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Cello Lessons: Bluegrass Comping: Shadowing Melodic Rhythm

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[MUSIC]
Our default groove when we're comping
in all bluegrass tunes is going
to be this chuga chuga pattern.
[MUSIC]
However when you're accompanying with,
accompanying like a melodic player and
you're especially if
you're just in like a one on one
jam situation, you really wanna
be able to like sort of embody the melody
in your chordal accompaniment.
And so in addition to this general
groove that we're setting up
you wanna shadow the rhythms
in the melodies sometimes.
So for Stoney Lonesome,
there's a lot of great rhythms,
that while I'm playing chords, I would
wanna play with the melodic player.
So just the opening rhythm, for example.
[MUSIC]
Instead of just comping.
[MUSIC]
I would play that rhythm with the melodic
player.
[MUSIC]
And then go back to the groove.
[MUSIC]
For example.
I might not need to do it every single
time, but when I do decide to do it,
it's gonna feel really good to sort of
be in sync with the melodic player.
Also, that cadential phrase that happens
in both the A and the B section.
[MUSIC]
You know, especially if you hear like
a melodic player holding those notes long.
[MUSIC]
You could play long
notes in your accompaniment.
So.
[MUSIC]
Daba da, ducka deaka duka duka duka dum.
And just sort of like
changing the texture.
Particularly in cadential phrases,
like the fourth phrase of each section.
No matter what the tune really,
that's always a really good time
to kind of change the texture and
it helps us kind of like, revitalize the
energy moving forward to the next section.
So I'm gonna, let me just play through
the chords of this tune twice and
I'm going to be thinking about the melody,
effecting the way I comp the chords but
I won't sing the melody so
you can focus on hearing what I'm doing.
Two, a one, two, three, four.
[MUSIC]
Yeah,
so you get an idea
kind of the scope
of rhythmic
variation that
feels natural
when I'm
playing with
the melody.
[MUSIC]