Your videos don't only help me be a better bluegrass player, but also a be a better bluegrass listener. This is great content and I would love to see more of it.
You never cease to amaze me man I love what you do you are awesome thanks for transcribing this man it helps put these things in your lip you know just little tricks from one or another that's what I love about you man your real I love it Bluegrass rules my brother thank you from Huntington West Virginia glad I subscribe to you you the man and that's a fact
I love listening to all these guys and you playing these tunes but my old hands and fingers are never going play this fast .I do enjoy using the tabs for exercise though. you're a great teacher.
around 7:30 you mention about modern era and not many players play like this (I am assuming that to mean note for note kind of melody). Just for my learning, what would the more modern player do and do you have a lesson on that kind of picking? Thanks and your videos are awesome!
Great examples and discussion. Slight historical correction, though: Ray Davis's label was Wango, not "Wagon". And I don't think he had his own radio station; AFAIK, his broadcasts from Johnny's Used Cars ("The walking man's friend"!) were remote broadcasts aired over WBMD-AM.
Thank you so much for this correction Ira. If I said "Wagon" that is just me being bad at reading Mike's notes, so I apologize for that. Thanks for the added information though!
That's a fun comparison. I would have to say, although Billy used all standard licks, it did seem the most interesting and fun to listen too. Though, on the other hand, Larry's break is impressive (Other than speed of course) in how he stuck to the simplistic melody, yet incorporated cool licks to tie it together and make it more interesting. Though, you are right, a good break should reflect the melody. It seems that the musicians these days are getting too far away from that. They jam up the break so much to impress, but it really doesn't do anything for the tune
A good break should be fun to listen to. I don’t want to listen to the same melody get repeated over and over by the instruments when the singers are going to be singing the melody anyway. Im glad bluegrass has gotten in touch with it’s jazz roots and is improvising more with the solos. If the boomers have their way and it goes back to boring repetition again, I’ll quit supporting it.
I'm not saying it isn't good to jamb or divert from the melody. Jamming is good, but my point is it's become the trend to jam every song, and that also gets boring. In my opinion some songs should be played straight through, with a song here and there jammed up to make it interesting and exiting. If every song is a jamb it looses that effect.
@@marnel7787 when you put in the practice hours and can actually play, and you're a jammer, you go to jam and do breaks, not to perform for onlookers who may not even be musical. Given that comment, you might be one of them?
Jake Workman does that repeated half step pull off in that same kinda rhythmic pattern in the “big mon” with Trey Hensley. (ruclips.net/video/M4TTmY8sdlM/видео.html round 1:04) The way i hear it is the 3rd “double” pull off sounds like the drop thumb roll in foggy mountain breakdown.
The cliched ending lick, used by both Shuffler and Sparks, I've heard referred to as "the Figaro lick" by an old grasser. LOL The 4-2-0 done repeatedly will show why.
Your videos don't only help me be a better bluegrass player, but also a be a better bluegrass listener. This is great content and I would love to see more of it.
This is so interesting. Please do more "breaks through the years"
Agreed!
Love all your videos , ideas and historical chat perspective, wishing you, Sushi and your better half all the best !
Your videos Is Gold for my bluegrass soul!
love the layout of the video. some great info in there!
So much in this lesson! I love the comparisons.
Good Morning Marcel!
You never cease to amaze me man I love what you do you are awesome thanks for transcribing this man it helps put these things in your lip you know just little tricks from one or another that's what I love about you man your real I love it Bluegrass rules my brother thank you from Huntington West Virginia glad I subscribe to you you the man and that's a fact
same, west coast fan
You lose points due to lack of punctuation.😅
Great breakdown mate and the history is informative and like the way you link the generations good stuff
Yep that C arpeggio is also in living room dust in a baggie
I love listening to all these guys and you playing these tunes but my old hands and fingers are never going play this fast .I do enjoy using the tabs for exercise though. you're a great teacher.
Man, I can't play Larry Sparks' break up to speed either. Maybe when I grow up...
same
That arpeggio stuff that Billy does sounds really similar to things Doc does
Johnny Fever says it's a take off on the "Black Death" shirt from WKRP in Cincinnati.
around 7:30 you mention about modern era and not many players play like this (I am assuming that to mean note for note kind of melody). Just for my learning, what would the more modern player do and do you have a lesson on that kind of picking? Thanks and your videos are awesome!
Great examples and discussion.
Slight historical correction, though: Ray Davis's label was Wango, not "Wagon". And I don't think he had his own radio station; AFAIK, his broadcasts from Johnny's Used Cars ("The walking man's friend"!) were remote broadcasts aired over WBMD-AM.
Thank you so much for this correction Ira. If I said "Wagon" that is just me being bad at reading Mike's notes, so I apologize for that. Thanks for the added information though!
@@LessonsWithMarcel Yeah. I used to be a proofreader, so I know how things like that can happen.
Missed the best version which is Rice, Clements and Hartford
That's a fun comparison. I would have to say, although Billy used all standard licks, it did seem the most interesting and fun to listen too. Though, on the other hand, Larry's break is impressive (Other than speed of course) in how he stuck to the simplistic melody, yet incorporated cool licks to tie it together and make it more interesting. Though, you are right, a good break should reflect the melody. It seems that the musicians these days are getting too far away from that. They jam up the break so much to impress, but it really doesn't do anything for the tune
A good break should be fun to listen to. I don’t want to listen to the same melody get repeated over and over by the instruments when the singers are going to be singing the melody anyway.
Im glad bluegrass has gotten in touch with it’s jazz roots and is improvising more with the solos. If the boomers have their way and it goes back to boring repetition again, I’ll quit supporting it.
Ppl who can't replicate a melody wander far from a melody, too. It's a coverup then.😅
I'm not saying it isn't good to jamb or divert from the melody. Jamming is good, but my point is it's become the trend to jam every song, and that also gets boring. In my opinion some songs should be played straight through, with a song here and there jammed up to make it interesting and exiting. If every song is a jamb it looses that effect.
@@marnel7787 when you put in the practice hours and can actually play, and you're a jammer, you go to jam and do breaks, not to perform for onlookers who may not even be musical. Given that comment, you might be one of them?
Jake Workman does that repeated half step pull off in that same kinda rhythmic pattern in the “big mon” with Trey Hensley. (ruclips.net/video/M4TTmY8sdlM/видео.html round 1:04) The way i hear it is the 3rd “double” pull off sounds like the drop thumb roll in foggy mountain breakdown.
Totally, you're exactly right!
The cliched ending lick, used by both Shuffler and Sparks, I've heard referred to as "the Figaro lick" by an old grasser. LOL The 4-2-0 done repeatedly will show why.
Ooo, I like that. I'm going to call it that.