Welcome to the Bluegrass Guitar Series! In this first lesson Steve covers some bluegrass basics. This includes history, which picks to use, and more. Steve gets you playing right away by teaching the foundation of most bluegrass guitar parts -- the bass/chop rhythm.
Taught by Steve Eulberg in Bluegrass Guitar with Steve Eulberg seriesLength: 16:00Difficulty: 2.0 of 5
The roots of early bluegrass can be found around the early 1920’s in the southern United States. Bluegrass emerged as a synthesis of many genres popular at the time combined with traditional music. The Scotts-Irish in the Appalachian region combined their traditional music with popular American styles such as blues, country, jazz, and ragtime. Bill Monroe is widely known as the father of bluegrass since the genre’s name was derived from the name of his band, The Blue Grass Boys. The sound of bluegrass is also often associated with the banjo picking of Earl Scruggs. Both of these acts are must listens in order to hear the fundamental musical techniques of bluegrass.B. Instrumentation of Traditional Bluegrass bands
As Steve mentions, the guitar is the backbone instrument of a bluegrass band. In bands that do not feature a drummer, the role of timekeeper falls upon the bass player. However, many traditional bluegrass bands do not have a bass player. As a result, the role of bass player, timekeeper, and rhythmic accompanist all fall upon the guitarist. This is possible since the guitar’s range overlaps somewhat with the four string bass.C. Bass Chop Technique
The mandolin, fiddle, upright bass, four string banjo, and vocalists typically join the guitar in a bluegrass band. Occasionally, a resonator guitar is added to the lineup. Resonator guitars are most typically referred to by the popular Dobro brand name. Most bluegrass bands feature three or four part vocal harmony. The lead singer typically has a high, nasal voice. He or she sings a high, nasal melody line above the primary melody.
Before you begin to practice the bass/chop technique, some slight right hand adjustments need to be made. When playing bluegrass, a heavy pick must be used. This is due to several factors. Bluegrass is primarily played on a steel string acoustic guitar. Thin picks will cause a plastic, clicking sound when they strike steel strings. Also, a heavy pick will create a clearer tone when playing low bass notes. This is especially important when a guitarist fulfills the role of bass player. Finally, the right hand wrist must be kept as loose and relaxed at all times. The bluegrass genre requires frequent, rapid strumming. You run the risk of dropping your pick or having your wrist lock up if you do not keep it relaxed.Chapter 3: (8:44) Flavor and Speed A. Bass Chop Exercise
Many styles of musical composition such as the march feature an emphasis on the so-called “downbeats” or beats 1 and 3. These accents create a very rigid, deliberate rhythm. However, many popular American styles such as jazz and rock and roll feature an emphasis on the “backbeat,” or beats 2 and 4. The emphasis on beats 2 and 4 gives a style its terpsichorean quality. If one of the performers in a bluegrass group flips the beat and begins emphasizing beats 1 and 3, the music will loose all of its rhythmic impact, and the audience will cease to dance.
The bass/chop technique may seem sound quite elaborate and difficult, but it is rather easy to perform. Start by fingering the basic open G chord that you learned from Phase 1 lessons. On beats 1 and 3, play the low G of the chord. On beats 2 and 4, strum all of the notes in the guitar chord with the exception of the bass note. A slight accent should be placed on these beats. Beats 2 and 4 comprise the “chop” portion of the bass chop technique. Observe Steve closely for a great example of how this technique should sound. As always, begin at a very slow tempo and gradually work your way up to the tempo that Steve initially demonstrates the bass/chop with.
Now that you have mastered the bare basics of the bass/ chop Steve demonstrates a great exercise that will take this technique to the next level. This basic exercise combines the bass/chop with a full chord progression. The progression is four bars long. Here is a measure by measure breakdown of the chords:B. “She’ll Be Comin’ Round the Mountain”Bar 1: GOnce again, the bass note of each chord should be played on beats 1 and 3. Be careful when you get to the C chord. You will have to avoid strumming the low E string. When playing D, you will have to avoid strumming both the low E and A strings.
