Teach X-picking technique on one string muted. Then move to two strings dududUduDudUduDu
You would think that the more chords you know the mor songs you can play. The truth is you can play hundreds of songs with just three chords…Roy Schmeck’s 4,400 guitar chords. Another fact is that you can play ANY chord in first position. Harmony is neither high nor low.
Want to know a good Cm and Gm in open position? Well I have a good solution.
Rogers Cm and Gm
Adjectives in English absolutely follow this order:
Kisnis consciousness conscious
A lovely little old rectangular green French silver whittling knife
Opinion
Size
Age
Shape
Color
Origin
Material
Purpose
Noun
Flight of the Bumble Bee on mandolin for a fast fun furious lick!
Your style is based on your favorite Tunes and licks that you have learned over the years – period! (not necessarily the 10 most recommended because back then the only source to learn tunes wasn’t the internet. By that I mean there was only radio and records, with with a few live Pickers thrown in thrown in there … it might be interesting to note that the tunes my dad taught me back in the early 70s, are 90% of the same tunes that are in the jams today.! Isn’t that great news. For one thing the tradition is THAT strong, for another thing I’ve been turning these tunes inside out for 50 years and they’re still in style! Try that with a pair of pants!
With the addition
Tunes that start with a major scale Joy to the World Swing 42 Tigard rag
Fergusonyx – subtitle for my fingerpicking lessons…
The name comes from the Greek onux, meaning “nail” or “claw“, referring to the mineral’s color, it was used by the Romans for a variety of stones.
5 ways to…
8 top tips for….
To do ______ , avoid these 3 mistakes…
Top 4 strumming patterns…
5 easy flat pick licks…
6 things you don’t need to know in order to:
Play the blues
Flatpick
Play swing jazz
ragtime/ fingerstyle
10 Things I wish I knew as a
beginning guitarist flat picker,
mandolin picker,
fiddle player,
Bluegrass musician,
2 most common finger picking accompaniment patterns.
542…must know tips for acoustic players
Take a turn for the better, take to the next level accelerate, increase potential. I have
exercises and shortcuts that will light a fire and Fast Track your playing
high octane
Fast progress… Unanticipated, unforeseen, develop Elevate improve and advance
fine tune and build on your current technique!
build-up, heightened, intensify magnify then reinforce
Fine tune your workout by scaling up to amplify your progress.
Another word for Progress… Rock formation Metamorphoses Transfiguration transformation growth, Turning Point.
Another word for very Advanced… Experienced, informed, well-informed, traveled,
my finger board is well-traveled,
highly developed, fastidious, enlightened, accomplish, knowledgeable,
my fingerboard is well-read.
Highly developed, knowing what’s what, plugged in wised-up, hip-to and Tuned In.
Another word for highly regarded teacher or leader… Tudor guide counselor professor “virtuoso picker” and Entertainer
New lesson… Going from the one to the six as in Sweet Georgia Brown or whatever where you can drag the same little lick down chromatically… Or any part of the chord. Of course keep I (the tonic chord) major.
Go to thelessonfoundry.com and look at Dave Gories profile. He can help you does his teaching through Zoom pretty inexpensive for real actual lessons End quote
Tyler Grant’s pitch for lessons:
I’ve been out there making a living with this kind of music for about 25 years now
I’m a lifelong student of music and guitar I consider myself a journeyman guitarist till the end
this course is designed
to give you a few tools that in my method have become standard tools for approaching songs and tunes bluegrass guitar solos, and also elements of Bluegrass playing such as speed accuracy timing and tempo
you’re going to walk away with
new techniques including cross picking, Melody strum, techniques that you can take as a model and and put onto any song or tune that you’re working on.
You’re going to have insight into
jamming on this style which is most of the fun for us as Bluegrass players. You know we’ll be sitting out picking all night it’s kind of what we do in this world.
I’ve been a beginner I’ve had that terrified feeling
of hearing that count off and trying to get your lick just right at just the right moment I’ve taken the time and gone through these steps and I understand what all these beginning and intermediate students are going through
I have a very concise and well-organized approach
to showing you the basics of this style I like to take all those foundational elements and use those to Free Yourself any convention you might be thinking of and really become your own player and have your own unique voice you can take it anywhere you want to with
my method I’m Tyler Grant looking forward to exploring bluegrass guitar with you here at jamplay.com now let’s pick
The value of exact tempo for play-alongs… jams… and why I offer this service with my lessons. Not everybody has the patience to take advantage of the play along, but they are highly recommended!
Some of the most fun and memorable jams (memorable because there are so few) are when you’re technically “on” enough to hang with the up tempo – nearly losing it on every corner –yet gracefully recovering just before the next curve. I can create that perfect tempo in our play-alongs that is at that optimal fun/learning level.
I always keep my eye out for musical shortcuts for my students. I do this on all the instruments. It’s kind of a game of mine.
No product that mentions latency—and then fails to explain how it solves the latency issue—works. Soundjack, JackTrip, Jamulus, JamKasam, Quacktrip, Sonobus, and similar work.
First video be wildwood flower using two string melodies. Use this as a teaser for the next layers
Guitar runs:running in place.
Pink Floyd was named and after two Blues men from Georgia. Pink somebody and Floyd somebody else.
Faran In African mythology (Songhai of the upper Niger), hero who fought the water spirit Zin-Kibaru. Each night Zin-Kibaru would play his guitar, enticing fish to eat the rice that grew in Faran’s pond. Faran was angered, and the two decided to fight. During the battle each one cast a spell on the other, but Faran’s spell was stronger. Zin-Kibaru lost, leaving all of his magical instruments and spirit followers to Faran.
Soloing with intent
Hit the Road Jack progression
Start on root of i minor …blather w/blues scale … hit root of V when if comes . Voila! logical solo.
Harmonize the Harmonic minor using only
I V7b9.
Harmonize Major scale using only I IV and V
Different ascending than descending.
