Bouncy Lick with Wyatt Ellis (Crucial Monroe Device)
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- Опубліковано 4 гру 2023
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Once again, a lick I couldn't live without.
Such cool stuff. Thanks a bunch. Now to work on it . . .
A new/old world opening up for me..thanks Chris!
So glad to hear that!! So welcome! 😀🎶
It's real exciting Chris! Thank you!
glad you are connecting Shane! you are so welcome - and Thanks for the kindness!
Finally a video showing this picking pattern and style. Thank you
So welcome! Glad you connected!
@@ChrisHenryVideos I haven't scrolled through all your videos to see if there is one.. but what's the chances you could do a video on more Dawg style mandolin? David seems to mix a lot of sonata classical and jazz type stuff into his playing. I know that's a big can of worms
@@azombiestool he’s a wizard! Short answer - no. 😀
@@ChrisHenryVideos 😆 all good
crystal clear presentation. Love it. Really like modular-definition. When will the Chris Henry neck-scaling aeolian-imposition lick demonstrated by Wyatt at 01:42 make its pedagogical debut?
Thank you bro!! I appreciate that a lot being a big fan of your wonderfully articulated teaching. (Which I have used with Wyatt especially the major 7th arpeggiation chord tones through forms practice! - very helpful and he grew a lot there!) I think that’s one (1:42) Wyatt came up with his own self - he might have have to do the pedaganding!! 😀🎶🙏
So much information! Very usefull on spicing up the playing, thank you chris and wyat
so welcome Peter! glad you are connecting with the world of the Bouncy Lick!
Im in the middle of it actually, so for the single bounce transitional lick you need 1 bar of space right? How much space exactly for the double and the triple?
One bar (four beats) for the single, two bars for the double, two bars and three beats for the triple bounce - so you’d need the “and four and” of the third bar to fill it out. Could go right up the arpeggio with eighth notes after the low C note of the chop chord. (In the key of G)
I enjoy watching your videos, beautiful game🤗👍
Thank you very much!! 😀
Seeing that bluegrass and fiddle tunes were not originally written in standard notation it doesn't really matter but I always thought of bluegrass/fiddle tunes as written in 1/8 notes as opposed to 1/16 notes. like the bass is doing half notes -- the boom chuck guitar is quarter notes and the melody to Blackberry Blossom is 1/8 notes. It seems way more books and such are written like this while only every now and then are fiddle tunes written out in 1/16 notes. Thoughts?
In my opinion 16th notes are more intuitive, more musical to count and feel, and easier/more efficient to impart and teach allowing for bigger 4 beat blocks of melody in a bar/chunk. Tyler Grant just published a great video on the subject I’m aiming to share. But ultimately, I relate a beat in music (specially folk/bluegrass) to where my foot pats, not in between the pats. That being said I understand other points of view and realize it can be confusing for folks trying to sort it all out.
Chris, this is awesome! You showed us examples in G,A, and B. If you were in Bb, you would still pedal (bounce) off the open strings? It doesn't matter what key, you still use the open strings to bounce off, correct? Thanks again for all the great knowledge!
Excellent question - yes, Bb can work the same way. Thanks for the kindness, Max!
Can you tell me the difference in a flat fitted bridge vs a 2 feet bridge' tone and volume wise?
I think results could vary, but what I have learned is that a two foot bridge may allow for more direct transmission from the strings to the tone bars inside without clamping down the top more than is helpful for maximizing good tone and volume.