Bar 2: C
Bar 3: D
Bar 4: G<
This basic traditional song will put what you learned in the last exercise into a practical musical context. Once again, the G, C, and D chords are used for this tune. Here is a breakdown of all the chord changes.C. "She’ll Be Comin’ Round the Mountain” Part IIBar 1: Beats 1 and 2-G Beats 3 and 4- C Be careful of this first measure! Each chord only lasts 2 beats.Once again, the bass note will be played on beats 1 and 3. The chop will occur on beats 2 and 4. For example, in measure 1, the bass of the G chord will land on 1. The chop of the G chord occurs on beat 2. Beat 3 is now the bass note of the C chord. Finally, beat 4 is the chop of the C chord.
Bar 2: G
Bar 3: G
Bar 4: D
Bar 5: G
Bar 6: C
Bar 7: D
Bar 8: G
The rhythm of this song sounds a little too empty compared to most traditional bluegrass songs. For this reason, a bass and chop will now be played within the space of every beat. Previously, all the notes you were playing were quarter notes. Now, all of the rhythms will be played in eighth notes. The bass note is now played on the first eighth note of each beat. The second eighth note of each beat is the chop. Watch how Steve plays these rhythms very carefully. Pause the lesson, and practice the song several times by yourself. Once you are ready, try to play along with Steve.D. Final Thoughts
The bass/chop technique is the rhythmic foundation to bluegrass guitar playing. The following lessons will continue to expand upon this important fixture in the bluegrass genre. Do not proceed to the following lessons until you have mastered all of the exercises in Lesson 1.
Bluegrass is one of the most recognizable styles of guitar. Some refer to bluegrass as a celebration of the simple things in life. Dive into this series to learn the essential components of the bluegrass guitar style.
Steve demonstrates basic, essential bluegrass techniques. In this lesson, you will learn the bass/chop technique.Length: 16:00 Difficulty: 2.0 Members Only
Now that you have the bass/chop down, Steve demonstrates additional bluegrass techniques.Length: 21:06 Difficulty: 2.5 Members Only
Steve takes our bluegrass song one step further in this lesson. He demonstrates how to play a walking bass line between chords.Length: 21:07 Difficulty: 2.5 Members Only
In this lesson, Steve discusses hammer-ons and pull-offs and how they are used in the bluegrass genre.Length: 33:34 Difficulty: 2.5 Members Only
Steve explains double picking, also known as alternate picking. He teaches a scale that enables you to play an awesome bluegrass lick.Length: 30:04 Difficulty: 2.5 Members Only
Steve teaches a widely used bluegrass lick.Length: 22:34 Difficulty: 2.5 Members Only
In this lesson Steve teaches a descending bluegrass lick.Length: 34:00 Difficulty: 3.0 Members Only
Steve gives tips on playing a melody line in the bluegrass genre.Length: 37:00 Difficulty: 3.0 Members Only
Steve demonstrates how you can use "closed chord" voicings in order to raise the octave of the melody. Great lesson!Length: 38:00 Difficulty: 3.5 Members Only
Steve demonstrates some bluegrass licks that serve as introductions, endings, and transitions within a song.Length: 23:00 Difficulty: 2.5 Members Only
Steve Eulberg teaches a classic bluegrass song entitled "I Am a Pilgrim." He covers strumming, the melody, and walking bass lines.Length: 28:57 Difficulty: 2.0 Members Only
Steve teaches a bluegrass waltz titled "Angel Band."Length: 28:09 Difficulty: 3.0 Members Only
Steve dives deep into another classic Bluegrass lick that you can use to flare up a jam session or song.Length: 20:46 Difficulty: 2.0 FREE
Steve Eulberg teaches the first part of the bluegrass classic, "Wabash Cannonball."Length: 18:52 Difficulty: 2.0 Members Only
Steve continues his two part "Wabash Cannonball" series by teaching how to develop the basic rhythm and melody into unique solo sections.Length: 23:53 Difficulty: 3.0 Members Only
Steve Eulberg teaches this old tune as if it were being played back in the old days. Here, Steve demonstrates the verse, chorus, and melody. Enjoy the story behind this one!Length: 15:26 Difficulty: 2.0 Members Only
In his second lesson of "The Ballad of Jesse James," Steve Eulberg demonstrates a more in depth look at how to play the song in a bluegrass form. This lesson is all about double stops, and when combined...Length: 21:53 Difficulty: 2.5 Members Only
About Steve Eulberg
View Full Biography
An Award-winning multi-instrumentalist and singer-songwriter, Steve Eulberg weaves mountain and hammered dulcimers with a variety of unusual instruments to create thought-provoking, smile-inducing, toe-tapping acoustic experiences.
