's a great tune.
And there's there's a good challenge and
it's a basic level.
And talking about our fret access and
there are four fingers to four frets.
There's a, a moment coming up in this tune
that we'll get into.
The first one that'll play this tune at 65
beats a minute, here's Dailey's Reel.
One, two, three, go.
This daily's real 65 beats a minute at a,
a basic level.
That's the, sort of bare-bones melody of
And just jump in quickly with the A part,
a lot of straight ahead flat picking.
It's more I guess as, as, as a basic level
goes, it's more as, as you move and
hopefully a lot of the things we've talked
about up to this point are settling and
you feel your muscles developing this is a
tune to kind of, as you work through
some of the other tunes, maybe kinda leave
this one for later.
We jump in, and one of the goals here with
the A part is to have a lot of these notes
that ring against each other.
Again, we talked about.
The note quality and how how we really
want, the notes to cascade.
How, that's one of the great things again
about the flat picking is,
is just the beautiful quality of the
It kind of, the bigger phrases as opposed
to just more of an up and
down kinda note after note kind of
We really want to, to improve the way, you
know, we think about phrasing.
And a tune like this is perfect for that,
so jumping right in.
We’ve got a lot of open strings here,
starting with this,
fretted, second fret here.
Another thing I should mention,
we’ve got a capo on the third fret.
This tune's in the B flat.
Usually, when you hear, when you, when you
hear it, the fiddle tune,
most fiddlers play at a B flat.
And so we’re basically in a G position,
with our capo on the third fret.
starting again with the we call it the
Capo establishes where the, the new note
position is now.
So tune starts.
that brings us up to the five chord there.
So basically, if you look at your tab
there you'll see.
Just lots of, just the, the notes that are
fretted are noted on the second fret or
the first fret.
there's a lot of open strings in those
first two measures of this song.
And we want that, we want this to ring as
much as possible.
So hopefully, it would sound something
That, that first phrase should sort of.
Should feel like that.
It should kinda.
The notes should sort of rise and fall
against each other like that.
And then there top of the second line.
So this is where it is gonna start
being a stretch possibly if your, if your,
if your left hand is still developing.
Any time you, we talk about getting these
scale forms with these four fingers and
four frets, but, but really making it work
in a tune now.
Straight from this
Fretted, fourth fret,here on,
on the fourth string to an open, open
Through that phrase and, and down.
So you really, you really gotta have your
Strong and, and accurate on that fret.
basically if you our position here really
And again it's one of the, the ideas of
thinking about phrases and
how, how notes can kind of sustain.
Into, into each other, I'm really not
going to move my left hand much.
You know, hopefully it's in an efficient
way to go about a phrase like that.
all that's based on just solid left hand
I'm not, I don't feel like I have to reach
way around to stretch to get that note.
You know all, all that access right there.
That brings us back
we're kinda repeating the a section again.
Now we're setting up for an ending phrase
Which combines some of the elements that
we've had before, a lot of open strings.
And then a lot of the fretting, like this.
That last phrase,
Gets us to the, the end of the A part.
now that launches just straight into the B
Starts on the four chord.
Which is E flat in the key of B flat.
We're at C position right there.
But a lot of the same ideas are gonna
apply here that we did in the A part,
a lot of open strings that we'll ring.
want to keep that first string ringing as
much as I can.
From this point.
You can hear all,
all those notes within that.
it's basically the pentatonic scale.
Because all those notes can sustain,
suddenly the, you know, the quality of
what we're doing is, is better as opposed.
that, that's, that's what you wanna work
You get more and more open strings.
So, now that we've established this whole
idea of how these notes kinda cascade on a
lot of open strings,
roll against each other and we think about
This particular point here in the B
section is, is, is a real challenging
departure from some of this, just in a
position of where your left hand needs to
be to make this melody work within the
idea of these notes that sustain so.
So looking at left, left hand specifically
what were gonna make is, is a D7 chord.
But the way we're gonna get to that.
We'll gonna call it the,
the dominant 7 which.
Where a capo is at E flat but.
You know, looking at, at, in an, capo
speak that's basically a D, D7.
So the C.
[COUGH] The C position right there is the,
makes the seventh.
But the, the melody dictates that it's,
that it's the lower you know, lower octave
that's a pretty massive stretch.
I remember when I was first learning this
that was a, a, you know, a challenge.
Just to make it fit seamlessly into the,
into the pic,
the big picture of what I was playing.
But I think its, its good to have this
here, you know,
give you something to work towards.
Of, of making this, all these, all these
big phrases kinda make sense melodically.
from the top of the B section it sounds
So those, those are those two big phrases
right phrases right there.
The way I think about this is from this
note to this note is, is kind of a phrase,
a little sub-phrase.
what I'm doing with the pick is, is a
downstroke on that, on that first E-flat.
And it's alternate picking.
The next down, the next C note or E-flat
you want to call it with a, with a pick
You know, that, that, to me that's all
sort of one idea as far as when I
think about making these, making these
phrases kind of all smooth so.
And so now
we're back into more of our traditional
with this tune, with these open strings.
And so what you'll notice, what you'll
what I like to do is keep this low.
Right back to our G position.
We've got our third right there, which in
this position, in this case is a D.
I want to keep that ringing.
So instead of, instead of lifting it for
the second fret on the third string.
Which works you know.
you know again apply some more quality to,
to the sound of what we're doing here.
You know leave it ringing through that.
if you wanna isolate both of those
moments, you know, it's good to do that.
It should be like a harp.
You just repeat them.
And, you know, as beginners,
I don't expect you to get this too soon,
this is something to work for.
I'd encourage more intermediate or
advanced players to check this out.
As this tune gets more complicated than
the other levels.
We'll still use this same thing but here
it is broken down in its, you know,
its bare minimum, and a good thing to
now we're back into some more just, finish
out the melody.
Just you know,
more made of, for this purpose I, I kind
of went back to more of a simpler phrase,
just to give your hand a, a second to
And it just repeats.
The last phrase of the tune we're sliding
from the fourth fret to the fifth fret.
So there's Daily's reel.
Good luck with this one, it's a, it's a
great, great tune.
It's nice to have, we don't have a lot of
fiddle tunes in B-flat for jam sessions.
You don't, you don't, you don't go there
too often, but this is one that I, I,
I hear more and more out there on the
I'll play it one more time through.
Here, here it'll be at 75 beats a minute.
And sort of give it, give a little more
tempo to the thing, and.
Again, good luck with this, and I look
forward to hearing how you,
how you're workin' through this.
>> One, two, three, go.