200:'s "Willie Mae" (1949). This popular, danceable shuffle style was present on many early rock and roll records. It was played on the electric guitar at least as early as 1950 by Robert Kelton on Jimmy McCracklin's "Rockin' All Day." Either played on the guitar, piano or both, the "chop", "chuck" or "skank" offbeat eventually influenced Jamaican rhythm and blues of the 1950s, which morphed into ska in late 1962, then rocksteady and reggae, all of which featured the offbeat "chuck" or "skank" guitar.
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Mandolin "chunks", or more commonly known as "chops", rarely include a down-beat strum. When a mandolin is playing rhythm it is most often in conjunction with other instruments, such as guitar and bass, which produce the main beat. The mandolin contributes to the rhythm by producing a sharp "chunk"
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can be played and allowed to ring, with the remainder of the chord being "chucked" on the up beat. This technique is usually used in a rhythmically simple manner, such as chucking on every beat, or bass notes on down beats and chucking on up beats.
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bands typically do not have a drummer, and the timekeeping role is shared between several instruments. The
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pioneered, and it gave the music a harder groove and separated it from old-time and mountain music.
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The offbeat was played on the piano in rhythm and blues "shuffle" style, as heard in songs like
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The "chuck" usually consists of a downward strum on the up beat notes. Alternatively, the
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and keeps the rhythm together and moving. It's one of the innovations bluegrass inventor
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on the upbeat notes. This is particularly common when playing
296:(0039-2049); 10/01/2006, Vol. 117 Issue 1398, p72-75.
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plays chop chords on the off-beats or upbeats. (see:
307:Beginning Mandolin: The Complete Mandolin Method
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250:The chop was introduced to fiddle playing by
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292:"Introduction to the 'Chop'", Anger, Darol.
196:'s "It's a Low-Down Dirty Shame" (1942) and
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181:by the fingers. All strings are stopped (
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169:keeps a steady eighth-note rhythm. The
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482:, . Amsco Music Company, New York.
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480:Teach Yourself Bluegrass Mandolin
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463:Bluegrass Instruments: Mandolins
370:"Mandolin Glossary: Chop Chord"
349:Getting Into Bluegrass Mandolin
189:are not played in chop chords.
225:are known for this technique.
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661:String performance techniques
444:, . Alfred Music Publishing.
108:, it is accomplished through
132:The chop is analogous to a
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469:. Accessed August 7, 2014.
120:fingers immediately after
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116:is muted by lifting the
467:PlayBetterBluegrass.com
478:Statman, Andy (1978).
413:. 2010. Archived from
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561:Carter Family picking
438:Dziuba, Mark (1997).
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305:Horne, Greg (2004).
161:generally plays the
411:MandolinLessons.com
393:Bruce (2013), p.16.
347:Bruce, Dix (2010).
326:Bruce, Dix (2013).
269:Bluegrass mandolin
198:Professor Longhair
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546:Guitar techniques
420:on 18 August 2013
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238:. According to
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187:open strings
165:, while the
159:upright bass
153:Traditional
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46:In music, a
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576:Fingerstyle
141:Bill Monroe
656:Folk music
645:Categories
616:Ska stroke
601:Pick slide
280:References
274:Ska stroke
264:Banjo roll
175:boom-chick
126:percussive
82:. It is a
48:chop chord
611:Rasgueado
591:Palm mute
586:Hammer-on
210:bass note
155:bluegrass
148:Dix Bruce
137:drum beat
122:strumming
106:technique
91:off-beats
606:Pull-off
566:Chanking
424:24 March
379:24 March
258:See also
229:Mandolin
183:fingered
171:mandolin
163:on-beats
146:—
128:effect.
118:fretting
110:chucking
103:mandolin
52:backbeat
621:Tapping
596:Picking
97:. As a
95:upbeats
550:strums
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246:Fiddle
204:Guitar
179:damped
54:". In
418:(PDF)
407:(PDF)
294:Strad
167:banjo
134:snare
114:chord
87:chord
84:muted
571:Chop
548:and
484:ISBN
446:ISBN
426:2014
381:2014
353:ISBN
332:ISBN
311:ISBN
221:and
101:and
37:Play
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