Mississippi john hurt plays a gentle style with an alternating thumb base that was very strong, very rhythmic and very driving. His two fingers alternated and acted quite independently at the same time that he held his fingers his other fingers on the soundboard of the guitar. And this is a good trick and you need your your hand to be quite supple and the fingers working independent If I was to occur, now, I can't do this. Inevitably when I, when I use my two fingers, you will see in the video that my hand lifts away from the soundboard. This is not very stable, it's a habit that I can't break, if you can keep your hand here and use the two fingers, and that will help you a play enormously. If you can't do that, then try and hold the palm of your hand near the bridge.

We're going to be downloading anyway, because Mississippi john hurt played in this style. In C, for example. He alternates the basis and downwind immediately with a bomb. So our poem is very close to the strings if we rested our heel, the heel of our palm on the bridge, it's not too far away. This is a song in the sea and he was a standard chords. And as I said, his driving rhythm pushes it along and alternates at the bases in a standard form.

In fact, It doesn't really deviate from a standard alternating base, which is good. It's a simple form. We start with C. Sometimes we'll use this for a little finger to make this shape or to bend the fifth string this way we use an F code, but there's not really a full f code. Which again, let's use the middle finger sometimes we have C center in the center Before, we may use this form as well in one section, this is it moves down to E. Then it quickly changes in 27. This is a very attractive thing to do. It's reminiscent of free trade.

But this is a stroke to have done something a little bit different. I've taken two sons by john hood, satisfied and tickle two and pallet on the floor and I put them together sounds like this First of all we'll say that the tablature are satisfied and then later on for pat on the floor. Here's the solution. Take it easy and good luck. You can see that the clips are numbered, so you can find them easily. And normally before each piece of tuition, a plea that that piece that section, the normal speed.

Here's a normal speed for clip one Now here's the temperature This piece will play slowly, vertically out the damping when you see my hands in closer because it gets in the way. When we play to the right speed, it takes on a slightly different dimension. There's a subtle syncopation there. This lesson we're going to lead on to powers on the floor as one, two, because you could learn them both separately and afterwards and see them as separate songs. It's basically a very similar structure that I leave in from the other lesson in this way that I start to play out on the floor. This style of playing is a nice laid back slow Ragtime style in the vein of Elizabeth cotton.

And both of these songs are a lot of fun to sing. This way, I'm satisfied, satisfied, satisfied. Both these songs are a lot of fun to play. It's a nice relaxed style. Once you get the hang of the damping on the right hand The left hand fingering and the overall approach, it comes pretty quickly. If you practice one hour in the morning and one hour in the evening, you'll be surprised how you're playing improves.

You won't really notice it day by day, but over one or two weeks, you'll see a big, big change. Take it easy, don't be too hard on yourself and good luck. Bye bye