Mandolin fiddle small lesson book play along fun duet possibly where we are in the key of D. Whatever we do on the D and a string for D we move 2 the G & D string for the G chord and the A and E string for the a chord AB Lou is a great example we could have two or three different the G & D string for the G chord and the A and E string for the a chord A blues is a great example we could have two or three different Blues examples Carroll County is a good one.
Use the song “Lesson too late for the learnin” to show how we can change a basic I IV V progression of triads into a I7 ii7 iii7 Jazz progression.
Using diatonic substitution and passing chords
Right hand rhythm training using isolated technique approach (ITA) ba ba ba Barbara ann
Shave & a haircut
First three starters
Hare and Hound Swing Folders
Carter Style & Beyond
Flatpick Essentials / Technique
Video – glossary of terms
and explanations directions on fingerboard. And music 1 3 5 vs I IV V
Put your first finger on the second fret of the third string – the third of the I chord…
lower that note and it becomes the b3 of the IV chord.
Instead of saying 5th or 3rd we say 5 or 3.
What does 3 refer to?
[]Finger
[]Fret
[]String
[]Note in scale
[]Note in chord
[]Chord in key
[]Beats per measure
[]Measure in song
[]Section of song
[]3rd Chorus
Lead with the right.
The right hand babysits the left hand and is what the left hand needs to help get it going. Left hand is lead with the right. The right hand babysits the left hand and is what the left hand needs to help get it going. Left hand is very lazy, right hand has an easy enough job that it can help coax the left hand out a little bit like a big brother. New analogy you must get your vehicle in motion before you can steer it stop sitting in a parked car pretending to drive.
Play all your Melody both in swing and straight time. This will give you a much better feel for the piece whichever attitude you decide on. For instance reels are straight time and hornpipes have the bounce (or the swingy, lopey feel).
Also on the same juxtaposition topic… my example is Clinch Mountain Backstep but using a major pentatonic. You have to wonder if we heard it first in the major pentatonic would we agree that was “better” than the minor pentatonic version of Ralph Stanley.
Demonstrate IV I V I BOUNCE 2020.pdf
HOW TO IMPROVISATE
Andalusian cadence and Swing 42.
I’D LOVE TO CHANGE THE WORLD
Kind of like House of the Rising Sun for chord making value. It’s a cool progression whether you’ve ever heard the song or not. Þ
CRASH COURSES
Bluegrass
Gypsyjazz
Swing
Western
Big Band
Blues
Same lick different chord
HACKS
Stick your tuner anywhere
Pulling strings wit nippers
Over top under top re-stringing technique
Sticking pick on flat top
Velcro
SONG CHUNKS
Proud Mary
Going around the bend
Intro to stairway
Intro to Dream On
Thunderstruck
Black dog
Life in the Fastlane
Walk This Way
Consider standing for my videos so I can move around the camera and better show my hand positions. Also consider 2 takes on my left hand one with my fingers out of the way so it’s obvious what I’m doing and the other with my fingers in their normal place as they would look during playing.
Why (how) to choose one fingering option over another 3rd 6th and 10th on the mandolin… and guitar.
Use first phrase of
You Are my Sunshine
Farewell Blues
Determine camera angle for
Each instrument
Hand movements
Body language
AND OH YES, ..W.W.
ALWAYS REMEMBER TO GET A GRIP…(JUST KEEP IT LOOSE) and let the pick’s tone be heard. You can hamper it like a bell
Search Dropbox for improvise, guitar, ideas, teaching, technique.
Link to most all my MUS files:
Technique suggestion
Wurdza Wisdom
(W.oW.)
ON SPEED in order to play fast you have to practice playing fast. Here’s how.
If you take a fun lick and play it as a loop…just work on speeding it up and staying true to good technique, you will get the “feel” for playing faster. Once you’ve experienced it, it’s not so illusive and you will know what playing quickly involves. Simply translate that to other phrases. It’s an attitude.
Search tabledit for fiddle tune stuff. I Put midi file in band in a Box …add accompaniment
IMPROVISATION..
Andalucian cadence Am pent
A (blah- blah – blah) E
TWO SHAPES ONLY – MOST IMPORTANT
for all scales, chords and octaves.
one is G the other is E.
guitar
mandolin… i- i? – 4 – 4? – etc…
B? E E? A A? D D? G G? C C? B?
And just tri-tones
REGARDING TONALITIES
Malagueña in “E” using C scale.
Blues in A using Am pent.
? thoroughly explain how to go between the
- Root and the third
- 3rd and the 5th
- 5th and the 8th steps.
E? A7? D? G. Fingerstyle with chromatic bass lines.
M & m Pentatonic IMPROV shortcuts 3 note scales
? for Major chords use notes
1 wholestep above the root
1 & 1/2 steps below that note
Circle root
? for minor chords use notes
1 wholestep BELOW the root
1 & 1/2 steps ABOVE the root
Circle root
Herman Johnson’s “Herman’s Rag” with #mawstyle
I have lesson openings this winter for anyone interested in learning how to play fiddle, mandolin, composing, and beginner guitar! Lessons can be on Skype, FaceTime, or in person in Mount Airy, NC. Message me here or call 1-(406) 871-4075
4 audio files of me explaining Midnight Special, the little Groove that goes on the blues Boogie, the a minor pentatonic scale, and the 12 Bar Blues
(“STOLEN LICKS & CONCEPTS”) ??call this one INSPIRATIONS – from whom I received inspiration
Features (intricacies, nuances, and approaches?) from some of my favorite pickers, including; Doc Watson, Don Reno, Django Reinhardt, Bill Monroe, Bob Wills (list 6 or 7)
Plus I have lessons on …
“In the “What I Learned From” series, I share secrets that I learned from my favorite players like Eric Clapton, Lenny Breau, Mike Bloomfield, Joe Walsh, Jimi Hendrix, Chet Atkins, Jeff Beck and many others.
In addition, I have created dozens of lessons on essential topics like music theory, technique, scales, modes, tone, and much more.”
