Chords for Part 2 Dan Tyminski & Ron Block Teaching Bluegrass Soloing
Tempo:
98.025 bpm
Chords used:
G
D
C
Ab
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The rhythm I pretty much stick to is [G] my, the main part of what I do is based off of kind of a Jimmy Martin philosophy.
Which is up and down, that's [E] not necessarily hitting one string, a lot of [G] rhythm players you hear a lot of,
and I kind of base it more off of full up and down stroke.
[D] [G]
That's kind of the main part of what I do, and [N] there's a little bit of freedom within that to change it up
and put more emphasis on the down strokes or the up strokes, whatever the situation calls for.
Generally, the things that are difficult that you tend not to want to do over and over again, do those things.
[Ab] Work on the hard things that you can't.
[G] Most people tend to do that, spend almost all of their practice time doing the things that are already somewhat easy.
Take things that are difficult and exhaust them, or learn to play something upside down,
strokes where you'd normally hit a [Ab] down stroke, learn how to play it with an up stroke.
[A] Or even something as simple as just [D] like a little cross picking.
[G] Where [D] [G]
[C] you're hitting.
If you can get that where it's fast, [G] [Eb] [Ab]
maybe not the [E] best example, but that's a good exercise to build [Ab] up the muscles in your hand.
You definitely have to work on your speed and building up your muscles,
and that's more easily acquired playing the more difficult things.
Perhaps we could do something, play down the neck, a real simple melody,
then maybe bring it up the neck a little bit to where there's a little more implied melody.
Yeah.
So maybe try, let's maybe try it, do two solos, do like a real Well, okay.
Or I'll do [E] a real basic [G] down the neck and do something up the neck.
So, like if we're going to, as basic as you would get, [C] I'd [G] say
[C]
[G]
[D]
[G]
[Gm] [Dm] [C] Oh.
[G] [D]
[Gm]
[D] [G]
[C] I think that's a [Fm] great, you know, where the melody is implied, he doesn't [G] really leave the melody alone if you listen to just the solo.
Okay, so if we were to start
[D] [G]
[C] [D]
[G]
[Dm] [G]
Which is up and down, that's [E] not necessarily hitting one string, a lot of [G] rhythm players you hear a lot of,
and I kind of base it more off of full up and down stroke.
[D] [G]
That's kind of the main part of what I do, and [N] there's a little bit of freedom within that to change it up
and put more emphasis on the down strokes or the up strokes, whatever the situation calls for.
Generally, the things that are difficult that you tend not to want to do over and over again, do those things.
[Ab] Work on the hard things that you can't.
[G] Most people tend to do that, spend almost all of their practice time doing the things that are already somewhat easy.
Take things that are difficult and exhaust them, or learn to play something upside down,
strokes where you'd normally hit a [Ab] down stroke, learn how to play it with an up stroke.
[A] Or even something as simple as just [D] like a little cross picking.
[G] Where [D] [G]
[C] you're hitting.
If you can get that where it's fast, [G] [Eb] [Ab]
maybe not the [E] best example, but that's a good exercise to build [Ab] up the muscles in your hand.
You definitely have to work on your speed and building up your muscles,
and that's more easily acquired playing the more difficult things.
Perhaps we could do something, play down the neck, a real simple melody,
then maybe bring it up the neck a little bit to where there's a little more implied melody.
Yeah.
So maybe try, let's maybe try it, do two solos, do like a real Well, okay.
Or I'll do [E] a real basic [G] down the neck and do something up the neck.
So, like if we're going to, as basic as you would get, [C] I'd [G] say
[C]
[G]
[D]
[G]
[Gm] [Dm] [C] Oh.
[G] [D]
[Gm]
[D] [G]
[C] I think that's a [Fm] great, you know, where the melody is implied, he doesn't [G] really leave the melody alone if you listen to just the solo.
Okay, so if we were to start
[D] [G]
[C] [D]
[G]
[Dm] [G]
Key:
G
D
C
Ab
E
G
D
C
_ _ _ _ _ _ The rhythm I pretty much stick to is [G] my, the main part of what I do is based off of kind of a Jimmy Martin philosophy.
Which is up and down, _ _ _ _ _ that's [E] not necessarily hitting one string, a lot of [G] rhythm players you hear a lot of, _ _ _
_ and I kind of base it more off of full up and down stroke.
[D] _ [G] _ _ _ _ _ _
_ _ That's kind of the main part of what I do, and [N] there's a little bit of freedom within that to change it up
and put more emphasis on the down strokes or the up strokes, whatever the situation calls for.
