we're gonna do some more backing up here
and discuss, and
kinda think through some other ideas and
ways we can make backup more interesting.
And just help.
Find a path through the chord changes of,
of a tunes.
We think about Dark Hollow, here, and just
how we can sort of anticipate and sort of,
in a way, kind of force
some of the chord changes to happen by you
know, like playing.
Some of these notes that go with a chord
change a little bit before they happen and
that's going to sort of make the song kind
move into these different chord changes in
a really interesting way.
Kind of guide the singer and guide the
rest of the band through.
We can do a lot with just a couple of
So lets see we're looking at dark hollow
in the key of C.
And so we;ve got a good basic C cord.
we could do it there
or we could do it down here.
I'd rather be
that might be good.
I'd rather be.
Coz that long note, I'm gonna stay away
from your note, all right.
And, so and then, it's gonna be going to
that five chord.
That's the first change.
Like, it's, say it's on the one, right,
which is C and
then it's going to that five chord where
it's the G.
I'd rather be in the sun So
there's a lot of ways we could do it.
We could play, put a little bit of the
five in there.
That's a very.
>> strong signal that something's about to
happen because we were
playing a second and every time you sit
and play a second, you know,
something's gonna change really soon coz
you can stay on that for a long time.
But that's definitely a good way.
And it's very, it's kind of churchy and
kind of a real, kind of a you know,
it's definitely gonna kind of pop you into
Back to five and then first back.
And then we're going we, we're it stays on
the one for a while.
Where the sun don't ever, and then it's
going to go to that four so,
we know, you know, go into the four from
one fo the four we can always,
almost always put a seventh in there so m
Let's see, [INAUDIBLE]
Now we can do, what is it?
where the sun
Now we're gonna,
you're gonna guide ourselves into.
Where the sun
In fact, we could just go,
you could just skip the pure C right
then we have another one where we're
gonna, from the one, right?
To the four?
Oh, yeah, so, and then there's the seventh
right there, anyway.
Then to B
So we could even go more radical for
>> What is that?
That's a C7, right?
>> So we could do some of our little jazz
tricks there, not necessarily.
For you the guitar player, but as the
fiddle player we're a little bit
freer to do stuff, we could add that two
minor to five.
We could break that up so, the two minor
of the key C, E would be like a what?
What is that?
>> Of C would be D.
>> D so it's D minor right.
So we could actually.
Or we could actually go, almost at,
we could go haul away, we like make a
We could do like a G minor, too.
>> Yeah, a G minor.
>> That could be kinda cool.
Getting to that C7.
Yeah, I guess the C7 chord, that's pretty
there's no clashing note there.
>> Oh no.
>> So that's pretty good.
And then going to the F.
[LAUGH] You could do a little bit of
a seventh in there
and then back to the one,
and then back to the seventh.
And then back to the one
So let's just try that,
go ahead you wanna sing, sing a verse of
the chorus and
I'll try some of these very forward
different kind of notes.
One, two, three.