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Bluegrass Guitar Lessons: “Jerusalem Ridge” (Intermediate)

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Got a great ol' bluegrass tune here,
Jerusalem Ridge for the intermediate
played at 95 beats a minute.
And then we'll stop and talk about it.
All right.
Great old tune, Jerusalem Ridge.
Again, sort of conjures up a lot of
imagery tune,
tuned like this in a minor key.
Sort of bluesy, you know, it's got the
blues of bluegrass, but
some of the lonesome quality as well.
Some sort of influence you know, a Native
American kind of influence.
Kenny Baker, Bill Monroe, classic stuff.
Talk through the tabs here a little bit.
The basic idea about the melody here in,
in the A section just sorta establishes a
You know working out of A minor.
You can sort of feel that,
those major melody notes on those down
So we're using some pull offs in here,
to kinda keep the smoothness to
the momentum.
Right there in the end of bar 4 and
to bar 5.
And this is the theme that's gonna happen
here in,
in the intermediate section of, of using
some open strings to to grab some
get some, some interesting sort of note
You know, within, within playing the
melody a la,
using open strings that are there to to
really embellish what's going on.
This happens obviously here in bar six.
You know, because we're playing two open
strings, around that fretted second the
downbeat of the, of the fourth beat there.
Second fret, fourth string.
We get that nice
A minor seven kind of feel.
We'll pull off there.
a quick little hammer pull kind of triplet
in to the downbeat of, of the A section.
All happens on one downstroke.
Into the,
into the downstroke that is the downbeat
of the repeat of A.
You know, we've got such a notey little,
you know, con, continual stream of eighth
So we're, you know, taking advantage of
that open string.
You know,
really want, as you practice this, you may
slow that down.
You know,
still, allowing the guitar to ring.
And again, that all comes from,
you know, building a tech, a technique
that you can trust.
And, and allow those angles to remain
consistent and off the guitar allow for
a full arm-based picking attack
So that gets us into the B section.
Keeping with that idea.
One thing I wanna do,
got one big downbeat there on beat three,
of the second ending.
And I can allow that note to ring,
in, in through the first few,
notes of the B section.
Kind of almost played a whole,
a whole chord there.
But just sorta spelled out the melody as
it's tabbed here.
Allowing those things to ring.
And again,
it sorta it maximizes what a tune like
this is about.
With these, these sort of mournful sound,
this lonesome feeling.
And the more things, and can sustain.
And you kinda keep a listener's ear
through these sort of colors like that.
These tonal colors kinda blend with each
other and you know,
just really make the picture that much
more effective.
Oh, I'm sorry.
as we start the B section, we've got those
notes ringing.
Now the,
what's different about the B section, it
climbs at this high E.
So we're gonna kinda get back to a, you
know, continual eighth note stream here.
That kinda, the target of that is that
open E.
But we got, it rings against this.
Sliding in to that,.
which is a really effective
move right there.
ali, allowing that note to continue to
Making the most of it.
So now we've got.
Those real sort of, sad sounding chords.
Making that hammer and
pull little 16th into an 8th.
that sorta gets us through the B section
and repeats.