Chords for Sammy Shelor talks about drive
Tempo:
78.7 bpm
Chords used:
G
B
Bm
C
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
One of the strongest shows out there, one of the hardest working [A] banjo players, so is Greg too, but he's got this thing where when you know the Lonesome River Band is moving that stage up and moving [E] that crowd, how do you get [A] that hard, how do you position the hand?
[Bm] Is it more down towards the [G] bridge to get that?
[C]
Unfortunately I kind of anchor on the bridge and [G] it kills some of the tone of the [C] banjo, but the microphone makes it up for [G] it so I don't worry about it.
It's easier for me to anchor that way and I've never been able to hold this finger down like Scrooge did, that was another thing I do.
[C] But it's just I [E] cannot anchor both fingers and my middle finger, [G] so I just anchor on the bridge.
A lot of people think that drive is [B] created by playing hard or whatever, but [Bm] it's really not.
It's where you're placing the [C] notes around the beat is what creates [A] the sound that we do.
Like when the vocal is going on, I'm playing dead center of the beat and if [Am]
I'm doing a fill or something [G] I'll push to the front.
A lot of [A] people ask how do you define where you are on the beat and without a drum machine or a metronome [G] you really can't demonstrate [C] that because it's a feel thing.
Somebody asked [G] Terry Baulkham one time at a [C] workshop and they said what is drive?
He said it's a state of mind and that's as much as you can [G] do.
[C] But there's [E] so many different parts of a beat and we cut [B] a lot of our stuff to a click track or a drum machine [C] and people say well you can't play fill to a drum machine, but you can if you know how to play around it.
The common thread in music is [N] timing and you have to have five people that think the same way.
You have to have five people in a bluegrass band that thinks like one drummer because it's basically a drum kit.
You've got the bass doing the kick drum, the mandolin doing the snare, and then the guitar and the banjo doing the hi-hat.
[Bm] Guitar and the banjo are actually double what the hi-hat does a lot of times because we're playing mostly 16th notes.
[Bb] It's how the banjo and [Bm] guitar works around the steady downbeat of the bass and the mandolin, steady down and up, that [B] creates the drive and [Ab] creates the energy and creates dynamics.
You're working in [B] and out of the mic, you're playing front of the beat, you're playing center of the beat, you're playing on the back of the beat and you have to have a rhythm guitar player that thinks the same way you do in order to achieve that.
That's kind of what our sound is based around.
Do you have an example [B] you can give to us Sam?
It's hard to do without a band.
[Bm] You can kind of hear if a vocals going on and if you just pay attention to where the downbeat is on my foot, if the vocals going on it'd [G] be
And no matter how hard I play it, it's still the center of the beat.
If I play a fill, I actually got up front of the beat for a while and then I pulled to the back for a second on one leg just to make some energy happen.
If the vocals going on, I'm still right back to center of the beat.
And that's what a lot of players don't
They [Bm]
think that if they stay on the front all the time, they're creating [G] drive all the time, but you're actually conflicting with the [B] vocal if you do that.
So you got to [Em] kind of drop back and learn to put the [B] dynamics into it and get on the front, get on the back.
And I mean like [Ab] blues players, blues players are noted for playing on the backside of the beat and that's what [B] creates that energy and tension of what they do.
And another thing that you have to watch if you're a bass player or a mandolin player, you can't go with the push.
[G] You got to stay true to where you started the song because if you
Like if Mark was talking about Tony Rice, I played with bass players with him before that would [Gb] go with him on the push and he'd speed up 10 beats a minute on a [N] song.
But if the bass player is playing dead center and is confident in where that timing is and stays there, you know, [Bm] Tony and I can push up and then pull back.
And it's always a continuous thing [N] because Tony is always going to come back to the downbeat no matter what he's doing.
And [Bm] it's so cool to watch when he plays a solo, he'll twist the time in all different ways.
But when it comes to the very end of that, [G] he's always going to end on that G run just ahead of the beat.
And [E] then I'm always there after he does it doing
[G] Do that drag behind it because [G] to me that is the coolest effect [N] in the world, you know.
And that was something me and Tim Austin finally came up with.
When he would do a G [G] run, I would always go and push the front of that and that lifted it one more time before it goes back into the [E] bunk with him.
Whatever you were doing, it caught the attention of Steve [B] Martin.
[E] The old time sack caught his attention.
[B] A better guy couldn't have got it this year.
Yes.
Hear, hear.
