Western Swing: Beaumont Rag

Lesson: Introduction to Western Swing

Hello! In this lesson, we're going to talk about Western swing. This is just the introduction, but we have several lessons planned on the topic.

The Origins of Western Swing

I first heard about Western swing when I was in my early 20s while playing in an awful working men's club band. After one gig, the band leader mentioned the existence of Western swing, describing it as:

"A cross between country music and jazz."

At first, I thought he was joking; the idea seemed so ridiculous that it couldn't possibly be true. But indeed, there is such a thing as Western swing. It blends country and jazz into a wonderful type of music. I feel lucky to play in a couple of Western swing bands, which is a rarity in the UK.

A Brief History

Western swing began in the 1930s and 40s, with Bob Wills being the best-known artist. He started with a duo alongside his brother and gradually added more instruments, eventually playing with around 20 instruments at his peak. They performed popular music in a Western style, incorporating a lot of jazz, which created a fascinating blend of music.

Listen to the Greats

You must listen to some Bob Wills, as well as Asleep at the Wheel, a contemporary American band that has been performing Western swing since the late 70s at the highest possible standard. If anyone from Asleep at the Wheel is listening, they are the band I would most like to play with one day!

The Beaumont Rag

Now, let's play a tune called "The Beaumont Rag," which includes many elements of Western swing. This piece was recorded by Bob Wills.

Elements of the Lesson

Let's go through the tune slowly.

1, 2, 3, 4.

Key Techniques

• We have blue notes and sliding notes.

• For example, I'm sliding up with my fourth finger from around A flat and then down again.

  • The E flat is a flattened third, the most important blue note in the C major scale.

• Another sliding note occurs here, presenting syncopation by sliding down from the second finger.

Chord Sequences

Remember our previous discussions on chord sequences? We have a similar pattern here. That sequence of chords in the background is very typical of rags or ragtime music.

Let's go through that section one more time.

1, 2, 3, 4.

The B Section

Now, into the B section, we begin with a bit of syncopation and repeat. Notice that little triplet in bar 25:

• If you played it separately, it would sound ridiculous, so slur that!
• Slur four notes into the next bow.

We also have a few double stops here. For example:

• Emphasizing the C chord with an E under the C.
• The final F chord with an A above it.

Let's do that section again.

1, 2, 3, 4.

The Final Section: Double Shuffle

The third and final section features the double shuffle. We will explain this further in a later lesson, but for now, try to copy what's going on.

• It's a pattern that spans two bars.

The double shuffle is sometimes called hokum bowing, first popularized by jazz fiddle player Joe Venuti. It has become a hallmark of Western fiddling, although it's somewhat of a trick and is banned from contest fiddling, which I find quite amusing.

If you find this impossible to do, I suggest either setting it aside until our later lesson on the double shuffle or checking out YouTube videos on the technique.

I also recommend my video on the Fiddle Channel about the double shuffle and hokum bowing, which will aid your understanding.

I remember first hearing the double shuffle played on the Orange Blossom Special. It seemed impossible to me at the time. I left it for six months, and when I returned, it felt easy. So, it is possible!

Final Practice

Let's do that section one more time, and then we'll try the whole piece.

1, 2, 3, 4.

Now, let's try the whole thing!

Your Assignment for This Lesson:

1. Listen to the Bob Wills version of "The Beaumont Rag."
2. Listen to Joe Venuti playing "Wild Dog," where you will hear one of the first recorded versions of the double shuffle.