>> The next
one we're gonna draw a relationship to
Salt Creek and LIttle Maggie.
You guys know little Maggie.
So the cool thing about Little Maggie is
that it goes from an A chord down to
a G chord, which is just what, exactly
what Saw Creek does.
Salt Creek does it a lot quicker.
Does it in two beats on each chord.
But if you open that up, you're on A
chord, then you're on G chord.
So what happens to Salt Creek when it goes
to the G chord it goes to this.
So we can expand that, and
we think of ourselves as being in G.
You know, this is all related to like
being in the harmony of the chord that's
happening at the moment.
And this is something that I'm gonna
emphasize a bunch throughout
all of the curriculum.
And it's a little bit of a pet peeve of
mine [LAUGH] that a lot of bluegrass
musicians will just stay in a kind of
modal zone for
the entire chord progression of a, of a
Even though the chords are really
You know, this is a tone that's going from
A for a while and then G for a while, and
then back to A, and then E and then A.
Very simple and
this is not to say that you can't just
stay in A minor for
the whole thing because it has that bluesy
feeling to it.
In fact, I think it would be good to show
examples of both ways of improvising over
Let's look at Little Maggie.
And when I say A minor I know I haven't, I
haven't shown that to you yet
so I'm going to right now.
It's the notes of the A minor scale.
It has the flat third,
And the flat seven.
And this is the scale.
It's it's A minor.
And this song is not in a minor key, it's
really in a major key.
But in blues based music, people for
years have played the minor over, over the
And it gives it that bluesy effect.
One of the ways of playing over a tune
like this is to just stay in that mode.
No matter what the chords are doing,
you just stay right there in that
pentatonic, the A, the A-minor, scale.
Or the A-Minor arpeggio,
A, C, E, G, A.
And all those notes will work and will
create the bluesy sound.
So, so let's, let's go to Little Maggie
We'll do it that way, and then afterwards
I'll, I'll reference out so quick and
show you how this, you know, staying
in the chords
gives it a whole another flavor and a more
compete kind of harmonic structure.
>> One, two, three, four.
>> So now I improvise,
I'll just be in A-minor.
Not that it doesn't work.
So if it's a, good, good simple approach.
But now I'm gonna really be in the chords
that are happening.
A, A, A.
A, A, A, G.
I'm going to really be in G for this
period, then I'm going to go back to A and
really be in A, and then I'm going to be
So let's go one more time on Little
>> One, two, three.
I'm in A.