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Cello Lessons: Bluegrass Comping: Passing Harmonies

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[MUSIC].
A lot of bluegrass tunes are just
packed full of chords, and so
it's all you can do to just remember
the chords that you're supposed to play.
But, Stoney Lonesome is
a really good vamp tune,
you know the whole A section
is pretty much just A.
A chord.
And so,
in a situation like this you wanna sort of
feel free to maybe imply some other
passing harmonies along the way.
Sort of like at the times,
you might wanna fill.
Just to help us turn phrase over.
And get the next section started.
So let me demonstrate with Stoney Lonesome
I might add some like flat sevens or
maybe start implying like some five
chords or even some four chords.
Those would be my main choices.
Implying the D chord,
the E chord or the G chord.
Just to sort of help break
the monotony of so much A.
So let me show that in
the chordal accompaniment.
Two,
three,
and
[MUSIC].
The B section is less of a good
opportunity for that because there
are those changes to the seven, but
particularly in that A section,
see if you can just add
[MUSIC]
just like one note different
[MUSIC],
just to sort of show us the shape of
the phrase.
Can make a big difference, and can give
you sort of some more responsibility and
ownership of an accompanimental part
that is maybe just like one chord for
a little while.
So you can think of that
in these passing harmonies.
[MUSIC]