Phase 3: Eldon Shamblin Style Mastery & Song Repertoire (Weeks 9-12)

Phase 3: Eldon Shamblin Style Mastery & Song Repertoire (Weeks 9-12)

Focus: This phase is about reaching proficiency and confidence. You’ll tackle full arrangements of the target Bob Wills songs, incorporating all the stylistic elements: bass-note walks, chord substitutions every two beats, and tight swing rhythm. You’ll also refine any weak areas (theory, ear, or technique) and prepare for performance-level playing. By the end, you should comfortably “understand the style and play along” with those tunes.

1. Advanced Eldon Techniques (Week 9)

Time to add the final touches that make your playing authentically Eldon Shamblin-esque:

• Walking Bass Lines in Chords: Eldon often created the effect of a walking bass under the chords mandolincafe.com. You’ve done some of this with inversions and passing chords, but let’s formalize it:

  • Think of a bass line that connects chord roots. For example, in “Bubbles in My Beer” (key of G in some versions), the verse might go G (I) to B7 (III7) to C (IV). Instead of jumping G to C, he plays G, then a walking bass note B (with a B7 chord on it) leading to C bb.steelguitarforum.com. Practice this idea in any progression: always ask “Can I walk the bass to the next chord?” Use a chromatic approach (half-step) or a scale approach (whole-step).
    • E.g., if going from G to C: G -> A (as Am7) -> B♭ (as B♭º7) -> B (as G/B or B7) -> C. That’s a long walk, but pieces of it appear in songs.
    • Another: G to D, try G -> F# (as D/F# or as part of G7/F#) -> E (as E7) -> D. There, the bass went G-F#-E-D, nicely descending into D.
  • Exercise: Take the I-VI-II-V loop and play it such that the bass descends chromatically : If in G - start with G (bass G), then E7 (bass E), now insert Eb7 (half-step between E and D?) Actually better: G, E7, Eb7, D7, and back to G. You just added an extra chord (Eb7) to chromatically walk E down to D. Does it sound cool? (This is an example of a chromatic approach chord which jazz players use; use your ear to decide if you like it.)

• Superimposing Chords / Alterations: This is a fancy term, but it means using a different chord that shares function. For instance, substituting a 6 chord for the I, or a 9 for a 5 :

  • Try playing E9 or E13 instead of E7 in that A blues - see how it spices it up.
  • Use Am7 in place of F#7 in A: Actually, that might confuse; instead think: relative minors can substitute for 6 chords (Am7 for C6, etc.) Most of these you’ve touched on; at this stage, trust your ear and experiment. Eldon would sometimes impose a chord over a static harmony to create movement mentmorris.wordpress.com. For example, staying on G? Try alternating G6 and D7(#5) back and forth - weird example, but these kinds of experiments can yield interesting sounds.
  • If theory-savvy: explore augmented chords (e.g. C+ or C7#5) as passing chords up half-step into the next chord. They often function similarly to diminished in leading voice lines.

• Right-Hand Variations: By now your default strum is solid. Add subtle variations:

  • Freddie Green style: almost exclusively quarter-note downstrokes, all muted - you have this. To add variety, sometimes anticipate the next chord by strumming it on the “& of 2” (in 2/4 feel) just a hair early. This syncopation is heard in swing - it propels the music forward.
  • Alternate Bass : In slower Western swing or waltzes, guitarists might alternate bass notes (like boom-chick in classic country). For Western swing, you might occasionally pick the root on beat 1 and then strum the chord on 2, especially if a bassist is not covering that. Since we focus on rhythm comping, keep it minimal, but it’s good to be able to do if needed (e.g., “Bubbles in My Beer” is a waltz (3/4) in some versions - you’d play bass note on 1, chord on 2, chord on 3).
  • Dynamics: Practice playing quieter on verses, louder on chorus, etc., to emulate ensemble playing. Eldon’s playing was not just about chords, but when to lay back or drive - as the only guitarist, he had to provide steady rhythm without overpowering the fiddles/voices.