He has sung and composed for religious communities, union halls, picket lines, inter-faith retreats, mountain-top youth camps, as well as the more familiar venues: clubs, coffeehouses, bookstores, festivals, charity benefits and showcase concerts.
Born and raised in the German-heritage town of Pemberville, Ohio, Steve was exposed to a variety of music in his home. Early piano lessons were followed by trumpet in school band, and he became self-taught on ukelele and guitar and harmonica. Mandolin was added at Capital University where, while majoring in History, he studied Ear Training, Voice and took Arranging lessons from the Conservatory of Music.
While at college, he first heard hammered and mountain dulcimers, building his first mountain dulcimer just before his final year. Seminary training took him the west side of Denver where he built his first hammered dulcimer. With these instruments, he was able to give voice to the Scottish, English and Irish traditions to which he is also heir.
Following marriage in 1985 to Connie Winter-Eulberg he settled in Kansas City, Missouri. There he worked cross-culturally in a church of African-Americans, Latinos and European Americans, with music being a primary organizing tool. He moved with his family in 1997 to be nestled beside the Rocky Mountains in Fort Coillins, Colorado.
Founder of Owl Mountain Music, Inc. he teaches and performs extensively in Colorado and Wyoming with tours across the US and the UK. He delights in introducing the â€œsweet musicâ€ of dulcimers to people in diverse settings and in addition to his own recordings, has included dulcimers in a variety of session work for other musicians.
In 2000 he was commissioned to create a choral composition featuring dulcimers for the Rainbow Chorus in Fort Collins. It was recorded in the same year (BEGINNINGS). He is currently at work on a commissioned symphony that will feature hammered dulcimer and Australian didjeridu.
Eulberg passionately believes that music crosses cultural and language barriers because music builds community. Influenced by a variety of ethnic styles, his music weaves vital lyric with rap, rock, folk, gospel and blues. Audiences of all ages respond well to his presentation and to his warm sense of humor.
Steve is a member of Local 1000 (AFM), The Folk Alliance, BMI and BWAAG (Better World Artists and Activist's Guild).
Our acoustic guitar lessons are taught by qualified instructors with various backgrounds with the instrument.
Jessica kindly introduces herself, her background, and her approach to this series.Free LessonSeries Details
Alan shares his background in teaching and sets the direction for his beginning bass series with simple ideas and musical...Free LessonSeries Details
Lesson 40 takes a deeper look at slash chords. Mark discusses why they're called slash chords, and how they are formed.Free LessonSeries Details
Trace Bundy talks about the different ways you can use multiple capos to enhance your playing.Free LessonSeries Details
Steve Eulberg does a quick review of this lesson series and talks about moving on.Free LessonSeries Details
Lesson 7 is all about arpeggios. Danny provides discussion and exercises designed to build your right hand skills.Free LessonSeries Details
Jim Deeming discusses how to use a metronome for practice, skill building, and speed building.Free LessonSeries Details
Rich Nibbe takes a look at how you can apply the pentatonic scale in the style of John Mayer into your playing.Free LessonSeries Details
Erik expounds on the many possibilities of open tunings and the new harmonics that you can use in them. He explains what...Free LessonSeries Details
Mitch teaches his interpretation of the classic "Cannonball Rag." This song provides beginning and intermediate guitarists...Free LessonSeries Details
Our electric guitar lessons are taught by instructors with an incredible amount of teaching experience.
