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Fiddle Lessons: Simple Tags

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We're gonna talk a little bit about
filling with little tags in between.
Melody versus mel, melody phrases and for
this I chose a traditional tune c, called,
She's My Little Blue Eyed Darlin,
which is a very common melody in Bluegrass
there's about 16
different songs that use the same melody
so that's kinda handy for us.
Because when we learn one, we learn 16.
So as you probably could hear, I was
playing the melody which is.
And then I was adding little mel little
pieces of additional melodies in-between.
The main melody.
Back to the main melody.
And then at the end.
Something like that.
So we're just decorating the melody at the
With little fiddle tuney, what we call
Because this is like a tag that is added
on to the front or the back of the melody.
So, that's sort of an art in itself,
right, so.
We're thinking that first we want to make
sure we know what the melody is.
Where the end and the beginning of the
melody is.
So just go quickly through.
Very, they're very much like each other.
Each phrase.
So we have
And then the second one is
Very similar to the first one, third one.
Almost exactly, except the ends are all a
little different.
And then.
This is a nice little ending melody
because it's got a jump in it.
That little jump is very beautiful and
it's u, it it, it comes in handy.
It's, it's like one of those intervals
that we've been talking about,
the sixth interval.
And then.
[MUSIC] So, we're gonna take that through
different keys later on.
So you can learn that in a bunch of
different keys because.
Bluegrass being a sing, mostly a singers
kind of art
you're going to get people that are
singing in all different keys.
And you're gonna be able to need to know
these kinda simple
melodies everywhere to be able to transfer
it around.
Not that difficult.
So but right now we're talking about about
So, what's happening here?
I am playing.
The most important thing about the tag is
that you have to
get yourself to the first note of the next
melody phrase.
So if I play.
That's that's my tag and it ends.
With the same note that I'm starting the
next melody.
Which is, in this case is going to be a B
note, right?
Right so, I'm looking for
things that are short have a little bit
snap to them.
And lend themselves to just, being able
to, just,
jump in there and just, just end it in the
right place, so.
That's an easy one.
Da, da, da, da, da.
Almost say we, one of these tags is gonna
have to end on a B note, right?
Because the melody phrase starts on a B
note every time.
So we could like, come in from different
Like, the first tag comes in from a D.
And then.
I could come in from the high D.
One, two, three, four, five.
Five notes, it's a five note tag.
And then.
Coming in on the A note on the last time,
you could come in from again from the open
Or you could come in from anywhere.
Let's see.
You could come in from a high E.
Or you could come in from a high F-sharp.
And that's kind of the art of this.
And this is where you're gonna spend a
little time sort of sweating a little,
just working out.
Experimenting how to get to your goal
Which is the first note of that melodic
So you could try different things.
If you're gonna go all eighth notes like
you know you're going to have four notes
leading up to that, that note.
So that makes it interesting and a little
bit easier.
You could try it from.
Any, any different note.
We can, any different note in the key.
You can follow it from let's say we're
going to go to the B note, right?
We're, we come.
So we could start it from there.
We could start it from, well let's try
starting from the E note.
We started from the D, let's start from
the E.
It's a little bit simpler, we.
So first one.
We have to compress it a little bit.
Okay, let's try, start from the F-sharp.
How would we do that?
Okay, it's getting a little tight.
We could do that.
Or let's see.
Where could we start?
We could start from above.
Oh, let's see.
one way we could do this is to work
So that's our number of notes.
We could go.
Just go backwards, and
come back in on that, so we'd know where
to come from.
We could come from the high A.
[LAUGH] Coming from the B.
Right, so that's a,
a little bit of just sweating, and
figuring out how we're gonna get there.
But one way to do that is to go backwards.
You know, spend a little time just working
out your tag.
From the note that you're going towards.
You see what I'm saying?
I'm going.
I'm, I, my goal note is B.
And I know I'm gonna wanna go.
So if I go backwards.
And try that, well, I know I can get.
I can go backwards and
get back to my B note.
I'll just go.
Okay, so.
So that's a good way to,
to kinda work out your tags.
And just sort of go over them.
And then just obviously this stuff is, it
just takes some work.
It takes some going over these things.
And then getting used to playing that.
Just getting used to hanging on
that goal note.
And coming from whatever direction.
So this is something best done in the
privacy of your home.
Do try this at home.
Because it's gonna be a lot of.
>> All right, yeah, I'm going to show you
some examples of these kinds of tags.
Coming in on melody, using the same
melody, yeah,
She's My Little Blue-Eyed Darling.
And just kind of work through them slowly
I'll kind of try to tell you what I'm
doing as I do it.
That's an, always an exciting moment when
I'm trying to talk and
play at the same time.
But, I think we can pull this off.
I'm just gonna do this a little bit out of
time so
we can all just kind of work on this
So we start with the melody.
First phrase.
And I think, I'll come in, try all coming
in from below this time.
So I'm coming in with different notes from
below that goal note.
Here we go.
Again, from way down there.
So then, I could try a bunch of these from
I could, I just try.
From, from coming in above that B-note.
So here we go.
Melody again.
Now that time I was doing the, coming in
from above but I,
I would come in from one incrementally
higher note every time I, I came in.
So the first time I came in
Then the second time I was always,
also coming in.
On the B, but I came in from the A note,
one note higher.
And then,
even though I was coming on the A, a note
I wanted to try coming in from even
higher, so I came in from the B.
That's what wou, I did.
Right, that's what I did.
So, just opening up those and, and playing
like arpeggios or scales or
combinations that are going to get you
And that's what's going to take a little
bit of work.
Just working that out.
Or how about, does that sounds good?
Not really.
That sounds a little better.
You could play, you could try.
Or come in from a little bit closer in.
Coming in from the F sharp now, right?
So let's try this again, I'll just
alternate coming from below,
coming from above, and then coming from
So, we go.
from all the way from the open G string.
And then coming from above.
So I actually came in on the F.
So it's just a little scale.
then coming from below again to the A
Let's see, what should I do?
See now I don't have the luxury.
And and when I'm playing this on stage, to
think about this.
So this is where we get into the practice
You get this stuff solidified.
Oh, let's pick a, I'll say pick a C note.
How, how can I do it.
Better yet.
I can do something a little fancier.
[LAUGH] There it goes, that might be fun.
I'm actually playing some notes that are a
little bit out of the scale.
Let's give this a little color.
What did I do?
I played C.
And then F sharp.
And then E, and then a G sharp to give
this a little bit.
That kind of motion.
Now I could have just played.
But instead I just thought that,
okay, let's, let's try a little, for a
little more color.
that's the kind of thing that you're gonna
have to.
That's that's why we practice.
You know, so we can think about the stuff
get something that's maybe a little but
more original.
Has a little bit more interest and color
to it.
And then we have to of course work on that
a little bit so
that we can remember it and so that it
goes into our hands and
we don't have to think every note like we
do right at the beginning.