Been good with Steve and been great [F] to be [Bm] around and [B] Mark's had the opportunity to be around him a lot.
[Bm] Is it more down towards the [G] bridge to get that?
[C]
Unfortunately I kind of anchor on the bridge and [G] it kills some of the tone of the [C] banjo, but the microphone makes it up for [G] it so I don't worry about it.
It's easier for me to anchor that way and I've never been able to hold this finger down like Scrooge did, that was another thing I do.
[C] But it's just I [E] cannot anchor both fingers and my middle finger, [G] so I just anchor on the bridge.
A lot of people think that drive is [B] created by playing hard or whatever, but [Bm] it's really not.
It's where you're placing the [C] notes around the beat is what creates [A] the sound that we do.
Like when the vocal is going on, I'm playing dead center of the beat and if [Am]
I'm doing a fill or something [G] I'll push to the front.
A lot of [A] people ask how do you define where you are on the beat and without a drum machine or a metronome [G] you really can't demonstrate [C] that because it's a feel thing.
Somebody asked [G] Terry Baulkham one time at a [C] workshop and they said what is drive?
He said it's a state of mind and that's as much as you can [G] do.
[C] But there's [E] so many different parts of a beat and we cut [B] a lot of our stuff to a click track or a drum machine [C] and people say well you can't play fill to a drum machine, but you can if you know how to play around it.
The common thread in music is [N] timing and you have to have five people that think the same way.
You have to have five people in a bluegrass band that thinks like one drummer because it's basically a drum kit.
You've got the bass doing the kick drum, the mandolin doing the snare, and then the guitar and the banjo doing the hi-hat.
[Bm] Guitar and the banjo are actually double what the hi-hat does a lot of times because we're playing mostly 16th notes.
[Bb] It's how the banjo and [Bm] guitar works around the steady downbeat of the bass and the mandolin, steady down and up, that [B] creates the drive and [Ab] creates the energy and creates dynamics.
You're working in [B] and out of the mic, you're playing front of the beat, you're playing center of the beat, you're playing on the back of the beat and you have to have a rhythm guitar player that thinks the same way you do in order to achieve that.
That's kind of what our sound is based around.
Do you have an example [B] you can give to us Sam?
It's hard to do without a band.
[Bm] You can kind of hear if a vocals going on and if you just pay attention to where the downbeat is on my foot, if the vocals going on it'd [G] be
And no matter how hard I play it, it's still the center of the beat.
If I play a fill, I actually got up front of the beat for a while and then I pulled to the back for a second on one leg just to make some energy happen.
If the vocals going on, I'm still right back to center of the beat.
And that's what a lot of players don't
They [Bm]
think that if they stay on the front all the time, they're creating [G] drive all the time, but you're actually conflicting with the [B] vocal if you do that.
So you got to [Em] kind of drop back and learn to put the [B] dynamics into it and get on the front, get on the back.
And I mean like [Ab] blues players, blues players are noted for playing on the backside of the beat and that's what [B] creates that energy and tension of what they do.
And another thing that you have to watch if you're a bass player or a mandolin player, you can't go with the push.
[G] You got to stay true to where you started the song because if you
Like if Mark was talking about Tony Rice, I played with bass players with him before that would [Gb] go with him on the push and he'd speed up 10 beats a minute on a [N] song.
But if the bass player is playing dead center and is confident in where that timing is and stays there, you know, [Bm] Tony and I can push up and then pull back.
And it's always a continuous thing [N] because Tony is always going to come back to the downbeat no matter what he's doing.
And [Bm] it's so cool to watch when he plays a solo, he'll twist the time in all different ways.
But when it comes to the very end of that, [G] he's always going to end on that G run just ahead of the beat.
And [E] then I'm always there after he does it doing
[G] Do that drag behind it because [G] to me that is the coolest effect [N] in the world, you know.
And that was something me and Tim Austin finally came up with.
When he would do a G [G] run, I would always go and push the front of that and that lifted it one more time before it goes back into the [E] bunk with him.
Whatever you were doing, it caught the attention of Steve [B] Martin.
[E] The old time sack caught his attention.
[B] A better guy couldn't have got it this year.
Yes.
Hear, hear.
Been good with Steve and been great [F] to be [Bm] around and [B] Mark's had the opportunity to be around him a lot.
Key:
G
B
Bm
C
E
G
B
Bm
One of the strongest shows out there, one of the hardest working [A] banjo players, so is Greg too, but he's got this thing where when you know the Lonesome River Band is moving that stage up and moving [E] that crowd, how do you get [A] that hard, how do you position the hand?