SWING 42 chording in mando VL
- I vi ii V in C (3 string pattern 1)
- Skip the Em?b5 – A?b9 for later
- Triplet B7 modulation
- I vi ii V in E
- E to G chord modulation back to C
M pentatonic vs / m pentatonic guitar
- Bouncing G lick BG style root to 8va
- Examlpe Clinch Mountain Backstep (ROG THS)
What scale to play over the minor, minor major 7, Minor 7, minor 6 chord change.
Bye Bye Blackbird
Michelle
More
Stairway
Analysis: lower tetrachord of minor scale giver take a note.
CHORDS ??
Major Minor 7th
C D E F G A chords all sound the SAME (M)
CATEGORIES ??
TECHNIQUE
ROGER THIS. interesting tidbits ROG THIS wurdza words of wisdumb
Three notes in a basic chord (triad) how does that look on the fingerboard for:
C in open pos
313513
G open pos
1355138
Am open pos
515135
F open pos
X31358
EAR TRAINING
D and F# are parts of the following chords:
D, Bm, GM7, E9, C9b5, A13sus
Students drone d and f#
as I play the changes
This goes with 3610 video(s)
SELECT STORIES AND ANECDOTES ??
Mom dancing to dad’s fiddle playing and he just kept it going cuz she was so enthusiastic. Come to find out, since she was around the corner in the kitchen (very much out of line of sight) Dad couldn’t see that she wasn’t dancing to his fiddle, but was stomping out the fire on the curtains.
Line all the tuning keys up & your’e in tune
Bluegrass and folk music were some of the first styles to be widely published in the form of tablature… well… excluding Renaissance lute music of Spain, Italy and France in the 1400’s.
Pete Seeger coined the terms
hammer-on and pull-off
Sittin’ on dad’s foot as he played.
1 (473) 6251 anecdote
Dad and his third eye.
Frosty 33s
Uncle Billy break dancing on skillet.
NAME ALL NOTES ON THE FINGERBOARD ?
Just the anchor notes
- Open
- 5th
- 7th
- 12th
SWEEP PICKING
Two octave sweep picking triplet lick G position
Gm also
HACKS ??
- A guitar flat-picking trick to simulate syncopated finger-picking Style. Down up down up Etc adjust the melody around the syncopated ups. (RT) (Roger This)
- LickM stickMpick
- Square knot string fix
- mount your tuner with putty
DAD’S ADVICE ??
Dad said, “It’s better to know where to find an answer when you need it rather than try & remember too much information at one time
Oh yes, and…now with smartphones we can quickly find answers to about any question in the world!
Your default grip on the pick should be very light.
RHYTHM – RHYTHM -RHYTHM –RHYTHM
TEXAS STYLE BACKUP ??
Open position in the following keys:
- G, A, C, D, E,
- Andy Griffith progression (famously familiar example)
- IV IV+ … as in Adobe Hacienda
- | I I9 I iv | I I9 I iv |
- Idling on I
TWINNING WITH ONESELF ??
- Old Joe Clark – guitar [B]
- Mozart piece
- Black & White Rag
- Huckleberry hornpipe ALA Clarence White
- Droning with oneself (guitar)
- Big Sciota
- Sally goodin
- 12 Bar Blues in A
BEGINNER-MEDIATE ?
ROGER THIS ?? ?
Licks
Tricks
Harmonics
Pure
Artificial
Hammered
G6
Em7
Big Ben (NV)
Snare drum
Songs
Jailbreak
Under the Bridge
CONCEPTS ?FWIW
Observations
ii iii and vi are relative to
I IV and V.
If you harmonized every chord in the key as 13th chords (1 3 5 7 9 11 & 13), every chord would share the same notes – therefore each chord would be the same.
Maybe there’s an alternate method similar to Pat Martinez starting with the diminished seventh chord for beginners. We would just start with every chord in the key being a 13th chord and start skinnying it down from there
WHAT STUDENTS MIGHT ASK ??
FREQUENTLY ASKED QUESTIONS
?
- Interesting facts about the pentatonic scale?
- Triad plus 2
- Easy to learn
- Fits more places
- Disregard function
- Why learn arpeggios?
- Are there any easy Jazz chords for the mandolin?
- How many kinds of chords are there?
- Where do chords come from?
- Is there a way to tell the name of any note on the guitar?
- Should I memorize every note on every string?
- What do they mean by the key?
- The chords and notes that sound good together
- How do you get the licks from scales?
Good luck
- What sound is that they use in gypsy Jazz?
WHAT WOULD YOU “PLAY OVER“:
(NV)… the iv Minor when it’s played between the IV and the I.
basic triad
m6
Ain’t Missbehavin
Desperado
Fanfare lick
mM7
A NUMBERS GAME ??
- What’s the difference in 1 3 5 and I IV V V – VII and V7 ii V I? A A B A, A A B B
Mine (verb) my mando chord book texts for more instructional ideas
?CATAGORIES ?? ?
IMPROVISATION ?
Licks
Fancified melody
Key centers
Running changes
TECHNIQUE ?
L hand
R hand
Mando Guitar
FINGERBOARD HARMONY ?
T H E O R Y
Scale related to 1 4 and 5.
7
ARPEGGIATION ??
- Mark’s
- Django’s on “Rhythm”
- Jimmies Jam
- Hawaiian
- Little Rock
- Mockingbird Hill
- Music box Dancer
- Yellow Bird
- Swing 42
- Minor Swing
- El Paso
- [B] to So Happy Together
- Clarinet Polka
- Black & White Rag
- House of the rising Sun
- Intro to Sweet Georgia Brown
One Django improv strategy… 1 2 b3 5
Just by adding one note to the arpeggio
COMMON CHORD PROGRESSIONS??
I IV V
Blues
8 bar
12 bar
IV I V I
I vi IV V
I V vi IV
I vi ii V
vi ii V I
Andalusian Cadence
I ii iii IV
ii V I
ii° V I
I IV vii° iii vi ii V I
i iv VII III VI ii° V I
B B7 E E7 A A7 D D7 G G7 C C7 F B7
FREE INCENTIVES ??
Make free video of me showing my version of Big Sciota – I already have the tab and the audio.
UFGW (Ultimate Flatpick Guitar Workout)
IV I V I IN BASIC KEYS (1st pos)
MANDO ??