2. Learning the Target Songs (Weeks 10-11)

Now for the main event: get performance-ready on the four target songs (and perhaps a couple bonus tunes). Approach each song methodically:

• Chord Charts and Transcriptions: Obtain or write out chord charts for “Stay a Little Longer” (a.k.a. “Stay All Night, Stay A Little Longer”), “Roly Poly,” “Bubbles in My Beer,” and “Ida Red.” If you can’t find accurate charts online, enlist your spouse’s help or use a Fakebook/real book. The Bob Wills version chords are sometimes more complex than simplified covers; try to get the version that includes the typical Western swing changes.

  • Analyze the Form: For each song, note the key and the form (e.g., verse/chorus structure, 32-bar AABA form, etc.). Many Western swing songs have a 32-bar form with repeats. Knowing when the progression repeats or transitions is crucial.
  • Identify Key Chord Movements: Mark all instances of dominant 7th chords, 6th chords, ii-V patterns, and turnarounds in the chart. Also note any chords that surprised you (like an augmented or a minor that isn’t the ii or vi - analyze those with help if needed).

• Slow Practice: Tackle one song at a time (e.g., Week 10 for two songs, Week 11 for the other two). For each:

  1. Play Through Slowly: at e.g. 50-60% of original tempo. Use a metronome or backing track if available. Focus on clean chord changes and correct chords.
  2. Loop Trouble Spots: Is there a quick run of chords (like a famous Eldon chord run )? For example, “Stay All Night” in a fully decked-out arrangement might have that long descending run of chords in the tag. Loop just that two-bar segment until you can move through it. TAB it out for yourself if that helps visualize it - since you prefer TAB, writing the chord sequence with fret numbers can clarify fingerings.
  3. Add the Rhythm Feel: Even slow, keep using the sock rhythm strum (don’t fall into the trap of just holding chords without feel). It’s okay if at first you hit only one strum per chord change - but ultimately, you want to be doing the steady quarter-note (or half-note) chunking while changing chords quickly.
  4. Gradually Increase Tempo: Each practice, nudge the tempo up 5-10 bpm. By end of week, aim to get near the actual song tempo, at least for simpler parts. Some songs like “Ida Red” are quite brisk; if you can’t reach full speed yet, that’s okay - it might take longer than a week to comfortably comp at dance tempos. Prioritize accuracy and feel over absolute speed. A swinging groove at a slower tempo beats a sloppy fast chord change.

• Song-specific Tips:

  • “Stay All Night (Stay a Little Longer)” - Often in key of A or G. This one can be played with two chords (I and V) in a pinch, but Eldon’s style adds many passing chords. Listen for the signature riff (often played by fiddle/mandolin) - the guitar usually just holds the rhythm under that. Be ready for quick changes in the tag line (“Throw it in the corner, don’t see why you don’t stay a little longer” often descends chromatically).
  • “Roly Poly” - Key of F or G in many versions. This is a medium tempo, fun swing tune. It likely follows an I-VI-II-V pattern in places. Focus on getting the two-beat changes right. This song is a good one to practice accenting the backbeat (you might chunk slightly harder on “Poly” of “Roly Poly” lyric for example).
  • “Bubbles in My Beer” - Typically in G. This is a slower, lilting waltz (3/4). Western swing waltzes use many rich chords. Expect diminished chords and minor substitutions here. The progression might go through the circle of fifths in parts. Because it’s slower, you have time for full voicings (6th, 9th chords ringing a bit more). However, still keep a steady “oom-pah-pah” (bass-chord-chord) going. This song will really test your ability to play more complex jazzier voicings cleanly - take it one phrase at a time. The good news is the slower tempo gives you a moment to grab those shapes. Check Ment Morris or other resources if you need guidance - he specifically did arrangements for “Bubbles in My Beer” with Eldon-style chords mentmorris.wordpress.com.
  • “Ida Red” - Often in A. It’s up-tempo, essentially a Texas fiddle tune. The chords might be simple (it can be treated almost like a 12-bar blues or I-IV-V kind of structure) but at speed, the challenge is endurance and keeping the chunking tight. Work on stamina - strumming 4 to the bar for 3 minutes at high speed is a workout! Practice “Ida Red” in shorter sections, gradually extending. If your arm gets tired, pause and shake out - you don’t want to tense up. As you get comfortable, try playing along with the record (maybe Bob Wills’ Tiffany Transcriptions version, which has great energy). Being able to hang in there with the band is the final test.

