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Steve teaches a signature bluegrass lick that will really spice up the bluegrass song. In order to learn the lick, you must master double picking and a few scales.
Taught by Steve Eulberg in Bluegrass Guitar with Steve Eulberg seriesLength: 30:04Difficulty: 2.5 of 5
1. NEVER rest your fingers on the pickguard under any circumstance! Although this may provide you with some stability when you are first learning, this poor technique will severely limit your right hand ability in the long run.B. Two Methods of Double Picking
2. Rest the palm of your right hand on the bridge when playing a double picked passage. The palm should also rest on the bridge when playing any scalar line.
3. The palm SHOULD NOT rest on the bridge when playing any passage that involves strummed chords or string skipping. Watch Steve carefully as he demonstrates this technique. The right forearm rests on the upper body of the guitar to provide stability. This technique allows the right hand to move more fluidly. If your wrist is anchored to the bridge, the range of motion of the right hand is not large enough to accommodate the aforementioned techniques.
4. Downstrokes and upstrokes must be identical in tone and volume.
5. Your pick strokes need only be large enough to create a solid tone. Remember the economy of motion techniques that Steve explained in his Phase 1 series. Keep the pick as close to the string as possible at all times. This will enable you to double pick much faster.
6. Only the very tip of the pick should make contact with the strings. Do not dig your pick into the strings. This will hinder your ability to move fluidly from one string to the next.
7. The right hand fingers not holding the pick should remain slightly curled into the palm. They should only fan outwards when playing rapid palm muted passages in the rock and metal genres.
There are two ways in which double picking can be performed. Both are equally valid options. Experiment with both options for a significant amount of time. After this initial experimentation period, decide which technique is more comfortable for you.C. Basic Double Picking ExercisesMethod 1 - Use the wrist as a pivot to double pick.
Method 2 - This method almost excludes the wrist entirely. The thumb squeezes inwards toward the palm during a downstroke. For an upstroke, the thumb and first finger relax and return to their normal position. Thus, almost all of the picking movement originates from the thumb and first finger. This technique is generally more comfortable for guitarists that have a hitchhiker thumb.
Exercise 1 - Set your metronome to a slow tempo. Quarter note=70 is a great place to start. Play the open D string in continuous eighth notes using double picking. It is best to practice double picking using open strings. This takes the left hand out of the equation and allows you to focus completely on the movement of your right hand.D. G Major Scale
Exercise 2 - Set your metronome to an even slower tempo. Starting with the sixth string, play each string for a full measure in sixteenth notes. To keep the rhythm of sixteenth notes nice and even, say the word “Mississippi” at the beginning of each beat. This works well because Mississippi consists of four even, non-stressed syllables. Counting “1 e and ah” is also a great method to subdivide the quarter note into four equal sixteenth notes. Steve discusses pneumonic counting devices in the final scene of the lesson.
Scales are the building blocks of all music. From this day forth, scales MUST become a part of your daily warm-up/technique practice.Chapter 2: (9:26) Double Picking with G Major Scale; C Major Scale A. G Major Scale Practice
Note: Check out Brad and Matt’s Phase 2 lessons for more information regarding why scales are so important.
In this lesson, Steve demonstrates two scales in open position. Keep in mind that all scale patterns on the guitar can be transposed easily to another key. However, the scales in open position (scale patterns that contain open strings) must change their fingering when transposed higher up the neck.
Note: Click the “Supplemental Content” tab for a fretboard diagram of all the “open” major scales discussed in this lesson.
All scale patterns MUST be memorized. Once you have memorized the fingerings for the G Major scale, continue to practice the scale using double picking. (Every other note should be played with an upstroke.) Instead of playing each note once, pick each note for a full measure of sixteenth notes before moving to the next note. Playing a scale in this manner focuses more attention on double picking technique.B. C Major Scale
The C Major scale consists of all natural notes. If you are familiar with the piano keyboard, the C major scale is comprised of nothing but white keys. The black keys on a piano represent the accidentals (sharps and flats.)Chapter 3: (5:25) The D Major Scale Repeat the same process you used to learn the G and C scales to practice the D Major scale. Remember that D Major contains two sharps in its key signature: F# and C#.
Before you practice the C scale with double picking, pause the video and take some time to familiarize yourself with the fingering for this scale. Once you can play through the scale from memory, add the double picking technique. Once again, play each note for a full measure in sixteenth notes. You should be counting four “Mississippis” for each note. Watch Steve carefully for a demonstration of how the scale should be performed.
If you happen to hit a wrong note, don’t stop and retrace your steps. Regardless of whether you are practicing or performing, it is always best to keep the rhythm uninterrupted. Otherwise, it is quite easy to fall into the habit of reinforcing your mistakes. Keep Steve’s “bear in the woods” analogy in mind at all times. However, if you notice that you repeatedly have problems with a specific segment of a scale, isolate that portion of the scale and devote extra time to it.
A. Mississippi - As discussed earlier in the lesson, this word can be used to count four repeated eighth notes or four repeated sixteenth notes.Play each scale in this lesson using each of the rhythms described above. Before tackling this task, watch Steve demonstrate each rhythm.
B. Stop Pony - This works great for a quarter note followed by two eighth notes. It also works for an eighth followed by two sixteenths
C. Monkey Run - This pneumonic device applies to the rhythm represented by Stop Pony only backwards. It works for two eighths followed by a quarter or two sixteenths followed by an eighth note.
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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