Building the Song Guitar Lesson

Chapter 1: (0:34) Introduction This lesson expands upon the bass/chop technique that you learned in Lesson 1. Therefore, you should not proceed to this lesson until you have mastered all of the exercises in the previous lesson. Chapter 2: (4:27) Alternating Bassline As you might have noticed, most bluegrass players play a more complicated version of the bass/ chop technique learned in the previous lesson. One very common and relatively simple way to spice up the bass/chop rhythm is called an “alternating bassline.” An alternating bassline is a type of bassline that continuously moves back and forth between the root and fifth of a chord. Before you attempt to play the alternating bassline, take some time to review basic music theory.

As Steve discussed in his Phase 1 lesson series, all triads (major, minor, augmented, and diminished chords) are comprised of three notes. These notes are labeled as numbers, or scale degrees in relation to the key that they are derived from. A major chord consists of the notes 1, 3, and 5 from the parent major scale.

For example, let’s take a look at the first chord Steve demonstrates. The first chord in “She’ll Be Comin’ Round the Mountain” is a G chord. To determine what notes make up a G chord, we must first take a look at the G major scale. By looking at the circle of fifths, we can deduce that the key of G contains only one sharp. From the order of sharps, we know that this sharp is F#. As a result, the G major scale is spelled G, A, B, C, D, E, F#, and G. Now, let’s find the root and fifth of this chord. The root is the first note of a scale. In this case, the root is G. Now count up to the fifth note. The fifth of a G chord is D. Consequently, G and D are the notes that you will alternate between when playing an alternating bassline. Steve’s “finger” method is a great way to rapidly determine the root and fifth of any chord. Just be sure to remember the key signature!

To practice this technique, set the metronome at a slow tempo. Start by playing quarter notes. Once you have mastered this, change the rhythm to eighth notes. Here is a beat-by-beat breakdown of one measure:

Beat 1: G bass note
Beat 2: Chop
Beat 3: D bass note
Beat 4: Chop

When this exercise is played using eighth notes, the bass note will occur on the first eighth note of the beat. The chop will occur on the second eighth note.

Note: Do not anchor your right-hand fingers to the pick guard! This will greatly reduce accuracy of the right hand. Playing with this poor technique limits the range of motion of the wrist. It may also cause unnecessary strain in the fingers, potentially leading to tendinitis. Chapter 3: (12:53) Alternating Bass with Other Chords Once you have the hang of playing an alternating bassline with a G chord, apply this technique to the other chords in “She’ll be Comin’ Round the Mountain.”

Remember that you are the timekeeper in the bluegrass band. If you make a mistake and accidentally strike a wrong note, don’t worry about it. Keeping the rhythm going is always the most important aspect of any musical performance.

Start practicing the C chord with the alternating bassline first. Obviously, the root of this chord is C. Now count up five notes to G. The fifth of the chord is G. The easiest way to play this bassline is to play the C on the third fret of the A string. The fifth is the open G string. However, the G can also be played with the third finger on the 3rd fret of the sixth string. Using this option will add some variety to your playing. Once you feel comfortable with the C chord, repeat the same process with the D chord. Once again, you have two options for playing the fifth of the chord. The open A string and the A on the G string are both valid options.

It’s time to put all of these chords back into the context of the “She’ll Be Comin’ Round the Mountain.” Practice this song a measure at a time. It is always easiest and most efficient to break up any piece that you are currently working on into smaller, more manageable segments. Begin to connect measures together, as you feel more comfortable. Your attention should primarily be devoted towards keeping a solid, steady rhythm. If you accidentally hit a wrong bass note, don’t let it phase you. As long as the rhythm remains steady, the music will be effective. Chapter 4: (1:16) Faster Now Previous to this scene, you were playing the alternating bass line using quarter notes. Playing the alternating bassline in eighth notes is the next appropriate step to take. Once again, this requires slowing your metronome down to a manageable tempo. Gradually push the tempo as you become more comfortable. You must be able to play the song flawlessly with perfect rhythm before you even think about increasing the tempo. It is best to set the metronome a few notches below your speed limit to ensure accuracy and clarity at all times.

The majority of bluegrass music is played at a quick tempo. Gradually working the tempo up at a rate of a notch per day may seem like a tedious, time-consuming process. However, this is ALWAYS the fastest way to learn any piece of music regardless of its final goal tempo. Many beginners set the metronome at a tempo that is too quick. These beginners are simply rehearsing their mistakes. They may be able to play a piece at a quick tempo, but it most likely does not sound like music. Chapter 5: (1:58) Entire Song In this scene, you have an opportunity to play along with Steve. Steve performs the song at the tempo that it is typically played. If you are struggling to keep up with him, simply pause the lesson and return to practicing with your metronome. It may take a few weeks to work up to the tempo that Steve has chosen. Be patient! Learning a brand new song or piece always takes this long--even for professionals!

At the end of the song, Steve effectively demonstrates the topic of his next bluegrass lesson. In the following lesson, you will learn how to add scale lines to the alternating bassline. This will move you one step closer to the bluegrass guitar sounds that you hear on your favorite records.

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