Thank you for this old thread, Mandocarver. I'm currently in the middle of carving out the back of an archtop that I plan to make into a multi-scale six string mandocello. 26" for the low C all the...
Type: Posts; User: "Umm, fish?"
Thank you for this old thread, Mandocarver. I'm currently in the middle of carving out the back of an archtop that I plan to make into a multi-scale six string mandocello. 26" for the low C all the...
I just recently read a GAL article about Blue Spruce. Basically, the author liked it and thought it well worth experimenting with.
I like to think of the blues in terms of playing with tensions/resolutions of half steps. Play around with ii-biii-iii, iv-bv-v, vi-bvii-vii-i, and even ii-bii-i transitions. Especially the iv-bv-v....
I have a short scale (23.5") epiphone electric that I've tuned to CGDAEB. With the short scale it's easy enough to get up to the high B with a regular guitar string. The low C is pretty ugly, though....
Dang it, Pete. I'm still trying to soak up the last one.
Thanks!
Of course, that is only true for some of the strings on a guitar, since they are not all tuned to the same interval. And that is why I tune my guitar in fifths: So it can be more like a mandolin.
Those beavers make good eating.
Aha. Sounds like a plan to me. Thanks!
I still haven't had a chance to put paper to the mandocello-ish thing that I play yet, but I hope to tonight.
And, to add to the above, once you decided on those two chords--because they include all the notes of the scale--making the chord scale is just a matter of creating inversions of one or the other for...
Can we talk the theory of your lesson a bit? My brain grabs it better if I understand why you are doing what you are doing.
You chose the I Major 6 and the V# diminished chord as the basis for...
Also, you could do much, much worse than listening to songs by ... Will Patton. :) That 6th Street Runaround is a very good album.
I went and found Geiger's ebook. I'm only a few pages in and there are some interesting things in there, but do notice that the pattern given is incomplete. I'm not sure why it's not extended to...
Fat chords. Totally Freddie Green. He should have played mando. Or at least a mandocello. :)
With four-note chords, when making the all important V to I chord change the first inversion (root in the bass) and third inversion (5th in the bass) work really well together going either way.
...
Diminished chords are often used as passing chords that resolve either up a half-step or down a half-step. What they resolve _to_ is really just where ever you need to go.
I did a Google search on...
I read a great article on chord substitutions for minor II-V-i chord changes today, here: http://www.guitarworld.com/jazz-guitar-corner-using-m7b5-chord-comp-and-solo#
When I tried the changes out...
I disagree (or, I agree in a different way :) ). It's about context. What is the current chord and how does the note(s) you are playing right now fit into that? What was the recent harmony of the...
I now take fish oil pills every day. My callouses never get hard and peel any more.
Since you say you are a music theory nut, try Googling "voice leading." The basic idea is to try to connect the chord changes as much as possible in order to make the changes smooth, so that they...
I would think that a lot of the point of Ted's book (correct me if I'm wrong) is ultimately to get you thinking about the relationships between the scales in meaningful ways. Take what you need out...
If I may make a suggestion, Jake? If you are aiming your website to try to increase your teaching gigs, you should probably tell people where you are located. I had to infer where you are from...
You go, Ed! It can be done. You just have to get quick at shifting positions. I'm playing on a Gibson archtop (24.75" scale) tuned CGDAEE now and have played a lot on my lovely bride's acoustic...
Lots of really great advice from people way the heck more knowledgeable than me, but I just want to point out that the four note voicings of those chord inversions that are talked about above that...
Think of it this way: When you switch from one scale to another clockwise (the sharps direction) around the circle--say, from C to G or G to D or D to A, etc.--the sharp is always on the seventh...
It's an ease of use thing. If you go one way around the circle of fifths (do you know the circle of fifths?), each new scale adds one sharp each time. If you go the other way, each new scale adds one...