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Bluegrass Guitar Lessons: (Advanced) Improvisation: Ragtime Annie - Rhythm: Chord Voicing Embellishments

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There's other ways borrowing from some
swing schools of, of rhythm playing.
Since we're dealing in
in a sort of a real major.
Melody right there, we can get away with.
Adding the sixth degree to the, to the.
To the chord.
Making, making this shape here.
We're taking a basic.
Kinda of a C shape to the chord.
Moving our, ring finger down to the A,
almost making an A minor.
But using our pinky here to come back down
for this.
The low, the low note there,
the root note, which, here's the, and the
D here with our C shape.
And it gets that swing chord and
one of the thing that makes swing chords
useful is the fact that there are really
close knit groupings of, of these notes,
and clusters of harmonies.
And, and then we add our, our bit of our
muting effect with our picking hand.
I'm also alternating the bass with
the pinky.
Maybe that's doable for people.
I, my, that, you know.
Little, maybe a little farther along in
their fretting hand technique.
That may be too much of stretch.
Now it,
now it created a whole new sort of picture
for the song.
It's not just big open kind of, old time
fiddle music.
Now where into more of a swing sort of a
Texas swing kind of a kinda sound
Kinda keep that or if I wanna, still kinda
keep that idea alive
Again, one of the,
these close, clusters of harmonies, so
using that sort of chord scale idea,
moving the root note down to the
To the se.
Third degree of the five chord which is
sort of this, here, in capo talk.
It's be a,
The B of this G shape.
And then there's our dominant seven that
we looked at earlier.
Which is those three strings together.
And if I wanted to add.
This, five, the fifth of the,
of the chord, kind of fits into that.
The fingering right there.
And maybe it's not good to hold that.
I want to establish a little more of the
root, so I.
You know, I could work that down just.
Just like we did.
And we're.
You know,
a lot of little moving parts there.
But it's, it's, an interesting kind of low
harmony move that,
that kind of keeps the momentum going.
If you didn't want a voice or, or finger
of that chord that way.
Kind of based off of that standard A
You could, bar these two, the A.
The second fret on the the third string
and the s, and the, fourth string
And, and play the root of this chord.
of the one chord with your middle finger.
That's another sort of option right there.
really what creates that swing sound is
is the close cluster harmony type things
We're, it's sixth against the,
All that together.
Together kinda creates that nice sound.
Sorta based on that Freddy Green type
But really the, the trick is that mute.
Where we're sort of
lifting the hands off the string.
Other options, once we get to the five
We looked at this.
We, there was a,a version of this,
in the Saint Anne's Reel lessons there in
the advanced curriculum.
But moving now back up to the one chord
from this five chord.
that would be something to practice there.
Just back and forth.
But add a little
more of this harmonic interest, you know,
if, if we work backwards a little bit.
This is our target,
we're trying to get from the five chord
back to the one chord and.
This this sort of.
The five over seven that we call it.
If we move that down a fret.
If we don't, nes,
we don't play the fourth string open,
that's kind of a.
Gets a little bit of
the weird harmony there.
if we move all that down a, half step we
get a little diminished sound.
Okay, so.
We are kinda combining some more walking
baselines within this idea.
So you can see we've sorta opened the,
the floodgates as it were for, for some of
the ideas that we've talked about to now,
to what, and, and adding some of these
core voicings.
And, and you really, now we're, we're, I
feel pretty free to do,
a lot of different things under, under the
melody here.
Again we're just looking at the a part,
one, two, three, four.
That's, and so there's, a way to,
you know, ones and
fives There's you know, a lot of different
things we could talk about.
I think that those are good a couple good
Just to kinda get the ball rolling.
Again, just to, to recap.
Looking at getting, getting from a one
chord to the five chord here with our.
Our, our C,
Position scale, our C position chord,
excuse me.
This chord shape near the C and to the G
shape, and
you'll see that a lot in fiddle tunes.
Whether you're playing open C or the capo,
using the capo in the key of D.
But, but those c, the way those chord,
those chords walk down.
Then when they walk back up,
And using some sort of chromatic
All right, so
there's some good ideas there for the A
In the next section we'll we'll jump into
the B section.
Here's the B part,
B, the B section of Ragtime Annie.
