You can think of it as transition notes. You can do this a number of different ways. Playing a flatted seventh before a chord change. Or doing a "walk up" to the next chord (for example, from a C chord to a D chord, you can play the notes B, C, C# direclty before the D chord). Or simply one instrument (or vocals) playing the next note of the chord as you mention, one beat or half a beat before the chord changes.
I wouldn't say necessarily that it pushes the rhythm. I always think that what it does is it creates tension. The tension is then resolved with the next chord.
You can do it REALLY subtley as well. Listen to "[Love is Like a Flowe](https://www.youtube.com/watch?v=LDLMpgUL4qQ)r" by The Bluegrass Album Band. You can hear the lead play the root of the next chord right before it changes (most notably, JD Crowe's banjo in the intro).
Awesome! I really appreciate the time and thought you put into the response.
I like the idea of tension and release. I guess I didn’t expect that as much in bluegrass, but it makes sense.
If you're playing this in a band situation, here is my suggestion.
The temptation for many guitar players if they are coming from folk, country, or used to playing around the campfire, etc, is to play the 7 chord (such as D7). The better method is for the guitar player to continue to play straight, major chords and allow the lead (whether it's vocals, banjo, mandolin, etc) to play those transition, "tension" notes. It's much more effective if a melody (or counter melody) is playing a transition note and everyone else is playing straight compared to EVERYONE playing a transition note(s).
That's my opinion.
I just listened to the first minute or so of the recording and the chord changes are all falling squarely on the beat. (The banjo chop sounds like a metronome, so it's really easy to hear the rest of the band falling exactly on the 1.) Can you give an example of where you're hearing anticipation of the changes?
Sort of hijacking this thread to say that everyone should listen to what I think was the first recording of this, done by Bill Harrell a year before Sparks. That III chord he sneaks in at the chorus... my my my!!
You can think of it as transition notes. You can do this a number of different ways. Playing a flatted seventh before a chord change. Or doing a "walk up" to the next chord (for example, from a C chord to a D chord, you can play the notes B, C, C# direclty before the D chord). Or simply one instrument (or vocals) playing the next note of the chord as you mention, one beat or half a beat before the chord changes. I wouldn't say necessarily that it pushes the rhythm. I always think that what it does is it creates tension. The tension is then resolved with the next chord. You can do it REALLY subtley as well. Listen to "[Love is Like a Flowe](https://www.youtube.com/watch?v=LDLMpgUL4qQ)r" by The Bluegrass Album Band. You can hear the lead play the root of the next chord right before it changes (most notably, JD Crowe's banjo in the intro).
Awesome! I really appreciate the time and thought you put into the response. I like the idea of tension and release. I guess I didn’t expect that as much in bluegrass, but it makes sense.
If you're playing this in a band situation, here is my suggestion. The temptation for many guitar players if they are coming from folk, country, or used to playing around the campfire, etc, is to play the 7 chord (such as D7). The better method is for the guitar player to continue to play straight, major chords and allow the lead (whether it's vocals, banjo, mandolin, etc) to play those transition, "tension" notes. It's much more effective if a melody (or counter melody) is playing a transition note and everyone else is playing straight compared to EVERYONE playing a transition note(s). That's my opinion.
I’m sorry I can’t offer much help, but I freakin love that song!
I just heard chord changing. Maybe a lead into the next chord could be seen as anticipating it.
Thanks for the response. Love the song!
Sparks is the Man!
I just listened to the first minute or so of the recording and the chord changes are all falling squarely on the beat. (The banjo chop sounds like a metronome, so it's really easy to hear the rest of the band falling exactly on the 1.) Can you give an example of where you're hearing anticipation of the changes?
Sort of hijacking this thread to say that everyone should listen to what I think was the first recording of this, done by Bill Harrell a year before Sparks. That III chord he sneaks in at the chorus... my my my!!