be_ixf; php_sdk; php_sdk_1.4.15
91 ms
iy_2019; im_02; id_18; ih_07; imh_09; i_epoch:1550502576763
ixf-compiler; ixf-compiler_1.0.0.0
py_2018; pm_10; pd_26; ph_14; pmh_27; p_epoch:1540589268558
bec-built-in; bec-built-in_1.0.1; bodystr
pn_tstr:Mon Feb 18 07:09:36 PST 2019; pn_epoch:1550502576763
0 ms
be_ixf; php_sdk; php_sdk_1.4.15
https://artistworks.com/michael-daves/learning/103254
https://artistworks.com/michael-daves/learning/103254
Submit a video
-
This is a public version of the members-only Bluegrass Vocals with Michael Daves, at ArtistWorks.
Functionality is limited, but
CLICK HERE
for full access if you’re ready to take your playing to the next level.
X
No results. Try fewer search terms.
These lessons are available only to members of Bluegrass Vocals with Michael Daves.
Join Now
«Prev
of
Next »
Bluegrass Vocals Lessons: “Blues Stay Away From Me” (Duet Arrangement)
Study Materials
This video lesson is available only to members of Bluegrass Vocals with Michael Daves.
Join Now
Playing: Looping: Adjust:
space play/pause I set loop start point [ move start back 1 sec
← back 10 secs O set loop end point ] move start forward 1 sec
→ forward 10 secs L start/stop looping SHIFT-[ or ] move end
↑ rewind to beginning C clear loop CTRL-[ or ] move both
H this help F full screen toggle ALT-[ or ] next/prev section
30 SEC
Loading lesson
Loading Video Exchange
This page contains a transcription of a video lesson from Bluegrass Vocals with Michael Daves.
This is only a preview of what you get when you take Bluegrass Vocals Lessons at ArtistWorks.
The transcription is only one of the valuable tools we provide our online members.
Sign up today for unlimited access to all lessons, plus submit videos to your teacher for
personal feedback on your playing.
Bluegrass Vocals with Michael Daves
Renowned vocalist Michael Daves teaches how to sing bluegrass for all ranges of voices. Unlimited access to comprehensive lessons that combine technique training and ear training exercises with classic bluegrass standards. Learn both tenor and lead voicing for famous bluegrass songs, complete with backing tracks, music notation and other study materials.
CLICK HERE for full access.
Resume from where you last watched ( )?
Yes No
[MUSIC] Okay here
this is our second
Louvin Brothers song.
And this is actually originally by the Delmore Brothers who are one of
the great brother duet teams through the 40s and
were very influential on the Louvin Brothers.
In fact, the Louvin Brothers made a tribute album to the Delmore Brothers
which is fantastic and you should check it out.
So this is a song from that album Delmore Brothers'
original song called Blues Stay Away from Me.
But we're doing the version by the Louvin Brothers.
It's pretty different,
actually the Delmore Brothers actually recorded this one as a trio.
Which most of what they did was just duets, just the two of them.
But they actually had a third part on this.
And the Louvins do this as a trio, it's good standard for jams.
Something people can kinda jump in on, but if you really look
into the Lutheran Brothers arrangement there's some really kinda weird and
wild stuff going on what with all the harmony parts put together so
I think it's going to be a lot of fun to take a look at.
And also, this song provides a nice contrast to Knoxville Girl.
Which is kind of more typical for how the sing which is real crisp and
clear now, Blues stay away from me they really
kind of get this sort of language blues phrasing going on
that sort of kind of plays around with the resolve on the natural third so
it will also be good practice just learning to navigate that area
around the flat three and three cuz you're really gonna kinda hear
how this kinda takes a long time to resolve in a few spots.
So I hope you enjoy this one.
[MUSIC]
[MUSIC] Okay, so here's
Blues Stay Away From Me in the lower key of E.
And we're gonna learn the melody first.
Now, this is one of the more contoured of the notes.
It's super important to pay attention to cuz it's a big part of how these
harmony parts fit together.
So, there's your one,
one, two, three.
Okay, and we're gonna start with [MUSIC]
It should be a little quicker than that.
[MUSIC] So that's a three to flat three,
then back to three.