Brendan demonstrates the tiny triad shapes derived from the form 1 barre chord.Free LessonSeries Details
Learn a variety of essential techniques commonly used in the metal genre, including palm muting, string slides, and chord...Free LessonSeries Details
Jane Miller talks about chord solos in part one of this fascinating mini-series.Free LessonSeries Details
Join Joe as he shows one of his favorite drills for strengthening his facility around the fretboard: The Spider Technique.Free LessonSeries Details
In this lesson, Larry discusses and demonstrates how to tune your bass. He explains why tuning is critical and discusses...Free LessonSeries Details
Nick starts his series with Alternate Picking part 1. Improve your timing, speed, and execution with this important lesson.Free LessonSeries Details
Mark Brennan teaches this classic rock song by Jethro Tull. Released on the album of the same name in 1971, this song features...Free LessonSeries Details
Known around the world for his inspirational approach to guitar instruction, Musician's Institute veteran Daniel Gilbert...Free LessonSeries Details
Michael "Nomad" Ripoll dives deep into the rhythm & blues, funk, and soul genres that were made popular by artists like Earth...Free LessonSeries Details
Take a minute to compare JamPlay to other traditional and new methods of learning guitar. Our estimates for "In-Person" lessons below are based on a weekly face-to-face lesson for $40 per hour.
|Price Per Lesson||< $0.01||$4 - $5||$30 - $50||Free|
|Money Back Guarantee||Sometimes||n/a|
|Number of Instructors||79||1 – 3||1||Zillions|
|Interaction with Instructors||Daily Webcam Sessions||Weekly|
|Professional Instructors||Luck of the Draw||Luck of the Draw|
|Learn Any Style||Sorta|
|Multiple Camera Angles||Sometimes||-||Sometimes|
|Learn in Sweatpants||Socially Unacceptable|
|Gasoline Needed||$0.00||$0.00||~$4 / gallon!||$0.00|
Mike H."I feel like a 12 year old kid with a new guitar!"
I am 66 years young and I still got it! I would have never known this if it had not been for Jamplay! I feel like a 12 year old kid with a new guitar! Ha! I cannot express enough how great you're website is! It is for beginners and advanced pickers! I am an advanced picker and thought I had lost it but thanks to you all, I found it again! Even though I only play by ear, I have been a member a whopping whole two weeks now and have already got Brent's country shuffle and country blues down and of course with embellishments. Thank you all for your wonderful program!
Greg J."With Jamplay I can fit in a random session when I have time and I can go at my own pace"
I'm a fifty eight year old newbie who owns a guitar which has been sitting untouched in a corner for about seven years now. Last weekend I got inspired to pick it up and finally learn how to play after watching an amazing Spanish guitarist on TV. So, here I am. I'm starting at the beginning with Steve Eulberg and I couldn't be happier (except for the sore fingers :) Some day I'm going to play like Steve! I'm self employed with a hectic schedule. With Jamplay I can fit in a random session when I have time and I can go at my own pace, rewinding and replaying the videos until I get it. This is a very enjoyable diversion from my work yet I still feel like I'm accomplishing something worthwhile. Thanks a lot, Greg
Bill"I believe this is the absolute best site for guitar students."
I am commenting here to tell you and everyone at JamPlay that I believe this is the absolute best site for guitar students. I truly enjoy learning to play the guitar on JamPlay.com. Yes, I said the words, ""enjoy learning."" It is by far the best deal for the money.