Re box patterns, does anybody have any tips about use double stops as boxes as a basis for solos, etc.? What ones to use for minor chords? Use them as a basis for penatonic positions? ...
Re box patterns, does anybody have any tips about use double stops as boxes as a basis for solos, etc.? What ones to use for minor chords? Use them as a basis for penatonic positions? ...
every major chord doublestop can double as a minor/blues doublestop. For example, one C double stop (7th fret E A string/3rd G # string) can double as a minor blues A doublestop, forming a 7th chord. I commonly use this. Frankly, there is where a little music theory is helpful as a C major pentatonic scale also doubles as an A blues minor pentatonic scale--each just starting on a different note. Others may want to jump in w/ their theory expertise, but this is connected to the relative minor of a major scale built on the 6th note of the major scale (built around aeolian mode). This directly ties in with the blues pentatonic. If I'm playing an E blues and want to know what the minor pentatonic is, I would use a G pentatonic as Eminor is the relative minor of G. C major pentatonic for A blues pentatonic; F major pentatonic for D minor pentatonic; etc. You can also look at is as what is the major pentatonic of the note three semitones up from the key you want to a minor blues in. 3 semitones from A is C, therefore play the C major pentatonic starting on A
That's a terrible job of explaining it, but hopefully the general point comes across. For double stops, if I'm using a G major pentatonic as the basis for my E minor pentatonic blues scale, the double stops I would use in G are all useful for E. Sometimes I can use these doublestops as the basis to bend into a note, ala guitar playing. For example, the G double stop of G (5th fret D string) and B (2nd fret A string) is an excellent double stop in E when you do a semitone bend on the G (up to G# or close to it). There's a video/lesson I do on E turnarounds that demonstrates this.
Also, any two notes in your blues box can be put together for effective double stops.
Thanks a lot, Jim. Very informative. I'm working on Sam Cooke's Wonderful world. Playing in D I am using double stops as anchor points for working out a solo. On the bass strings 11 and 7 frets forD, middle strings 9 and 5 for the bm etc.
Feel a bit dumb asking, but who is this in the video? He's a great player, but I haven't seen him before.
Er, which video? Its me in the one with the guitarist and the blues workshop video and the great Jim Richter has linked to his youtube channel!
Let me know if I can help
Marc
http://www.youtube.com/marcowoodward
Andy Manson 3 point F5;
Gibson 1920 F2;
Vega Guiseppe Pettine Special;
Weber Abrasoka octave mandolin-
and various others!
I play a lot of blues mando in my bands, and I keep it simple. One I know the key, a figure where the flatted 3rd is. In G, that's Bb. In E. that's G. If some one wants to show off and play in Db, it's E. Now two things: Play normal scales, but where it feels right, go for that blue note (yes, I know there's no agreement on what the blue note is; it's the flatted thrid for me). Even when it doesn't feel right, hit it once in a while. The other thing is to play the scale for the flatted third against the major. When in E, try playing some pentatonic G scales; play some C scales against A. Anything more for me is in the right hand maybe some flatted 7th now and then.
Ok, but what about the b5th? A blues scales is: 1, b3, 4, b5, 5, x7.
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