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Post by billhammond on Apr 21, 2024 19:48:13 GMT -5
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Post by Marshall on Apr 22, 2024 8:30:10 GMT -5
Nice
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Dub
Administrator
I'm gettin' so the past is the only thing I can remember.
Posts: 19,872 
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Post by Dub on Apr 22, 2024 10:12:59 GMT -5
As one would expect, Molly does a great job of explaining this stuff. Proper bluegrass rhythm guitar is hard and takes time to master. It isn’t just strumming chords along with the band, though a lot of people not steeped in bluegrass seem to think it is.
Playing a 1st position G chord replacing the treble 3rd with a 5th began, as I recall, in the late ‘70s. First generation players like Lester Flatt, Carter Stanley, et al., mostly played the B string open. They usually weren’t striking the B string hard enough to notice the difference.
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Post by Marshall on Apr 22, 2024 13:21:01 GMT -5
I found her discussion on rhythm playing interesting. Not because it was “new”, but because I thought everybody did that. I’m a totally self taught and mostly rhythm guitar player and always looking for interesting ways to change up strumming chords. Always playing off the vocal lead line.
The fast flat pick single note stuff doesn’t often catch my attention. Too many notes and not enough emotion. Often pyrotechnics for pyrotechnics sake. But I certainly respect the ability.
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Post by coachdoc on Apr 22, 2024 14:58:57 GMT -5
Love playing the descending G scale in Friend of the Devil. That song outlasts 90% of songs of that era. A standby in all my sets for farmers markets to senior centers.
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Post by millring on Apr 22, 2024 17:32:41 GMT -5
Playing a 1st position G chord replacing the treble 3rd with a 5th began, as I recall, in the late ‘70s. First generation players like Lester Flatt, Carter Stanley, et al., mostly played the B string open. They usually weren’t striking the B string hard enough to notice the difference. I thought the same thing. I got in the habit of fretting it, but I really thought that that was a pretty modern (70s on) convention. |
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Post by millring on Apr 22, 2024 17:33:50 GMT -5
Love playing the descending G scale in Friend of the Devil. That song outlasts 90% of songs of that era. A standby in all my sets for farmers markets to senior centers. I know any number of players who pair it with blackberry blossom. |
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Post by david on Apr 22, 2024 18:59:14 GMT -5
Last week I was babysitting my one-year-old grandson. He was busy with a toy while I was strumming guitar. The piece I played had a little 10-12 single-note descending run. Every time I played that run he stopped what he was doing to watch me. When I went back to strumming, he returned his attention to his toy. Here is the piece (though he plays it at 2x my speed): www.youtube.com/watch?v=8LJlJ8LOD70 |
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Post by TKennedy on Apr 23, 2024 16:18:36 GMT -5
Love playing the descending G scale in Friend of the Devil. That song outlasts 90% of songs of that era. A standby in all my sets for farmers markets to senior centers. I know any number of players who pair it with blackberry blossom. In my banjo playing days we did that. |
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Post by millring on Apr 23, 2024 16:33:57 GMT -5
In my banjo playing days we did that. In the first iteration -- Acoustic Guitar Magazine's "Guitar Talk" forum -- of what finally became the Soundhole many of us had a friend that went by the moniker "Twinsfan". His name is Jim Emery and he's a very good songwriter from the Twin Cities area. Me, LJ, Matt Fox and a couple of others were sitting around talking music (as we always did) when Jim told us of having dreamed a tune. When he woke in the middle of the night up he hurried to get it down in some manner so he wouldn't forget it (dreams can be very fleeting). When he finally really got up the next morning he realized that he had written Blackberry Blossom. |
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Post by howard lee on Apr 24, 2024 9:13:52 GMT -5
My late guitar teacher Orrin Star did a great medley of "Alberta" and
"Billy in the Low Ground" that worked really well together.
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