I came from a prog rock/jazz rock, RnB and Soul background as mostly a rythm guitar and sometime stand up bass player. I'm new to Bluegrass having been invited to join a band "Southern Seagrass" and you are a fantastic resource Marcel. I'd be lost without you (and Chris Eldridge), so THANKS a bunch.
Oh Yeah!! After I teach a basic 2 bar Rolling Rhythm pattern, these are the first walks I teach. At that point in lessons, I also teach a G - D walk that "surrounds" the target D note (goes G, B, C, E > D). I also teach a "jump note" walk with the second note moved earlier to beat 2 (if you count 8 to the bar) and the other notes remain where they are. I teach 2 down strokes on those first 2 notes. Thanks for sharing so much :-) :-) I encourage my students to sign up with you and they do !!!
Nice! I normally add in that chromatic G - D walk that's similar to the chromatic G - C walk I taught here and the enclosure one you just mentioned. Great minds must think alike. Also, if you listen to the rhythm in the beginning of the video I play a syncopated walk that's similar to what you described as a "jump note" walk. I love that sound! I think I delayed the third note instead of playing the second note early. Similar effect though!
@@LessonsWithMarcel I love those syncopations too, so much fun and they add so much excitement and drive and rhythmic tension :-) Thanks so much for being who you really are, we out here all benefit from that!!
Who owns the walks and how do you communicate that? If there are two guitars and I want a 2 bar chromatic walk how to I get them to hit the strums only? If the bass is present, should I ever concern myself with this? Is it preferable to work this into your version of the tunes and be consistent about that walks you play when, or is it better that this stuff flows freely whenever the time feels right? Is this just time and practice spent with your group?
Good questions. Speaking only for myself only, here, and how I tend to use them: Technically, if a bass is present then a "pick strum/ alternating bass" rhythm is really redundant. The bass has that pick/bass covered already, but most people, myself included, usually play it anyway. But if you ever notice any Nashville pickers on TV doing country, they tend to only do the strum, or a "light strum/heavy strum" like Marcel showed at the first. In a bluegrass jam setting w/bass -- your choice, really. I tend to not let how others play rhythm influence how I play at any particular moment or in a song. As long as you both are in time, if you choose to do runs to chord changes and he doesn't, all's good. If both choose to run and use different runs or the same run with different accents or timing -- not so good. You really have to play it by ear, literally. Use your own judgement which will make you a better musician in the long run, by developing a "good ear" for what sounds right. I most certainly "concern myself" if a bass is present. If he's running into chord changes, I don't. Jams are like driving on the interstate -- things go much smoother if you practice cooperation rather than competition. DON'T compete with the bass's runs. You'll just get drowned out anyway. If he's playing a simple "root-V" bass line, run all you want. The hardest thing for me to get under my belt in doing these, and doing them well, was knowing exactly when to start the run so that it arrives at the right spot at the right time. The more you practice it, the better you'll get at it, but you might want to do so alone with a record to begin with. Once you start to get proficient, then try, as Marcel suggested, mixing it up (play with the timing or accent, use them going backwards -- to the chord you ran from, etc.) Marcel has given you some excellent pointers here with the most often used runs. "Run with it."
Hey Marcel! Jake workman does a killer version of wheelhause where he is jamming with a girl that he is giving lessons to! They both have some awesome versions ! Can you tackle this one? I’m doing my best but it is tough when I don’t do it that much! Thanks man ! Edward
I came from a prog rock/jazz rock, RnB and Soul background as mostly a rythm guitar and sometime stand up bass player. I'm new to Bluegrass having been invited to join a band "Southern Seagrass" and you are a fantastic resource Marcel. I'd be lost without you (and Chris Eldridge), so THANKS a bunch.
Thank you Marcel. Gold❤
Great video! Anyone looking to expand and improve their skills needs to see this. Thanks Marcel!
I don't play guitar but I'm learning a lot from your videos and adapting them to my octave mandolin.
You are a GREAT teacher! With every video I view I come away inspired and bursting with ideas. Thanks!
Great lesson, thanks, Billy
Great lesson! Thanks!