[Bm] Is it more down towards the [G] bridge to get that?
_ [C]
Unfortunately I kind of anchor on the bridge and [G] it kills some of the tone of the [C] banjo, but the microphone makes it up for [G] it so I don't worry about it.
It's easier for me to anchor that way and I've never been able to hold this finger down like Scrooge did, that was another thing I do.
_ [C] But it's just I [E] cannot anchor both fingers and my middle finger, [G] so I just anchor on the bridge. _ _ _
_ _ _ _ _ A lot of people think that drive is [B] created by playing hard or whatever, but [Bm] it's really not.
It's where you're placing the [C] notes around the beat is what creates [A] the sound that we do.
Like when the vocal is going on, I'm playing dead center of the beat and if [Am]
I'm doing a fill or something [G] I'll push to the front.
A lot of [A] people ask how do you define where you are on the beat and without a drum machine or a metronome [G] you really can't demonstrate [C] that because it's a feel thing.
Somebody asked [G] Terry Baulkham one time at a [C] workshop and they said what is drive?
He said it's a state of mind and that's as much as you can [G] do.
_ [C] _ But there's [E] so many different parts of a beat and we cut [B] a lot of our stuff to a click track or a drum machine [C] and people say well you can't play fill to a drum machine, but you can if you know how to play around it. _
The common thread in music is [N] timing and you have to have five people that think the same way.
You have to have five people in a bluegrass band that thinks like one drummer because it's basically a drum kit.
You've got the bass doing the kick drum, the mandolin doing the snare, and then the guitar and the banjo doing the hi-hat.
_ _ [Bm] _ Guitar and the banjo are actually double what the hi-hat does a lot of times because we're playing mostly 16th notes. _
_ [Bb] It's how the banjo and [Bm] guitar works around the steady downbeat of the bass and the mandolin, steady down and up, that [B] creates the drive and [Ab] creates the energy and creates dynamics.
You're working in [B] and out of the mic, you're playing front of the beat, you're playing center of the beat, you're playing on the back of the beat and you have to have a rhythm guitar player that thinks the same way you do in order to achieve that.
That's kind of what our sound is based around.
Do you have an example [B] you can give to us Sam?
It's hard to do without a band.
[Bm] You can kind of hear if a vocals going on and if you just pay attention to where the downbeat is on my foot, if the vocals going on it'd [G] be_
_ _ And no matter how hard I play it, it's still the center of the beat.
If I play a fill, _ _ _ _ _ I actually got up front of the beat for a while and then I pulled to the back for a second on one leg just to make some energy happen.
If the vocals going on, I'm still right back to center of the beat.
And that's what a lot of players don't_
They _ [Bm]
think that if they stay on the front all the time, they're creating [G] drive all the time, but you're actually conflicting with the [B] vocal if you do that.
So you got to [Em] kind of drop back and learn to put the [B] dynamics into it and get on the front, get on the back.
And I mean like [Ab] blues players, blues players are noted for playing on the backside of the beat and that's what [B] creates that energy and tension of what they do.
And _ _ _ another thing that you have to watch if you're a bass player or a mandolin player, you can't go with the push.
[G] You got to stay true to where you started the song because if you_
Like if _ Mark was talking about Tony Rice, I played with bass players with him before that would [Gb] go with him on the push and he'd speed up 10 beats a minute on a [N] song.
But if the bass player is playing dead center and is confident in where that timing is and stays there, you know, [Bm] Tony and I can push up and then pull back.
And it's always a continuous thing [N] because Tony is always going to come back to the downbeat no matter what he's doing.
And [Bm] it's so cool to watch when he plays a solo, he'll twist the time in all different ways.
But when it comes to the very end of that, [G] he's always going to end on that G run just ahead of the beat.
And [E] then I'm always there after he does it doing_
[G] Do that drag behind it because [G] to me that is the coolest effect [N] in the world, you know.
And that was something me and Tim Austin finally came up with.
When he would do a G [G] run, I would always go and push the front of that and that lifted it one more time before it goes back into the [E] bunk with him.
Whatever you were doing, it caught the attention of Steve [B] Martin.
_ _ [E] The old time sack caught his attention.
[B] A better guy couldn't have got it this year.
Yes.
Hear, hear.