Swing chords on 3 strings
Ain’t she Sweet
5′ 2″
Dream a Little Dream of Me
SWEET ADELINE LICK ??
Listen to th Mockingbird
Flattop Rag end
Ol Ball Game
Mayberry RFD
Pebbles and Bam Bam theme
NOVELTY MANDOLIN TUNES ??
Arab Bounce
Get Up John
Evening Prayer Blues
Lonesome Moonlight Waltz
Indian Blood
MANDO BLUES
- Plain 12 Bar
- With chromatic approaches
- (RT)
- Power chord triplets for licks
- Tri-tones at work.
- Powering up from I to IV
THE ENTIRE HARE & HOUND FOLDER
ANALYSIS ??
- Melodic
- Harmonic
- Rhythmic
WAGHORN BLUFF SCALE
minor pentatonic with M3 instead
ENTIRE GP LESSONS FOLDER
BLUES ??
- Plain 12 Bar
- With chromatic approaches
- Power chord triplets for licks
- Tri-tones at work.
- Florida blues?
- Bill Monroe blues
- Farewell blues?
- Powering up from I to IV
- Diverging Blues Cadence from Measure 11 to measure 12 on 2 strings
(group with 2-string licks [riffin]) ala Les Paul’s How High the Moon hook.
SAME MELODY DIFFERENT CHORDS ??
Ideas for writing melodies
What Are you Gonna Do?
Limehouse
House of R Sun (my RD mando version)
Exactly Like You
Don’t Get Around Much Anymore
3rds 6ths 10ths ??
Using only two shapes (patterns) organized like this.
1st shape 2nd shape 2nd shape 1st shape
Two equal halves to the whole equation
Mando
Major pentatonic jamming using scale sequences and finger patterns (2 string sequence)
Guitar
E and G
E = A A = D
G =C C = F
Drone open 5th and root
BlackBird
El Paso
Yodal lick
Farewell Blues
Encourage students to play these following:
These exercises:
I ii iii ii I
I ii iii IV iii ii I
Then sound these out by ear
You Are My Sunshine
Joy to the World (Xmas)
8 more miles
JAMMING WITH DOUBLE STOPS ??
Using M3 ?? 1 step moving to IV.
3rd double stop up a step and a half has a bluesy alternative…etc
Where a IV7 happens (certain styles)
M3 up a m3 to the I7…then up 1 step to IV…
THEN…
Pythagoras string theory from my bone head
m2 DISSONANCES ??
Guitar
b3 – 3 – 1 (or 8) open string lick opportunity
Eb – E – C
Bb – B – G
Dm9
Em9
Am9
Limehouse
(Inversions matter)
CM7
1 3 5 7
7 3 5 1
3 2 1 harmonized for singing songs
Mando version
FIDDLE TUNES (2 levels for each?) ??
Flop Eared Mule
SpanishTwo step
Liberty
Bill Cheathum
Soldiers Joy
Big Sandy River
Missouri Waltz
Tennessee Waltz
Ol Joe Ckark
Ragtime Annie
Snowbird
Redwing
Chinese Breakdown
8th of January
Get outta the wheat field Granny, you’re going against the grain
We’re gonna rip off a little spasm here called…
Kentucky Waltz
Black Mt Rag
Carol County Blues
Whistlin‘Rufas
Cheyenne
Orange Blossom Special
BlackBerry Blossom
Arkansas Traveler
OLD TIME FIDDLERS COLLECTION
PLAYING “INSIDE THE CHORD” ??
Sus 4 Sounds
Augmented Sounds
Maj pent Guitar G pos folk
min pent Guitar E pos blues
Major chord
Creep V up in half steps
Creep the root down in half steps
minor chord
Creep V up in half steps
Creep the root down in half steps
Major Triad
Maintain the root
3 & 5 down chromatically 1 step
3 & 5 back up for conclusion
THEORY FOR BONEHEADS
BEGINNING FINGER-PICKING ??
Delta style
Memphis
Country
Down-home
Urban
Harmonica
and so on?
FINGER STYLE BLUES (LL) ??
Key of E
Hammering on the G#
Two inside and two outside
T I T M. ( thumb index middle)
Alternating the open E and the G note.
Alternating open B and D note
Alternating open E and the F# note
Alternating open B and the C# note
Move to A7 chord move RH fingers over one string.
TWO BLUESY BASS CADENCES
My ending using divergent lines and two famous Blues bass lines simultaneously.
CHRISTMAS ??
Mando w/double stops
Guitar finger style collection
IMPROVISE GYPSY JAZZ ??
How to impersonate a Gypsy Jazz guitarist – or any other instrument – as the ideas are musical not just for any particular instrument.
1) How to easily find this short cut for soloing over the i and iv in HARMONIC MINOR
Starting with the basic 1-³-5 of the i or iv chord – in a melodic way, play the notes
1/2 below each of these chord tones then resolve UPWARD. Also circle using chromatic under and whole step over – because the i and the iv are often embellished with a 6th.
2) Why it actually works. – what’s going on. (what you don’t actually HAVE to understand)
these notes found 1/2 step below the minor triad notes are the
- mM7
- the 2
- the b5 all very full of flavor!
1) How to easily find this short cut for soloing over the V7 (b9) in HARMONIC MINOR (note this is a Major triad)
Starting with the basic 1-3-5 of the V7 chord – in a melodic way, play the notes 1/2 above each of these chord tones then resolve DOWNWARD
2) Why it actually works. – what’s going on.
These notes are all in the Harmonic minor scale! In fact, these are 6 of the 7 notes in the scale. If we were to include the b7 with the
1 3 5, we would have all of the notes of the scale/key.and if you play the scale that the chords word arrived from, As long as the scale keeps moving we will be hitting chord tones and non chord tones similarly.
Another option for the V chord in gypsy jazz is to go one half step above the root of the V chord and play a diminished 7th chord. This really makes the V chord a dominant 7 flat 9 which is what works with the harmonic minor scale.
Need to know some fingerboard!
