Chords for Bryan Sutton explains wrist tension and plays Billy in the Lowground on a 1936 Martin D-28 (2017)

[G] _ _ _ _ _ _ _
It's that same effort, so as [Bb] mysterious as it is, and I [G] don't say this to make it easy,
but I'm just saying that [Eb] it is possible to achieve a stream of [F] good sounding, good feeling
[G] _ _ _ _ _ flat [N] pick notes _ with that same sort of recognition of what you do naturally when you're clapping.
_ _ [Am] Does that make sense?
Again, a lot of times, once you start doing this, you're going to experience [G] quite a while
of [Bm] fighting certain [G] tendencies to [N] over control, but a lot of that [G] happens.
If I stay loose, it's a good tone, it's a good groove.
_ If I tighten up, _ _ _ _ which is what a lot of us do, _ [D] _ _ _ _ _ _ _
[G] you hear how [N] that diminished quality is
an [G] obvious thing, versus _ _ _ _ _ _ _ _ _ _ you feel the _ [B] integrity of that pocket, that [G] emphasized beat, the
smooth connection of everything. _ _
All _ _ _ _ _ [F] that goes [Am] away with tension.
So [Bb] again, in another effort to answer your question, _ _ a looser wrist for me, personally,
equals higher quality [Am] sustained over a longer period of time.
[Ab] A tighter wrist, if you see people [G] endorsing that, _ [B] _ _
my answer to that is [N] there are this
many people in this tent right now, and you might see that many different versions of
what I'm doing.
_ Sort of like golf swings, _ running styles, skiing styles, things like that, where there's
just _ different ways to do a similar thing.
I really endorse the idea of listening to yourself a lot, just as we listen to the clapping.
Again, how do we know to fall into that groove with each other, and how do we know to keep
our wrists loose, and how do we know to make that musical?
There's a lot that we already have within us that we have to invite into [G] our guitar playing.
That's new at first and weird, and again, we tend to fight that, but it's all kind of right there.
And if we [C] listen, _ and even though it might feel weird, [G] _ try to [N] see that end of, okay,
what's the big picture, and where am I achieving quality, and where is that quality going [G] away?
_ And [N] what you then practice is this sort of endurance and stamina style, where you basically
_ _ keep something relatively _ manageable musically, and you look to see, okay, today I can get
four bars, tomorrow or next week maybe I can get eight [C] or twelve bars, through where I
really realize this quality all the way [D] through.
_ _ _ It's a lot of stuff.
_ [G] _
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Any [B] other questions? _ _ _ _ _ _
_ _ _ [G] I'll answer this question too, because I know it's probably out there, it always [Gb] is.
This is a _ 1936 D28, [B] with brand new D'Addario J17 strings on it, _ _ _ _ and [Am] I just got this late
last year and I'm really happy [G] with it. _ _
_ [E] _ _ _ _ [A] _ _ _
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_ _ _ _ _ [D] Any requests [A] that'll do the rest? _ _ _ _ _ _
_ _ [D] I don't know the history of this.
Somebody said it came out of Kentucky.
_ What's amazing about this thing?
I don't know if you've ever [N] seen many old guitars. _ _ _ _
A lot of times _ _ you'll feel, I don't [Am] know if you can see it, there's a little [Em] divot, a
little indentation right there where someone's hand _ [Gb] literally wore away _ the wood there.
And on this particular one, it happens again here, or here, and then [B] a few other times
down the neck, where somebody with a really massive [D] hand, and a big sawmill [A] hand, [Bb] did
the [A] whole of this thing.
_ [D] That's all I know.
_ Any fiddle tune requests at this point?
[G] Only the low ground.
[D] _ _ _ Okay. Okay. _ _
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I [G] _ _ _ [D] _ _ _ [G] _
_ _ [Em] _ got to spend a week with David Greer.