_ _ _ _ Been good with Steve and been great [F] to be [Bm] around and _ [B] Mark's had the opportunity to be around him a lot. _ _ _ _ _
[Bm] Is it more down towards the [G] bridge to get that?
_ [C]
Unfortunately I kind of anchor on the bridge and [G] it kills some of the tone of the [C] banjo, but the microphone makes it up for [G] it so I don't worry about it.
It's easier for me to anchor that way and I've never been able to hold this finger down like Scrooge did, that was another thing I do.
_ [C] But it's just I [E] cannot anchor both fingers and my middle finger, [G] so I just anchor on the bridge. _ _ _
_ _ _ _ _ A lot of people think that drive is [B] created by playing hard or whatever, but [Bm] it's really not.
It's where you're placing the [C] notes around the beat is what creates [A] the sound that we do.
Like when the vocal is going on, I'm playing dead center of the beat and if [Am]
I'm doing a fill or something [G] I'll push to the front.
A lot of [A] people ask how do you define where you are on the beat and without a drum machine or a metronome [G] you really can't demonstrate [C] that because it's a feel thing.
Somebody asked [G] Terry Baulkham one time at a [C] workshop and they said what is drive?
He said it's a state of mind and that's as much as you can [G] do.
_ [C] _ But there's [E] so many different parts of a beat and we cut [B] a lot of our stuff to a click track or a drum machine [C] and people say well you can't play fill to a drum machine, but you can if you know how to play around it. _
The common thread in music is [N] timing and you have to have five people that think the same way.
You have to have five people in a bluegrass band that thinks like one drummer because it's basically a drum kit.
You've got the bass doing the kick drum, the mandolin doing the snare, and then the guitar and the banjo doing the hi-hat.
_ _ [Bm] _ Guitar and the banjo are actually double what the hi-hat does a lot of times because we're playing mostly 16th notes. _
_ [Bb] It's how the banjo and [Bm] guitar works around the steady downbeat of the bass and the mandolin, steady down and up, that [B] creates the drive and [Ab] creates the energy and creates dynamics.
You're working in [B] and out of the mic, you're playing front of the beat, you're playing center of the beat, you're playing on the back of the beat and you have to have a rhythm guitar player that thinks the same way you do in order to achieve that.
That's kind of what our sound is based around.
Do you have an example [B] you can give to us Sam?
It's hard to do without a band.
[Bm] You can kind of hear if a vocals going on and if you just pay attention to where the downbeat is on my foot, if the vocals going on it'd [G] be_
_ _ And no matter how hard I play it, it's still the center of the beat.
If I play a fill, _ _ _ _ _ I actually got up front of the beat for a while and then I pulled to the back for a second on one leg just to make some energy happen.
If the vocals going on, I'm still right back to center of the beat.
And that's what a lot of players don't_
They _ [Bm]
think that if they stay on the front all the time, they're creating [G] drive all the time, but you're actually conflicting with the [B] vocal if you do that.
So you got to [Em] kind of drop back and learn to put the [B] dynamics into it and get on the front, get on the back.
And I mean like [Ab] blues players, blues players are noted for playing on the backside of the beat and that's what [B] creates that energy and tension of what they do.
And _ _ _ another thing that you have to watch if you're a bass player or a mandolin player, you can't go with the push.
[G] You got to stay true to where you started the song because if you_
Like if _ Mark was talking about Tony Rice, I played with bass players with him before that would [Gb] go with him on the push and he'd speed up 10 beats a minute on a [N] song.
But if the bass player is playing dead center and is confident in where that timing is and stays there, you know, [Bm] Tony and I can push up and then pull back.
And it's always a continuous thing [N] because Tony is always going to come back to the downbeat no matter what he's doing.
And [Bm] it's so cool to watch when he plays a solo, he'll twist the time in all different ways.
But when it comes to the very end of that, [G] he's always going to end on that G run just ahead of the beat.
And [E] then I'm always there after he does it doing_
[G] Do that drag behind it because [G] to me that is the coolest effect [N] in the world, you know.
And that was something me and Tim Austin finally came up with.
When he would do a G [G] run, I would always go and push the front of that and that lifted it one more time before it goes back into the [E] bunk with him.
Whatever you were doing, it caught the attention of Steve [B] Martin.
_ _ [E] The old time sack caught his attention.
[B] A better guy couldn't have got it this year.
Yes.
Hear, hear.
_ _ _ _ Been good with Steve and been great [F] to be [Bm] around and _ [B] Mark's had the opportunity to be around him a lot. _ _ _ _ _