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Bluegrass Guitar Lessons: “Wildwood Flower” (Intermediate)

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Here's Wildwood Flower for
the intermediate curriculum.
Gonna add a little challenge with some
hammer-ons and pull-offs and a little
deeper sense of, of how to use some legato
effects for a, a solo piece like this.
Here's Wildwood Flower at 75 beats a
One, two, three.
Alright, if you haven't checked out
the basic version of this, of this tune,
you should.
And a lot of us know this song from its
basic melody, so it's,
it's a good vehicle for, for utilizing
some of the some of the techniques and
embellishments that, that are unique to
flat picking.
With crosspicking and some hammer-ons and
pull-offs, and like we mentioned before,
some real legato type techniques to make a
tune like this real smooth.
And, and rhythmic at the same time.
So I'll talk through the tab.
Sort of jumps immediately into some slight
crosspicking with some hammer-ons and
things like that, that we've covered here
in the intermediate section.
It's a way to use crosspicking,
and a, a lot of students here have posed
questions about
how to use crosspicking to embellish, you
know, already established melodies, and,
and here's how we're doing it right here.
So if you took look at the basic melody of
Wildwood Flower.
So what we're doing here.
there's some hammer-ons and crosspicking
still based out of that C position.
So just using the notes that are, that are
available to us.
That are easy to get to, open strings.
So, instead of.
We have.
And then on.
Now notice the in the,
the second part of that first phrase.
So, just play the melody would be.
we're using some pull-offs to kinda, you
know, the crosspicking,
you can play every note but, but using
hammer-ons and pull-offs to kinda keep
that momentum going gives us that effect
of going from bar four to bar five.
Using a pull-off into more of
a crosspicking.
Just two strings there.
Into the downbeat of bar five.
And it really does keep that momentum
that was sort of some filler phrase right
You know, again the melody is.
And then you kinda hang out until the next
phrase comes back around, so we're using
that time to kinda bring some interest
back into the chord, to keep the rhythm
going, this idea of momentum.
And keeping things smooth and rhythmic, so
at bar five.
You know, it's just,
it's just a phrase that it could be any
number of phrases right there.
This is one that we're gonna use here that
kinda still keeps the momentum of that
crosspicking going with those hammer-ons
and pull-offs.
And then we're back to the melody.
With more of a traditional hammer on in,
into some strums.
Now back to some crosspicking.
A little challenge there of a,
of a string jump.
However avoiding the second string because
we're paying attention to the melody.
You know, again the melody is.
Right here.
Melody's all down there in the, in those
lower notes, and then an inversion of C.
So we're just, you know, applying the
crosspicking technique.
To allow that melody to really speak.
But, but again,
using flatpicking techniques to, to
embellish it.
And again, we're at the end of the,
end of the phrase now, setting up for the
chorus for the B section.