I finally made it through the entire lesson. It took me a couple days but I can now play Cattle and the Cane in two octaves and have a few more tools to jam in A and Am. Great lesson as usual David. Now I need to head over to Patreon and get that backing track.
Just want to say how useful it is to point out great recordings of the tunes you teach, it's super useful to listen to these versions and also discover some records I wouldn't otherwise have found
David, many thanks for this lesson. The work that you commit towards a lesson like this is inspiring. The thoughtful layout. The background theory. The clarity of direction. Excellent stuff. Thanks from Victoria, BC.
A tad late to this party but was able to give it the 100Th like. Thanks so much, what a wonderful tune. Love the recording of Tony and Dan Crary as well.
Thanks man! I learned it. Now to practice it. I was a bit frustrated at first and just like every tune, it takes dedication to learn. During the first part of the B section where it goes into the 5th fret on the E, you could replace it with a harmonic note from the D string on the 7th fret. Sounded cool and I think I've heard it played like that somewhere. Thanks for reading and thanks for sharing the vibrations!
A bit late to the party but lucky enough to be able to give it the 100th like! Thanks so much wonderful job teaching this, with such a “you can do this approach”
Great video, I have a minor critique tho. When you talk about the key changes from part a to b it would be less confusing if you just called out the major key. Part A is in D and part B is in C. You said part A was A major and part B was in A minor. I get it, you're talking about the tonal center of each section, but without the context of the Major key it's confusing.
I didn't find it confusing, he stated that it is A major mixolydian (which is In D but starting from the 5th degree) or at least thats my limited understanding. So if anything maybe he could put it that way. But if someone comes across A major mixolydian and don't understand, that's a perfect opportunity to pause the video and do a quick wiki search. Those are my favorite moments, as it pushes me to learn new things.
Hey Marc! Thanks for the comment here. That is true that you can think about the B section having the same key signature as C major, but I do think it's more helpful to view this tune in relationship to those tonal centers that you mentioned. Otherwise it would be much more difficult to take advantage of all those different modal/minor colors when improvising over the B section (instead of thinking about the slight differences between A aeolian, A dorian, and A harmonic minor, you'd be thinking about C major, G major, and A harmonic minor which feels a bit jarring to me ). In bluegrass at least, we usually prioritize the root note of the tonal center too, and to think about the G major scale starting on the 2nd note of the scale (A dorian) just adds a couple of unnecessary steps. I think you get a much richer understanding and facility as an improviser if you can think about modes/scales in relation to those tonal centers, but that's just my 2 cents. Thanks so much for watching!
@@DavidBenedictMandolin Thanks for the reply? I agree, when you're improving, having to think about the major key the mode is imbedded in adds another step. But when you're teaching I think it's helpful to explain what key the mode is derived from. You're right, just thinking about the major key obscures the unique intervals of each mode.
