A lot of
bluegrass bands these days, a lot of the
mainstream bluegrass bands banjo players
are just great at driving the music home
and especially in bluesy contexts.
So this is just a, a, basically a, an A
tune, I guess you could say.
As to how you could approach a three chord
tune and then put
some bluesy feel into it there's no exam,
there are no examples to go along with it.
It's just the tune itself.
Just for your, for the flavor and I kind
of took a few different arrangements and
then, added some of my own stuff into it
to get this kind of a sound.
But it's, it's something you might here on
a Doyle Lawson album or third time out or
something like that, just some great banjo
playing, really punchy and driving and
a bluesy flavor.
Okay, let's break this down.
Instead of going to the second fret of
the fourth string, which is a little more
It's got that bluesy flavor, cuz that's
the flatted seventh.
F, and then you slide up from that fret.
those three forward rolls right there, so
it's driving like crazy.
And you're digging in, and
I like that, you're at the third fret of
the third string.
That's the flatted third, which is one of
those blues notes.
Do, re, mi, one, two, three, you flat it.
And don't choke it like.
Don't give it a fast choke, just kinda a,
just squeeze it, so.
Don't go out of tune though.
And then I use the ring here for
the third fret of the third string at the
Index up on the first fret, and then I
move up one fret to hammer.
Index to middle, but then I go down one
fret with the middle and pull-off to the
index and make it snap, this is,
this is strong stuff here, don't wanna
just, don't lift off.
You can push up or pull down, I tend to
pull down on it.
Same thing again you're just repeating.
And again, you're hammering into the last
two notes of a forward roll and
then continuing with two more.
I love that right there,
it's so simple and yet so perfect, instead
of doing it two to three slides.
Which is more standard.
Just, just choke the third fret.
It can be a little,
little bit out of tune on purpose.
Which is something that Sonny Osborne was
the king of he was always playing thing,
not everything obviously, but he would
get some really cool funky sounding stuff
by doing this kind of thing.
Right into a C chord.
Lift off the ring while you keep
the index down.
And the pinky, which is the cool sound.
Backward, another choke.
And then thumb and
middle on the open first and third.
More blues.(inaudible) So
this business here.
Measures 14 and 15.
I keep the index down, but I,
I lift off the ring after I hit it.
Again, separation of notes,
It wouldn't sound nearly as powerful
if you're going.
And getting that sort of sound going.
So lift off each time.
Instead going to two, you go to three.
And then instead of going
Which is more major,
you get the major third right there.
You avoid that major third by getting
this, this C note here in the fourth note
of the scale.
Do, re, mi, fa, one, two, three, four.
one more time, all put together, this is
so much fun to play, here it goes.