[MUSIC] And then, we're gonna hold that three for
a long time, and then jump quickly to the one at the very
end at that note before we go on to the next syllable.
So [MUSIC]
And then it's two, one.
And then [MUSIC]
So that's three, and
then two flat, three, two, one.
And then really gonna land on that one square without the typical one.
A lot of parts would kind of scoop up into that one.
But here the tenor part, once we learn it,
you'll see is being really squirrely at that moment.
So, I think the lead is gotta be really solid on the one.
Here's that first phrase again, two, three, four.
>> [MUSIC] And then
[MUSIC]
Is up to the four, and
it's like four to three to four,
same as we started timing wise.
[MUSIC] And that's one,
two, one, without ornamentation.
[MUSIC] So it's three,
two, five,
three, two, one.
[MUSIC] Here's the second phrase.
[MUSIC] And then under
the four cord goes [MUSIC]
which is
[MUSIC]
slides into three twice.
And then [MUSIC]
That is two, three, two
[MUSIC]
So one, two, one, three,
two flat, three, two [MUSIC]
And again, landing really
squarely on the one.
So that whole phrase [MUSIC]
So that's the part.
Let's do it all
together.
The lead
[MUSIC]
Two,
one,
two,
three,
four
[MUSIC]
[MUSIC] Now, the tenor,
is sung by Ira Louvin.
Charlie Louvin sang the lead of almost all the time.
Now, as is very common with Louvin brothers,
Charlie's sort of playing straight man to Ira.
Now, I think it was true, personality wise and demeanor wise,
as well as often musically.
Now here, Ira kinda gets to have the more kind of squirrely moving part,
which we'll see what I mean here in just a second, so, it starts up on the five.
[MUSIC] One, two, three, four, five,
mirroring the lead and going, blues.
So that's just following really closely there to start.
Five, sharp, four, five, three, and then [MUSIC]
and then stay away, that's four,
three, five, five, four, [MUSIC]
so.
[MUSIC] Stay away from,
and now, me.
Now, here's the contour that's really important to pay attention to too.
See, it's going from four to five,
three to three, but you gotta listen to the shape for it.
Stay away from me [MUSIC]
me, it's kind of like a drunk and
stumble or something [MUSIC]
me, it's first raised.
[MUSIC] Blues,
stay away from me.
[MUSIC] Now, if you remember the lead at that
point was just landing squarely on one which lets the me,
that little squirrely thing in the tender part make more sense and
have a more stable ground to sound against.
Okay, now going into the fourth chord [MUSIC]
Blues.
It's up to the 6, 1, 2, 3, 4, 5, 6, and blue, it's just a half-step drop.
6, flat 6, 6, blues, why don't you, that's 5,
4, 3, get a little bit of contrary motion there with the lead.
[MUSIC] Blues, why don't you let me, so
5, 4, let me [MUSIC]
and then that same move,
[MUSIC]
me to that
[MUSIC]
4, 5, 3, 3,
[MUSIC]
see,
here's the second phrase starting on the 6.
1, 2, 3, 4, [MUSIC]
blues, why don't you
let me be, all right.
And then I don't know why, and here we're just mirroring the lead part.
Don't know why, so that's 5, 5, 5, 4.
[MUSIC] Don't know why
you keep on haunting 3,
4, 3, 5, 5,
4 you keep on haunting me.
And then ending with that same maneuver.
[MUSIC] I don't know
why you keep on
haunting me, okay.
So one time through the entire tender part, here,
so [MUSIC]
2, 1, 2, 3.
[MUSIC] Blues stay
away from me.
[MUSIC] Blues,
why don't you let me be,
I don't know why
you keep on haunting me.
[MUSIC] Okay, so I want you to learn both parts.
And E and get really clear on the contour of each of those and
you can practice to sing along with the recording I have provided.
And then I would like you to post a video singing along with either part and
you can either or both.
You can play the recording of the lead and sing with tenor along with it or
vice versa.
But have fun figuring out how these parts fit together.
And really getting a feel for the contrast between the sort of straight man on
the bottom and the squirrelly, kind of drunken-style maneuvering on the top.
[MUSIC]
[MUSIC].