TWO MOST IMPORTANT CHORDSimprov
Its all about the notes in the
- chord-of-the-moment
- destination or “target” chord
Learn your arpeggios
SO – ROGER THIS! (TESTIMONIAL) ?? gypsy Jazz
..as a bluegrass guitarist (among other things bg) and having been through music school and life’s other institutions, I wanted to get a hang on what makes gypsy jazz sound so cool .
Django knew and played tons of standards but the gypsy sound is largely based on the harmonic minor tonality. Also know that there are three main elements to music in general – melody, harmony and rhythm. I
was taught to analyze different styles by these three basic elements. I learned a couple Django licks, but was much more interesed in what he was thinking – and how he came up with his ideas. So armed with the 3 elements, I went hunting. Sometimes, it’s hard to separate harmony from melody – because they are the same elements eilther played one note at a time or many notes together at the same time.
Minor Swing, for example, is simply the most basic i iv V song there is – HARMONICALLY. melody is mostly chord tones.
Psuedo Djangoesqe licks
THE SHORT STEP(s) BETWEEN ?? THIS COULD REPRESENT SEVERAL “SHORT-STEPS” BOOKLETS.
Folk/bluegrass and swing
MELODY HARMONY AND RHYTHM
RHY…Certain styles swing while others rock.
IMPROVISATIONAL TOOLS ??
1 2 #2 3… 3 4 #4 5…5 6 7 8
Licks
DYNAMIX
- 1 and 3 vs 2 and 4
- Nonsensical 2 string, 3 Note, descending lick on B & E string
- emPHASis
- 3 string cross picking emphasis on individual strings
SEQUENCES ??
Pentatonic m & M
Chromatic
Blues
Major
Harmonic Minor
scales/arpeggios
Etc
The two useful for BG jamming
1231,2342,3453, asc and desc
13,24,35,46,57, asc and desc
Fly Me to the Moon
BlackBerry Blossom
Whiskey with a Twist
.
Triplet
One-string riffing
Useful whole tone scale position
Root to octave = tonality
TECHNIQUE. TECHNIQUE. TECHNIQUE ??
Django right hand tricks
Little Rock Getaway
Swing 48
°7
Augmented lick at top of Swing 48
Sweep picking G shape
X picking exercises
Using arpeggios to improvise
Double stop riff in
JAMMING AND IMPROVISATION ??
Types of improv
Embellish melody (emmellish belody)
Licks
Patterns
Key Centers vs. Running changes
There are lists of which scale to play over what scenario
From To Use
Playing “around” the chord vs. Scale
X – PICKING ??
Wildwood Flower
(if you x pick long enough it can creep into your playing.
I don’t claim to have written or originated any of these ideas…I just discovered (or “evolved” into them)
Steve Kaufman and I both arrived at similar versions having never discussed it.
Emphasize different string
Backwards (see pick exercise)
X-Pick Exercise
Beaumont Rag
Little Rock Getaway
In The Mood (C)
ROGER’S BOUNCE
New instrumental featuring my favorite bounces
C A G E D ??
Sometimes you have to hear a a concept or theory several times before it begins to make sense. Try thinking of the caged connections like this……Instead of using the same chord shape and barring it to create different chords, this is just the opposite… we use different chord shapes in order to keep the same chord all the way up to fingerboard.
We read left to right. For one pattern n the other begins and you can see where they overlap.thought I’d invented it. after studying Mel Bay’s deluxe scale and arpeggio book
AMERICANA 3rd TRICK ??
So basically any style (or song) that would support a IV7 dominant, i.e. blues, bluegrass, rockabilly etc
Jimmies Jam
Walkin after midnight
Ex in E on guitar- little strings
Interstate Rag
Sweet Georgia Brown
Intro lick
Major pentatonic lick then b the 3 for the IV7
repeated on-going lick (mando)
Changes in mysterious places
Johnny Gimble’s Fiddlin Round
shows a II – V using same strategy
HOW I LEARNED TO IMPROVISE
Over Roger Maddy’s bluesy mando piece….then speed it up.
Ex of arpeggio licks
Clarinet Polka
Black & White Rag
Django-ish way to go from C – F. (VL)
Voice leading can be visual as well as aural (VL)
E7 A7 D7 G using chromatic bass runs.(VL)
Flat and finger pick
Re harmonizing (Happy Birthday cadence)
I VI II V with chromatic approaches (VL)
Breaking up I vi ii V (with ii m7b5 – V of ii) ala
Django’s Swing 42 (I Got Rhythm?) (VL)
B B7 E E7 A A7 D D7 G G7 C C7 F B7
AROUND THE HORN??
LICK MINING
ROGER’S BOUNCY LICKS ??
Little rock Getaway
Elcumbanchero
Big Sciota
Beaumont Rag
write a tune called Roger’s Bounce
True fire about a video with them.
RAGTIME ENDING (VL??)
(Glorified IV I V I)
Window faces the south
Beaumont Rag
Django’s Tiger
Tico Tico
Kentucky Waltz
Here comes Santa Claus
Take Me Out to the Ball Game
Recognizing the whole phrase as a thing.
12 BAR BLUES
Why A and E?
A6 ?? fullstep to A9(VL)
Cliché blues guitar noises (two note triplets)
Harmonized pent scale (VL)
2 string grooves in A
Walk up to IV
Addressing measures 11 & 12 (VL)
FIDDLE
- R arm Mechanics in a nutshell
- Putting the horse hair to the cat gut.
- Tip vs. Frog for bowing
- Tuning in the low 1st finger on each string using Eb Bb and F double stops including open strings.
. Hack
Chromatic lick on one string …see Guiar Player Magazine
ala Django – sometimes he’d play 2 notes while ascending.(VL)
HARMONICS LESSON
1 3. 5. 8. On 5th. 4th and 3rd fret.
Big Ben
Grandfather’s Clock
Django ending
Dividing the string in
1/2 octave
1/4 further octaves
1/3 fifth
1/5. Third
GUITAR OCTAVES ??
relate to C A G E D
Not just the root but 8va of ANY chord tone
MANDOLIN FIDDLE:
Joy to the world on two strings in D (VL)
Listen to how each scale tone sounds against the root (tonic).