You get a little more options with, with
the chords.
It's not just the 1 and 5.
The 4 chord's gonna be part of this.
Okay, so we've covered all this to this
point, just kind of recapping a little bit
on how we've you know, looked at some,
some real active walking bass, alternate
bass kinda lines and notes.
And now we're keeping our idea of how to,
explore some, some of the voicings.
The first step in the B sections is
that we gotta get to the full chord.
And so, what you'll find,
what works so consistently to get from a
one to a four, is to voice the one,
and then add this dominant seven out of
our C chord shape here.
It's gonna look like a lot like a B flat
And we're probably all familiar with this.
That chord there.
Putting the pinky-
On there.
And then, and
then that sets up-
A long sort of look at the 5 chord.
Sort of two long phrases of five there.
And it leads back to the one.
And so continue to explore voices,
of chords
You look at this,
you know different ways to voice the five
with the,
again with the dominant seven idea.
Or walking.
That would, that would work here.
That definitely stays in our,
our idea here of using voices.
You know, expanding even beyond moving
just baselines but, but
moving full chords.
Again, just to kind of keep the, keep the
ideas flowing here.
One of things that can work, you know, we
looked at.
Voicing that the 1 chord in, in the A
section, the A part with that-
Making that 6th chord.
And here in, when,
when it's we've got a long stretch of 5
it's gonna lead us back to 1, and
again that's, that's a a pattern.
You'll, you'll see that show up a lot.
You know, 5 to 1 is, is an important part
of music.
About a stretch of western music.
The fact that we, you have all these,
these phrases of 5 chord.
And they lead back to one.
And that interval of a 5 to 1, get a
little bit into some,
some standard music theory here.
We sort of cycle through that, through
that interval from,
from our 1 to the 5 chord.
Now, if starting with a 5-chord, the five
of that 5-chord is gonna be-
This this two-minor.
A two-minor-seven.
A two-five-one.
If we were to cycle back even further, it
would six-two-five-one.
And what we're doing is sort of.
If you're familiar with circle of fifths
that's what that is.
The fifth of, if we're in D, the fifth of,
of D is A.
The fifth of A is E.
Because we're, because we're in a D major
We're gonna stick, make that a minor 7.
To keep in with with our, with our tonics
and our, our the key that we're in, okay?
And then, the five, the fifth of this is
gonna be the.
The B there, so D, A, E minor 7, A minor
We don't necessarily need to go back that
far, but
that's sort of the theory that's going on
So, the way we use that.
So there's are-
So essentially the top,
three notes of an F chord borrowing,
borrowing sort of the first fret there.
Of the, of the F shape leaving the open
four string for the-
And again I'm, I'm talking
sort of with the capo kind of referring to
these as their root, shapes here so.
That's why I call that a D-minor 7 even
though it, it is technically an E-minor 7.
And I'm just rocking back and
forth because I've got this long period of
five chord.
Did it, and we can hang on that.
The melody though goes to the-
And so that-
Doesn't quite work so its, it helps to,
to go to that chord but also come back to
the 5 chord to honor the melody.
Now to really kinda get things crazy
using our cho, more of our chord walking
kind of things here.
Since we're, we're working out of this you
know C chord shape.
And understanding that that's essentially
a 2, a 2 minor 7.
We can walk back to a 1-
And I guess it's down to the 5 chord.
2, 1, 7, 6 ,5.
You know big full chord moves.
And again, we're not really jazzy, we're
just, was playing you know,
an embellished version of sort of fiddle
tune Bluegrassish type rhythm.
Now there's,
now we got a lot of changes right there.
Keep those chord changes consistent.
Okay, again.
The minor 7, the 1,
the 5 over 7, 6 minor, to 5.
And then we're just we wanna get back to
the one.
A walk might be nice there.
Can kind of, you know, not using what we,
all we know to this point, you know that's
just what we're doing now.
So, it's, it's okay to, to get back to a
walker or not even to do anything.
You know,
keeping it, we've, we've established some
kind of more complicated thing, and
maybe balance that out with, with a
simpler idea.
That, that keeps things pretty
symmetrical, and, and.
Certainly gets it out of the realm of
being too complicated or, or
over complicated.