Okay, so here we're up in the key of C for Blues Stay Away From Me.
Now, once again the, I really love how these two parts fit
together because the lead part sung by Charlie Louvin.
Charlie's kinda play in the straight man, so
his part is pretty simple, not much ornamentation.
And he likes, just kinda hits the one and hold to while arrows,
things on the tenor part is kinda doing this real swirly thing.
Here we go.
[MUSIC]. So, we start on the three, one, two,
three.
And it's, so it's a quick,
it's a dip from three to flat three and then back, so.
[MUSIC]. And then after holding on the three for
a while, then at the very end of that syllable,
you dive down to the one, just for split second, so.
[MUSIC]. And there's two, one.
Way from, so that's a slide up into 3 on way and
then a two, fat three, two.
On from me, so and then we land on that one it's no ornamentation.
It's just straight and clear, so.
[MUSIC]. Two, three, four.
[MUSIC].
Kinda overshot the mark when I came down from that three, but.
Anyways, you can practice that and
you learn how to hit those notes when you do the quick maneuver.
I mean, it takes practice sometimes, but.
And then going up into the four chord.
As. [MUSIC].
Similarly to how we started out, except for
it's four, three, four, so.
[MUSIC].
And then we're gonna dive from the four this time.
[MUSIC].
Just a touch on the one at the end of that syllable.
And stay away, and there's sliding into 3 again and then from me.
So, two, five, three, two, one, just like we started.
[SOUND].
From me.
So, into the fourth chord.
[MUSIC].
All right, then don't know why,
that's three, three, slides.
Why, don't know why, so
then down into the two, don't know why.
[MUSIC].
You keep on, that's one, two one, and then haunting and
that's sliding up into the three.
Haunt and then tin', that's two,
flat, three, two and then straight on one.
Again, no ornamentation on the last note, so.
[MUSIC].
Okay, so let's do that whole lead part.
Straight through from the beginning.
One, two, three, four.
[MUSIC]
[MUSIC] Okay, so moving on to the tenor part
now here's where things get weird and fun [MUSIC]
we're gonna start on the 5.
1, 2, 3, 4, 5 and here it's mirroring the lead and just
dipping down a half step and right back [MUSIC]
so that's the 5 to the sharp 4 another 5
[MUSIC].
And then at the end of that syllable you're dropping to the 3 and
notice the leads dropping from the 3 to the 1 and
so they're both just staying in the chord tones 1, 3 and 5.
[MUSIC] And then
[MUSIC]
that's 4, 3 and then
[MUSIC]
sliding up into 5 and then
[MUSIC]
that's like a sharp 4, 4 and then here's
where you get this squirrely line [MUSIC]
this is real slow.
It goes from the 4 to the flat 3 back up to the 3
[MUSIC]
it's fun to sing especially against that
root because the lead part is just staying straight
on the one right there you're going [MUSIC]
and then that part is kind of veering
around it's almost like a staggering drunk or something.
All right so here's the first phrase [MUSIC]
all right now in the 4 chord we're
gonna hit the 6th note [MUSIC]
and again dipping just by half step
to the sharp 5 and then back up.
[MUSIC] and then as we come down we're going
[MUSIC]
that's 5, 4, 3 then back to the 5,
4 we can do like actually
a downward grace note into the 4 [MUSIC].
So [MUSIC]
and now we have that
same squirrely line [MUSIC]
and then going on
to the 5 chord [MUSIC]
so 5, 5,
5, 4 [MUSIC]
so 3, 4, 3,
5, 4 and then
that same 4 flat,
3, 3 [MUSIC].
Yes you've really gotta think of the contour the shape
of [MUSIC]
so it's a whole step from the 4 to
the flat 3 [MUSIC]
and then back up a half step to land on
the 3 for which is your chord tone.
So it's sort of surrounding the chord tone, half step above, half step below,
and then resolving.
So it kinda creates some suspense because it's kind of swerving around,
you don't know how it's gonna get back and
it does it kinda finally sticks to that 3 as a chord tone.
All right so I'd like you to as usual, just get to know both
parts practicing along with the recording that I provided and
when you're ready, submit a video and let me know how this is going.
[MUSIC]