more melody embellishment and double
stops, things like that.
Obviously you probably started on this
business of taking those little pieces of
And of course we, if we move those around.
To different keys,
it makes it makes it even more flexible.
So try doing that as well.
So if we took a tune like, for instance,
Dark Hollow or something like that, and
tried to build
a double stop solo on Dark Hollow this is
probably one of
those things that it would benefit from us
planning it out a little bit.
So we want the melody in there.
We might not stick completely to the
melody, but we would probably
want to feel some kind of feeling of the
melody while we're double-stopping.
So there's some experimentation going on
We, we're gonna be sitting around trying
And we might try some stuff that we don't
And we might some, try some stuff that we
some stuff we do like that might be too
hard to pull off immediately,
and that might get put on the back burner
and, while we find something that works.
So, there's all kinds of ways that we can
experiment with this.
Mm, Dark Halls Melody is if we played in
D, let's play it in D.
So, we've got a couple of different
We can put the harmony on the top, we
Something like that.
We could do that.
I'm playing the.
Melody here and adding a double stop.
According to what the chords are on top.
So that tends to kinda obscure the actual
melody a little bit.
But it does sound good, sounds just fine.
What if we wanted to put the melody on
And, so that people really here because
people hearing the,
the, the song tend to hear what's on top.
And if you want them to know the melody
maybe, maybe you're the first
person to play in the tune and you want
them to get the melody.
You could put the melody up here.
And then you have some room on the bottom.
Something like that,
where you're kinda going okay, that melody
is, that melody stays the same.
So we're playing stuff on the bottom.
You could do that if you were brave.
Or keep it down.
That's sounds pretty good right there.
All right, so, and we wanna keep that.
working out ways to make that motion
happen with the other notes in there,
and a lot of times its really good to have
the melody on top although, not always,
you know, because, with bluegrass usually
the harmony is above the melody.
So, if we want a real bluegrassy sound
maybe we will decide,
well finally after all is said and done,
this sounds more bluegrass.
Something like that.
So, it's a little bit of aesthetics.
A little bit of what you can do, what you
can pull off and
feel comfortable with and just a lot of
And the great thing about this is that if
you really do spend some time, you know,
experimenting around, you often find
things that have nothing to do with what
you're trying to do, but wonderful
effects, wonderful sounds in
the instrument, and you just expand your
ability to play in some unexpected ways.
How about the second phase?
Let's just go.
That's a great phase.
It goes way up there.
You could do that
Or we keep the melody on top.
Very strong kind of bluegrassy stark kind
of harmony there.
Or how about.
If we jump in the third position and
play the melody there.
Always good idea.
If you're trying a different position or a
different approach, play the melody
again first, by itself, before you find
another way to put the double stops.
That's very nice.
So, that's a little bit of shifting.
But it really gives that soaring feeling.
You know, that you get that really nice
So, how are gonna pull that off so that it
That's a good way to do it, we you play,
where the sun.
And then there's a little pause,
where we can shift down.
And those notes are linked.
You can, you can do that, or.
So trying to find that perfect harmony and
way to balance all these notes together.
That might work very well.
So, constantly checking trying different
Don't expect to come up with this stuff
It's a lot more fun to just explore
try to find out what you do know, don't
know can play,
can't play, and just do some exploration.