In this lesson, Steve raises the melody line one octave using "closed chord" voicings. This gives you access to higher regions of the fretboard.
Taught by Steve Eulberg in Bluegrass Guitar with Steve Eulberg seriesLength: 38:00Difficulty: 3.5 of 5
The melody is broken down into its individual phrases. After watching Steve demonstrate the first phrase, practice it several times on your own. This phrase is fingered in the context of the G chord. Do not lift any of your fingers from the shape of the G chord. Add the pinky to the chord shape only when it is necessary. Otherwise, this E note will ring for too long.B. Phrase 2
Note: When played on steel string guitar, closed chord shapes quickly take their toll on the hand muscles. If your hands become fatigued, take a break to relax them and stretch them out.
The first two notes of the second phrase are played in the context of the first G chord. After these two notes are played, a position shift occurs. Once you play the A note on the high E situate your fingers in position to form the second G major chord shape. This is the shape that resembles the open D chord.Exercise 1
Within the context of this chord shape, a difficult finger stretch must be made with the pinky. Drill this finger stretch repeatedly until it becomes comfortable. Do not adjust the wrist when making the stretch. Otherwise, your fingers will slip out of position from the chord shape. Rather, all of the stretching movement should come from the pinky itself.
Once you have mastered this difficult stretch, combine the first phrase of the melody with the first half of the second phrase.
At 6:30, Steve shows two great exercises that will get your fingers better acquainted with switching from the first G chord to the second.
Strum the first G chord for two beats, then switch to the second G chord. Strum this chord for two beats as well. Loop the progression over and over for repeated practice.Exercise 2
Now, strum each chord for only one beat. You may need to slow the tempo down a bit in order to play this change comfortably.Chapter 4: (3:58) More of the Melody Second Half of the Second Phrase
After the difficult finger stretch with the pinky, another challenging position shift occurs. This phrase of the melody consists of the following notes: G-A-B-B-B-D-B-A-G-A.Chapter 5: (14:42) Finishing the Melody/Putting it Together Phrase 3
The first two notes of this phrase are played in the context of the first G chord shape. The B and D notes are played in the context of the second G chord. Finally, the A and G notes are played by the first finger. The first finger must shift around the neck to accomplish this task. Since this phrase contains so many shifts, practice it very slowly and carefully. Don’t get frustrated if you don’t get it at first. This phrase is very difficult! It may take a few days or more to master!
If you find it too difficult to finger the melody in the context of the chord shapes, take the chords away for a moment. Then, play the melody by itself using the appropriate fingers.
To practice the final phrase in the most efficient manner, break it down into two sections. First play the D and C notes on the high E string. Then, situate your fingers for the second G chord shape. The B note is played within this shape. Finally, the first finger shifts then frets A and G. The remaining segment of the melody is played within the context of the D major shape.
Note: If watching Steve demonstrate this portion of the melody is confusing, consult the tablature under the “Supplemental Content” tab.
Practice each phrase of the melody several times until you can play it in your sleep. Slowly begin to connect each of the phrases together once you have mastered each individual phrase.
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).
Our acoustic guitar lessons are taught by qualified instructors with various backgrounds with the instrument.
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