Holy grail (VL)
chord/strum examples
Fill licks Bluegrass
major (VL)
Banks Ohio
bluesy
Sittin on Top the World
TECHNIQUE
Posture
Sitting
Standing
Left hand
Ist position
Bar style
Position playing
Right hand Finger style
Thumb
2 fingers vs 3 fingers
Right hand Flatpick style
Ascending and descending lagottos
Pushing off versus pulling off
Sequencing scales and arpeggios
Sweep picking
G shape in triplets
Gm shape in triplets
C shape
Em shape
X picking
Fixed finger exercises
EAR CALIBRATION
V7 – I in new key.
Listen to how each scale tone sounds against the root (tonic)…thanks Stewert Williams…
THAT GOLDEN RING revamp GP lesson
Mention Flattop Rag
Road to Columbus
GUITAR:
Boom Chuck C F & G WARM UP (VL)
FINER ART of BOOM CHUCKING
12 bar Blues
Malagueña (LL)
Follow my tab through the various “global concepts”
Wish You Were Here
House (LL)
Hey Hey
Blackbird
Flatpick tunes
Big Sciota
Major Pentatonic ascending
G then C , F
… E Then A & D
Jam on “around-the-horn” tunes with root-to-octave licks (truncating as necessary…ala old home place
Then V – I licks. See “lick mining”
minor Pentatonic descending trips E (VL)
then A (classic box) then A from 10 on B strng.
then… how E min desc is like (G Maj ascending) (VL)
adding notes to each – the m descending and the M ascending.
adding beats as opposed to adding notes with
Single String Triplets
Original 10/6 flatpick (VL)
THEORY and FINGERBOARD HARMONY:
look at OC final to get ideas for generic beginnermediate guitar.
where chords come from(VL)
3 types of chords M, m, 7 (VL)
Music is…Melody Harmony Rhythm
Extended chords
Embellished chords
Substitute chords
Passing chords
from to use
Common progressions
The phone #…
1 (473) 6251 anecdote
LICKS…5 on each instrument in different styles…
Bluegrass, Swing (ll V I)
blues
What is a lick… works like common melody
Beethoven 5th hook
following chord of the moment…
3rds 6ths and 10ths
mando and guitar
IMPROV DEVICES:FOR EACH STYLE
Have student jam over one chord for a long time… equivalent to a heart stress test.
Playing over:
Major chords
minor chords
Dominant chords,
jamming with triplets,
NAVIGATING THE B STRING …:(VL)
Two primary shapes; G (octave 4 strings away and at the nut -yeilds C & F) and
E shapes) (octave 3 strings toward the saddle – yields A and D shapes)
getting around with “CAMPFIRE shapes”
the CAGED shapes for guitar and the GDDCA for mando (sorry it doesn’t spell anything memorable)
“Campfire” refering to chords which have both open and fingered strings.
Psychology of playing with others
They are not listening whether it’s a jam or a band performance.
Perfect place to gain confidence
THEORY
learn to think in these sequences:
For spelling chords
a-c-e-g-b-d-f-a-c-e… = Every Good Boy Does Fine + f a c e
I ii iii IV V vi vii viii VIII
I IV vii iii iv ii V I
I IV V
ii V I
e-a-d-g-b-e
a-b-c-d-e-f-g-a-b-c…
a-g-f-e-d-c-b-a-g-f…
Musics chunks page
melody/harmony/rhythm
names of strings
definitions of chords, strings, scales, frets,
chords come from scales :
notes in the scale make up chords – each chord uses three different notes.
notes are 1 3 and 5 (we use Arabic numerals)
Of the twelve keys, five or so we (as guitarists)
tend to see most of the time.
There are seven chords in each key.
We use Roman numerals when talking about the chord’s relationship to the key. For instance, the I IV and V (we use Roman numerals) are the chords in a key/scale that are major (built on the first, fourth and fifth scale tones using the “every other note” method [1 3 5 from either I IV or V).
ii iii and vi are the minor chords. (vii is diminished will be discussed later.)
what you might need to know to play in these different styles:
blues
dominant chords I IV V
minor pentatonics and blues scales in 5 positions
bluegrass/folk
use a capo
swing and light jazz
four and five note chords (7th and 9th chords)
Things you don’t need to know in order to play this style of music.
two kinds of notes, notes in the chord of the moment
and notes not in that chord
play scales from root to octave
– learn arpeggios first, the other “scale”
notes will found in between the harmonic tones.
EAR TRAINING
Biab.. I V7 set up then deliver mystery chord and ask members to name that chord
Demonstrate how you can’t tell a song just by the uncopywritable chord progression
first learn to hear the root chord (the home-base, the last chord of the chorus ending cadences, of a song or composition. It will often be the first
chord of a piece and almost always the last chord. It will sound resolved as though it were content to just end there with no desperation to resolve. the IV once launced (departing) sets adrift not really looking for any place special to go. The V chord is a nice short visit and does not lack the desperation to resolve.
a nice short visit with the V chord and we know its time to move on … and we know where we are going… we can hear it, sense it. The V chord is does not lack the desperation to resolve.
8 , 16 bar phrases often end with the root chord.
TECHNIQUE
METRONOME vs DRUM APP.
TECHNIQUE. DYNAMIx
Ex. N) Using only the G string, play the example “straight eighths” (see “sequencelesson txt on page 3.mus” as quietly as
possible. This is done by relaxing the grip on the pick – otherwise playing as usual.
Now – on “one” and “three” simply pinch the pick then quickly relax again. This
“ONE and two and THREE and four and” gives the music a certain “feel”. If you can get a
graceful flow going (motorized dancing hand) the “feel” will come across loud & clear. Also on the
topic of “feel” if we swing or apply a “shuffle” feel to the passage, it will loosen up and sound a
lot more musical especially as an exercise.
with your motor (later)
Sounds like it looks
“The easy way us the right
IMPROVISATE
Have student play a “chordy” song i.e. Wild Horses Little Wing (or just some song that goes between I & vi) HOTEL CALIF, Mr BoJangles
Have them play the Major pent over the Major chords (ala Grisman) and then
the minor pent over the minor chords (also ala Grisman) back & forth in the five different positions
results:
student will learn all five major AND minor Pentatonic scale patterns
PLUS learn PLAYING OVER CHANGES
How to learn how to make the D major and the B minor sound like different scales.