Oh Yeah!! After I teach a basic 2 bar Rolling Rhythm pattern, these are the first walks I teach. At that point in lessons, I also teach a G - D walk that "surrounds" the target D note (goes G, B, C, E > D). I also teach a "jump note" walk with the second note moved earlier to beat 2 (if you count 8 to the bar) and the other notes remain where they are. I teach 2 down strokes on those first 2 notes. Thanks for sharing so much :-) :-) I encourage my students to sign up with you and they do !!!
Nice! I normally add in that chromatic G - D walk that's similar to the chromatic G - C walk I taught here and the enclosure one you just mentioned. Great minds must think alike. Also, if you listen to the rhythm in the beginning of the video I play a syncopated walk that's similar to what you described as a "jump note" walk. I love that sound! I think I delayed the third note instead of playing the second note early. Similar effect though!
@@LessonsWithMarcel I love those syncopations too, so much fun and they add so much excitement and drive and rhythmic tension :-) Thanks so much for being who you really are, we out here all benefit from that!!
Grazie per la bellissima spiegazione!
Great lesson. Loved it!
Good morning Marcel!
‘give em hell Marcel!’ 😎
being new to bluegrass this lesson has helped me a lot with the timing of the bass runs seeing as my timing stinks
Thanks alot keep posting these beautiful lessons 🙏❤️
Who owns the walks and how do you communicate that? If there are two guitars and I want a 2 bar chromatic walk how to I get them to hit the strums only? If the bass is present, should I ever concern myself with this? Is it preferable to work this into your version of the tunes and be consistent about that walks you play when, or is it better that this stuff flows freely whenever the time feels right? Is this just time and practice spent with your group?
Good questions. Speaking only for myself only, here, and how I tend to use them: Technically, if a bass is present then a "pick strum/ alternating bass" rhythm is really redundant. The bass has that pick/bass covered already, but most people, myself included, usually play it anyway. But if you ever notice any Nashville pickers on TV doing country, they tend to only do the strum, or a "light strum/heavy strum" like Marcel showed at the first. In a bluegrass jam setting w/bass -- your choice, really.
I tend to not let how others play rhythm influence how I play at any particular moment or in a song. As long as you both are in time, if you choose to do runs to chord changes and he doesn't, all's good. If both choose to run and use different runs or the same run with different accents or timing -- not so good. You really have to play it by ear, literally. Use your own judgement which will make you a better musician in the long run, by developing a "good ear" for what sounds right.
I most certainly "concern myself" if a bass is present. If he's running into chord changes, I don't. Jams are like driving on the interstate -- things go much smoother if you practice cooperation rather than competition. DON'T compete with the bass's runs. You'll just get drowned out anyway. If he's playing a simple "root-V" bass line, run all you want.
The hardest thing for me to get under my belt in doing these, and doing them well, was knowing exactly when to start the run so that it arrives at the right spot at the right time. The more you practice it, the better you'll get at it, but you might want to do so alone with a record to begin with. Once you start to get proficient, then try, as Marcel suggested, mixing it up (play with the timing or accent, use them going backwards -- to the chord you ran from, etc.)
Marcel has given you some excellent pointers here with the most often used runs. "Run with it."
Hey Marcel! Jake workman does a killer version of wheelhause where he is jamming with a girl that he is giving lessons to! They both have some awesome versions ! Can you tackle this one? I’m doing my best but it is tough when I don’t do it that much! Thanks man ! Edward
Big bad billy goat of the barnyard...thx....rthymn lesson important
Where do I get that Tony rice shirt?
How do you have less than 50k subs. Amazing stuff!
In what songs do we find those walks Marcel? Give us some real-world context, please.
Love your lessons! What guitar is that you play?
WOW...AMAZING CHANNEL
have you checked out LOST DOG STREET BAND
❤❤❤❤❤❤
Who’s Billy Strings?
Yo Marcel, how about a Tony-style rhythm lesson?
Everyone keeps mentioning this "Tony" guy but I'm not sure who that is.
@@LessonsWithMarcel Danza
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