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Cello Lessons: Bluegrass Ornaments

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[MUSIC]
In addition to slides,
there's a couple other fingered ornaments
I wanna dive deeper into for bluegrass.
I was already saying that
instead of sliding all the time.
[MUSIC]
That you can finger the same slide and
the often times that can
be called a hammer-on.
[MUSIC]
But hammer-ons don't have to
happen just where you would do slides.
A hammer-on is basically any.
Well, it's an ornament
where you accent the note
below the melodic note
that you wanna play.
So.
[MUSIC]
Like when I lead up to that A or
the B on the A string.
[MUSIC]
That's a great place for
a hammer on there.
[SOUND] Where I'm just playing.
One.
[MUSIC]
Yeah, actually on all of those
first fingers, you could throw in
a hammer-on where you're just accenting
the note below the melodic note.
And the analogy to that, if you're
accenting the note above the melodic note,
that's a pull-off and we can have
chromatic or diatonic pull-offs.
Same with the hammer-ons.
A diatonic pull off is where
you're accenting the note in
the scale just above the melodic note.
In this phrase of Tennessee Waltz.
[MUSIC]
You could do a quick little
pull-off there from C to B.
[MUSIC]
And that just kinda gives it a little,
like a tension and
pull there that you wouldn't,
otherwise, get if you went
directly to the melodic note.
Here is it without.
[MUSIC]
Now, I'll play it with the pull-off.
[MUSIC]
Pull-offs are something
that won't work in every
part of the melody.
But there's one other place I can think
of right at the beginning of the bridge,
we kind of touched this
area in the sliding video.
[MUSIC]
Right there.
[SOUND] I like a little half-step
chromatic pull-off right
there [SOUND] from A sharp to A [SOUND]
and it's gonna happen really quick.
[MUSIC]
And I would do that to kind of
clean up what could, otherwise,
be a really nice slide.
[MUSIC]
Listen to the difference.
[MUSIC]
It has like a sharp or a jab to it,
which is nice,
if that's how you're feeling.
Let me play it both ways, so
you can feel the difference again.
[MUSIC]
Slide.
[MUSIC]
Pull off.
[MUSIC]
Yeah, I like the pull-offs.
One other thing we can do also
as a alternative to sliding,
it's right after that.
[MUSIC]
We talked about sliding from G to F sharp,
[SOUND] but we could actually just roll
down all the fingers in our hand and
we could just sort of
have a fall that way.
[SOUND] Why don't we keep it diatonic,
we'll just do four, three, one.
Sounds like this.
[MUSIC]
We're just fingering what would otherwise
be a slide, but let me make it
chromatic now where I'll actually
include the second finger,
which is not in the scale,
but is gonna give a fuller
feeling to the fall.
See if you can feel the difference.
[MUSIC]
Yeah,
that's a nice one.
[MUSIC]
Again, it's not gonna work everywhere,
but the fall works particularly well
between those notes and the melody.
One more ornament I wanna
talk about is with the bow.
We've talked about bow pushes
in our shuffle bowing video and
with Arkansas Traveler and
we can use it just to sort of help
fill in the rhythm on a long note.
Like at the end of each phrase
in Tennessee Waltz, like.
[MUSIC]
That little rhythm is
a great waltz rhythm there.
Down, up, down.
Down, up, down.
And we can apply that a lot of places,
whenever we're holding a note for
a whole measure.
[SOUND] Yeah,
particularly at those ends of phrases.
So with slides,
with fingered ornaments and
with creative uses of the bow push
in order to full in the groove,
let's play the whole
Tennessee Waltz melody now.
And hopefully, it can sound better than
just the scaffolding we had set up when we
learned the melody.
So again, you don't wanna do any one
type of ornament too many times.
That's the whole reason I wanted to do
these videos to show you all the different
options and variations you can have to
ornament the same places in the melody.
Let me demonstrate.
One, two.
[MUSIC]
Right
there.
Actually, I wanna make
sure I talk about that.
[MUSIC]
It's a little turn there, [SOUND] but
it's actually a chromatic turn and
it gives a nice tug to the melody there.
[MUSIC]
One, two, one.
You might think that you would
want to do one, three, one,
to stay in the scale [SOUND] and
that has a nice feeling to it as well.
[MUSIC]
But if I do it with second finger,
it has more tension.
Listen to the difference.
[MUSIC]
That works nicely.
So try these ornaments.
Practice with them on this tune and
I can't wait to hear you play
Tennessee Waltz in your video submission
with all these beautiful ornaments.
[MUSIC]