_ _ _ _ Generally, the things that are difficult that you tend not to want to do over and over again, do those things.
[Ab] Work on the hard things that _ you can't.
[G] _ Most people tend to do that, spend almost all of their practice time doing the things that are already somewhat easy.
Take things that are difficult and exhaust them, or learn to play something upside down,
strokes where you'd normally hit a [Ab] down stroke, learn how to play it with an up stroke.
[A] Or even something as simple as just [D] like a little cross picking.
[G] Where [D] _ _ [G] _ _
_ [C] _ _ you're hitting. _ _
_ _ _ _ If you can get that where it's fast, _ [G] _ _ _ [Eb] _ _ _ [Ab]
maybe not the [E] best example, but that's a good exercise to build [Ab] up the muscles in your hand.
You definitely have to work on your speed and building up your muscles,
and that's more easily acquired playing the more difficult things. _ _ _
_ _ _ Perhaps we could do something, play down the neck, a real simple melody,
then maybe bring it up the neck a little bit to where there's a little more implied melody.
Yeah.
So maybe try, let's maybe try it, do two solos, do like a real_ Well, okay.
Or I'll do [E] a real basic [G] down the neck and do something up the neck.
_ So, like if we're going to, as basic as you would get, [C] I'd [G] say_
_ _ _ _ _ _ _ [C] _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ _ _ [D] _
_ _ [G] _ _ _ _ _ _
_ _ _ _ [Gm] _ _ [Dm] [C] Oh.
_ _ _ _ [G] _ _ _ [D] _
[Gm] _ _ _ _ _ _ _ _
_ [D] _ [G] _ _ _ _ _ _
_ _ [C] I think that's a [Fm] great, you know, where the melody is implied, he doesn't [G] really leave the melody alone if you listen to just the solo. _ _ _ _
_ _ _ Okay, so if we were to start_
_ _ _ _ _ [D] _ [G] _ _
_ [C] _ _ _ _ _ _ [D] _
_ [G] _ _ _ _ _ _ _
_ [Dm] _ _ _ _ [G] _ _ _
_ _ _ _ _ _ _ _
Which is up and down, _ _ _ _ _ that's [E] not necessarily hitting one string, a lot of [G] rhythm players you hear a lot of, _ _ _
_ and I kind of base it more off of full up and down stroke.
[D] _ [G] _ _ _ _ _ _
_ _ That's kind of the main part of what I do, and [N] there's a little bit of freedom within that to change it up
and put more emphasis on the down strokes or the up strokes, whatever the situation calls for.
_ _ _ _ Generally, the things that are difficult that you tend not to want to do over and over again, do those things.
[Ab] Work on the hard things that _ you can't.
[G] _ Most people tend to do that, spend almost all of their practice time doing the things that are already somewhat easy.
Take things that are difficult and exhaust them, or learn to play something upside down,
strokes where you'd normally hit a [Ab] down stroke, learn how to play it with an up stroke.
[A] Or even something as simple as just [D] like a little cross picking.
[G] Where [D] _ _ [G] _ _
_ [C] _ _ you're hitting. _ _
_ _ _ _ If you can get that where it's fast, _ [G] _ _ _ [Eb] _ _ _ [Ab]
maybe not the [E] best example, but that's a good exercise to build [Ab] up the muscles in your hand.
You definitely have to work on your speed and building up your muscles,
and that's more easily acquired playing the more difficult things. _ _ _
_ _ _ Perhaps we could do something, play down the neck, a real simple melody,
then maybe bring it up the neck a little bit to where there's a little more implied melody.
Yeah.
So maybe try, let's maybe try it, do two solos, do like a real_ Well, okay.
Or I'll do [E] a real basic [G] down the neck and do something up the neck.
_ So, like if we're going to, as basic as you would get, [C] I'd [G] say_
_ _ _ _ _ _ _ [C] _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ _ _ [D] _
_ _ [G] _ _ _ _ _ _
_ _ _ _ [Gm] _ _ [Dm] [C] Oh.
_ _ _ _ [G] _ _ _ [D] _
[Gm] _ _ _ _ _ _ _ _
_ [D] _ [G] _ _ _ _ _ _
_ _ [C] I think that's a [Fm] great, you know, where the melody is implied, he doesn't [G] really leave the melody alone if you listen to just the solo. _ _ _ _
_ _ _ Okay, so if we were to start_
_ _ _ _ _ [D] _ [G] _ _
_ [C] _ _ _ _ _ _ [D] _
_ [G] _ _ _ _ _ _ _
_ [Dm] _ _ _ _ [G] _ _ _
_ _ _ _ _ _ _ _