In past lessons, you learned the bass/chop rhythm and alternating bass lines. Now, Steve demonstrates how to walk a bass line between chords.
Taught by Steve Eulberg in Bluegrass Guitar with Steve Eulberg seriesLength: 21:07Difficulty: 2.5 of 5
1. The rhythm of a walking bass line must remain constant at all times. In this lesson, all walking lines are played with a steady eighth note rhythm. If a quarter note or another slower note value is thrown in, it serves as a speed bump in the music.All of the musical examples in this lesson are played in the key of G. However, once you have completed this lesson, you should be able to apply these principles to any major or minor key. Once again, “She’ll Be Comin’ ‘Round the Mountain” will be played with only G, C, and D chords.
2. A note cannot be repeated two eighth notes in a row.
3. The note a half step below the chord’s root is the most appropriate choice when approaching a chord change. For example, if you are approaching a C chord, you should lead into it with a B. However, this is not always practical or possible. In certain occasions, another route must be taken.
4. Unlike a walking bass line in the jazz genre, a bluegrass bass line only uses chromaticism when absolutely necessary.
1. We know that we are traveling from a G chord to a C chord.If our starting point is G, the easiest way to get to C in two eighth notes is to play A followed by B. Thus, the C chord is approached by the note a half step below it.
2. We must accomplish this task in the space of 2 eighth notes.
Since C and D are only 1 step apart and no note from the scale exists between them, a chromatic note must be added to create the walking line. At this point, we know that we must travel from C to D in two beats. How could we possibly do this? Begin with a bass/chop on beat one. Now only one beat remains. Remember that a note cannot be repeated twice in a row within a walking line. As a result, another bass/chop must be performed on the note C#. Steve simply slides the C chord shape up a half step. A better option is to play a different chord altogether called C# diminished (written C#º). Take a look at Matt’s Phase 2 Jazz Lessons for a fingering of this chord.B. Option 2
If we cut out the bass/chop altogether, we have four eighth notes free to use for a walking line. Steve demonstrates one possible way of doing this: In eighth notes, play C, B, C, then C#.Chapter 4: (5:19) Walking from D back to G Once again, Steve gives you two possible ways to walk from D to G. This walking line must occur within the span of two beats.
Here’s another effective way to create a walking line: In eighth notes, play C, low G, C, then C#. The G note works because it’s the fifth of the C chord. Try to think of some other possibilities on your own.
Option 1 involves descending down the G major scale from D to G.B. Option 2
Begin with a bass/chop on the first beat. Then, play a low E followed by F#. This option provides a stronger resolution to the subsequent G chord.Chapter 5: (3:57) Walking from G to D and Back + Final Thoughts Steve demonstrates a walk from G to D and back again in this scene. Once again, there are several different ways of accomplishing this task. Steve demonstrates the most viable and most common option. This walking line brings up an interesting point. When creating a walking bass line, it is always best to start at your destination and work backwards. For example, if you must end up at D, what are the two notes in the G major scale that must precede it? Like Steve demonstrates, these notes are B and C. To walk from D back to G, simply retrace your steps down the scale.
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
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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).
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