________________________________________________________
Chordy songs or Hotel California
THEORY
learn to think in these sequenceS:
a-c-e-g-b-d-f-a-c-e… = Every Good Boy Does Fine + f a c e
I ii iii IV V vi vii VIII
I IV vii iii iv ii V I
I IV V
ii V I
e-a-d-g-b-e
a-b-c-d-e-f-g-a-b-c…
a-g-f-e-d-c-b-a-g-f…
THEORY
melody/harmony/rhythm
names of strings
definitions of chords, strings, scales, frets,
chords come from scales :
notes in the scale make up chords – each chord uses three different notes.
notes are 1 3 and 5 (we use Arabic numerals)
Of the twelve keys, five or so we (as guitarists)
tend to see most of the time.
There are seven chords in each key.
We use Roman numerals when talking about the chord’s relationship to the key. For instance, the I IV and V (we use Roman numerals) are the chords in a key/scale that are major (built on the first, fourth and fifth scale tones using the “every other note” method [1 3 5 from either I IV or V).
ii iii and vi are the minor chords. (vii is diminished will be discussed later.)
EAR TRAINING
first learn to hear the root chord (the home-base, the last chord of the chorus ending cadences, of a song or composition. It will often be the first
chord of a piece and almost always the last chord. It will sound resolved as though it were content to just end there with no desperation to resolve.
the IV once launced (departing) sets adrift not really looking for any place special to go.
The V
a nice short visit with the V chord and we know its time to move on … and we know where we are going… we can hear it, sense it. The V chord does not lack the desperation to resolve.
8 , 16 bar phrases often end with the root chord.
what you might need to know to play in these different styles:
blues
dominant chords I IV V
minor pentatonics and blues scales in 5 positions
bluegrass/folk
use a capo
swing and light jazz
four and five note chords (7th and 9th chords)
THEORY
NL
two kinds of notes, notes in the chord of the moment
and notes not in that chord
THEORY
NL
play scales from root to octave
– learn arpeggios first, the other “scale”
notes will found in between the harmonic tones.
TECHNIQUE
The volume control for your acoustic guitar can be found
in your right hand. The tighter you hold the
pick, the louder the volume. (Your right hand.also houses your tone control -as you move away
from the bridge, toward the fingerboard, your tone becomes gradually softer)
TECHNIQUE
LH advice:
(it is important to only apply as much pressure or energy as needed as one hand feeds off the other
and (especially in guitar playing) the easy way is usually the right way.)
BLUEGRASS
“Technique” the other side of “knowledge”
When it comes to flatpicking bluegrass and fiddle tunes, you will want
to be able to play faster passages with ease. One way to polish your speed-picking
technique is to play through scale sequences slowly mastering the moves until you
reach higher speeds with consistant accuracy. Isolated practice (L. hand vs. R. hand)
This approach is easily applied to any scales that
we may know, e.g. minor or blues scales sound great sequenced.
DYNAMICS
Ex. N) Using only the G string, play the example “straight eighths” (see “sequencelesson txt on page 3.mus” as quietly as
possible. This is done by relaxing the grip on the pick – otherwise playing as usual.
Now – on “one” and “three” simply pinch the pick then quickly relax again. This
“ONE and two and THREE and four and” gives the music a certain “feel”. If you can get a
graceful flow going (motorized dancing hand) the “feel” will come across loud & clear. Also on the
topic of “feel” if we swing or apply a “shuffle” feel to the passage, it will loosen up and sound a
lot more musical especially as an exercise.
with your motor (later)(VL)
_____________________________________________________
lessons
sizes?
one page “apply globally”
sequences
particular tunes in different styles
wish you were here types
jamming bluegrass
jamming rock/blues
particular style
finger style blues
flatpicking
bluegrass
swing jazz
fas an illistration for the last page of grail…
NAVIGATING THE B STRING.
Basically two shapes give us all our major scale patterns E & G
Flatpick keys
down yonder 5 b5 4 3 (3 2 1…)
__________________________________________________________
two shapes for all scales, chords and octaves.
one is G the other is E.
my licks “roving” like black mt rag also on the minor side use lonesome fiddle blues.
guitar
mandolin… i- i7 – 4 – 47 – etc…
___________________________________________________________
three main kinds of “playing”
playing
this is by playing by yourself
practicing
this is also by yourself but includes the added
performing
rehearsing…
——————-
ISOLATING L & R HAND EXERCISES ..
put a capo on and play a familiar tune, but finger behind th the capo.
———————-
we need a book on hoiw to use one great lick. how to find your great lick
(clue… it’s on some one elses solo right now.__) you’ve heard it you love it
you’ve played the recording for
others and said listen right… HERE! that’s one of your licks. or it should be
it is speaking to you “… please learn me!”
figure out what it is you like about it… could be how it works over a particular chord
or it could be a ryhthmic lick. could be emplying some kind of pattern that your ear
really responds to, i.e. a scale sequence or an arpeggio pattern.
for instance… i have some fun licks that can only be played over the IV chord but only in certain kinds of music. (See Americana 3rd)
_________________________________________________
C + E + G = C Major
This is why we finger C like this…
QUESTIONAIRE FIRST DAY:
(some entries are more for private guys)
how long they’ve played
other instruments played – how long
do you like to sing how long?
musical goals
phone
instrument
birthday
todays date
how they heard of me etc.
finger or pick?
who do you listen to ?
what kind of music do you like to hear?
what kind of music do you see yourself playing?
THE HEARING SERIES
NOW HEAR THIS
using band in the box.