• Get Feedback: Have your spouse or a musician friend listen to you play the rhythm for one of these songs without the recording, i.e. solo. They should be able to tap their foot and “hear” the song’s changes. If the swing feel is solid, a listener will start feeling the groove even without other instruments. Ask for critique: Is the rhythm steady? Are chord changes clear? Any rough spots? This outside feedback is valuable to catch things you might not notice (e.g., maybe you tend to rush the II-V change, or you’re not muting cleanly on certain chords).

By the end of week 11, you ideally have all four songs in your repertoire at a playable level. They don’t all need to be performance-perfect, but you should be able to play through each from start to finish with the proper chords and rhythm. If one is lagging, that’s fine - focus on 2-3 songs if needed and consider the fourth as a future goal.

3. Final Integration & Ongoing Development (Week 12)

Congratulations - you’ve come a long way from power chords! In this final week of the formal plan, consolidate what you’ve learned and make a roadmap for continued growth:

• Play-Along Jam: Simulate a mini-set: play through all four target songs back-to-back, as if you’re the rhythm guitarist at a gig. You could use backing tracks, or just a metronome and imagine the melody. This tests your stamina and concentration. After running them, note which gave you most trouble and why (complex chords? particular key? certain strum pattern?). This will highlight areas for future focus.

• Theory Check-in: Use your spouse’s expertise to deepen any fuzzy areas:

  • Make sure you understand how the chord progressions are functioning. For instance, talk through the chords of “Bubbles in My Beer”: “Okay, we go from I to III7 - why does that work? (Because III7 is the V7 of VI, etc.).” You’ve been playing these, now solidify the theory in your mind. This will help you when you encounter new songs - you’ll quickly recognize “Oh, this section is a ii-V to the V chord” or “They’re using the VI7 again to go to ii,” etc.
  • Review chord construction for any new types you used (dim7, aug, 13th chords perhaps). Understanding the notes in them will help you alter and find shapes on your own.

• Transcribe a Section: As a capstone ear-training exercise, choose one of Eldon Shamblin’s recorded rhythm parts (maybe 8 bars from “Stay All Night” or a verse of “Roly Poly”) and transcribe it by ear into TAB. Now that you have context, you might be surprised that you can hear more detail than you could in Phase 1. Write down the chord names and if possible the voicings you think he’s using. Then compare with any available transcription or ask an expert online to check your work. This is next-level training, but it’s the best way to truly internalize the style - by directly copying the master. Eldon’s playing is documented in some transcriptions and videos mentmorris.wordpress.com mentmorris.wordpress.com ; you can use those as references.

• Expand Repertoire: Western swing has a huge songbook. Don’t stop at the four songs. Learning more tunes will reinforce what you’ve learned and introduce new wrinkles. Consider adding:

  • “San Antonio Rose” (Bob Wills’ signature tune) - it’s in a western swing style but simpler melody, good for rhythm practice.
  • “Faded Love” - a slow swing ballad, mainly I, IV, V but beautiful for practicing smooth, sweet comping (Eldon has a great part on it mentmorris.wordpress.com ).
  • “Right or Wrong” - another classic which has a clear chord pattern and is often taught for swing rhythm (there are lessons specifically on “sock rhythm” for this tune).
  • Any Milton Brown or Spade Cooley tunes - similar era/style with interesting rhythm parts.

• Jam with Others: If possible, play with real musicians: have your spouse play fiddle or piano on these songs while you hold the guitar rhythm. Western swing is dance music, so nothing beats the experience of locking in with a band. You’ll learn to listen to the ensemble, keep steady time, and maybe simplify or amplify your playing depending on what’s needed (for example, if there’s a bass, you might stay off the very lowest notes and focus midrange).

• Recording Yourself: Do a final recording of you playing along with one of the Bob Wills tracks or a backing track. Then listen critically (or share with someone knowledgeable) and compare to the original guitarist. Identify one or two things to continue working on (maybe cleaner muting, or a snappier accent on off-beats, etc.).

By the end of Phase 3 (3 months), you will have achieved the goal: you’ll understand Western swing rhythm guitar style and be able to play along with multiple songs in the Eldon Shamblin vein. You’ll possess a solid grasp of the chord vocabulary (from simple 7ths to fancy extended chords) and the rhythmic drive needed for this genre. Importantly, you’ve also developed your ear and theory knowledge to continue learning on your own.