Calibrate our ears with a I – V7 chord change
hearing wholetone scale
hearing diminished arpeggios
hearing modes
hearing random (straight up from the lowest harmonic tone right up to the highest harmonic tone scale) minor pentatonics over (explain “over”) haering the basic 12 bar blues progression
hearing a variation of 12 bar blues
hearing altered dominant scales over 7b9b5 chord
Is this next note higher or lower than this?
By how much?
Chromatic
Diatonic
Arpeggiated
hearing and making
Maj
Min
7th
Sus 4
Dim
M7
m7
9th
hearing notes in chords
hearing chords in keys
hearing triplets over swing rhythms
hearing for fiddle students
You have to Learn the skill of listening.
What to listen for
The background
Melody
Rhythm
Try watching TV while playing a rehearsed piece
hearing I IV and V
A CARTOON (perhaps debuting the MARBELHEDS) oh.. and the heads can sometimes appear on the staff and sing a little tune and harmonize together. with characters being notes in the scale. They eventually pairing up with new friends (certain clicks – so happens to be “every other one”) in the school (key) to become more of a three or four member team or group working together – their job -to hang out together and have fun – sound good and find other groups to play with.
when the I chord talks, it is always the ionian playing over a bed of Tonic chord with emphasis on the harmonic tones. ( this could be accomplished (accomplessed?) with the arpeggiator on my studio quad.)
the “key” is the school where they all come together and play and have a lot of good music.
“I know” says the I chord, ” let’s take turns until ii iii and vi show up. We hardly see vii anymore says IV I. – Yeah she is home schooled says V ! Well, lets just play with who is here right now. with who is here now (I , IV and V)… We will start (the I chord group)… the IV s ,you come in, and then the V’s do it then you IVs have another turn”. narrator… “see… I is the leader of all the groups but not necessarily the one we hear most. although “I” does enjoy having the “last word”.
note: try to have the individual voice of the group reflect its character… i. e. a V chord might have a more “Dominant” personality – always having the next-to-the-last word. reflected by maybe a koud BiaB instrument. (everyone in each group talks at once to show harmony and finishes each others sentences to show melodic movement of
the characters could have many episodes to watch:
the I IV V groups of marbelheads really like each other – have a lot in common (being Major and all)
chords (like the individual notes that make them, are as actors taking on roles — A appearing as a IV chord in the following production…
listen to A as a IV chord
now appearing in this production as the dominant 7th chord … aka the V chord.
listen to A as a V chord
Now starring in its own feature … The A chord … as the “one” and only “one chord” aka… the I chord.
listen to A as a I chord
doesn’t matter how many of each you have , as long as there is at least one of each. there need not be balance in numbers (amount) only in audibility.
————————————-
extra grooves for 12 bar including measure 4 riff
———————————————
issue “loui loui” along with the major chords listing the I IV and V’s
assign: play Loui Loui in 5 keys
What is the V7 of:
What is []the V7 of?
autumn leaves
I ii iii IV V vi vii VIII
I iv vii iii vi ii V I
add passing chords
have a power chord sheet hand out along with other chord
CM7 C#dim Dm7 D#dim… etc
on each course of four strings. Cover both on one video.
European root movement
in 4ths…
Standard guitar tuning (1ow E to high e) is predominantly in fourths, starting with the low E string… then A – D – G – B – then the little E. I suppose thats why we tend to think of the circle as moving in 4ths.
leading to the discussion of turn arounds.
V
I vi ii V
COMMON CHORD PROGRESSIONS
tuning
.
Do we need to know ( ) … to improvise?
IN ORDER TO ( ) DO I NEED TO KNOW ( )
FROM TO USE CHART
Voice leading from 3 Note I chord to a 3 note IV chord using 1+ (augmented) as a passing chord. Coming back between the IV chord and the I chord we use the iv minor. This is that is that the heart of the from to chart.
From to use – intro to bg pickers
Intro to hearing the following chords :
- Major
- Minor
- 7th
- Augmented
- Diminished
- We do not need to know how to play the modes True []False []
- We need to learn ALL our major scales True []False []
- You will not need to know …
- Practicing scales is for jazz guys and classical players only True []False []
- We need to know how to read standard music notation True []False []
bluegrass and fok music are some of the first styles to be widely published in the form of tablature… True [x]False []
well, not including the Renaissance music of Spain, Italy and France in the 1400’s.
Couldn’t we find a way to step up the electrical charge so we could power a turbine using electric Power.
This is a nice place to segue into Western swing style guitar accompaniment.
.
MANDO RHYTHM
A class devoted to mandolin strumming, arpeggiationg, and chopping techniques.
When and where we might see them and actually use them! Class will also cover basic
I-IV-V chord constellations for the mando fingerboard.
Bluegrass chop
Swing strum
Campfire strum
MANDO GRAIL TIME
NAVIGATING THE MANDO FRETBOARD
The Mandolin (and violin family) unlike their cousins (guitar, uke, banjo, dobro) is tuned totally in (using, to,) consecutive 4ths (5ths the other way). This means that anything we do on two adjacent strings, will translate perfectly to any other pair of adjacent strings – even up the neck. By studying the “Mando-Grail”, we will learn to recognize those repeating patterns
and expand on this.
_____________________________________________
MINING LICKS
The overall goal is to enlighten and open-up possibilities for students. To use the “Ruby Slippers” metaphor from the Wizard of Oz, We have learned so many licks in melodies but haven’t began to use them to their fullest. Sometimes, all we need to do is simply click our heels together.
ADVANCED FLATPICKING topics will include:
ORIENTATION
Outline goals
Get more detailed assessment of class as whole
Review basics find common ground re: technique vs. intellect
WARM-UPS
Daily left & right hand technique builders
ANATOMY OF A TUNE
Analysis of flatpick standards
melodic, harmonic, rhythmic
What is it about a tune that makes us want to take the time to learn it above others
Harmonic & non-harmonic tones
TUNE EMBELISHMENT
Licks (root to octave and others)
Connecting dots of arpeggios
Triplets and other flourishes
Exploring our own licks
EXPLORING BLUEGRASS IMPROVISATION
Use of scales:
Maj. & min
Maj. & min. pentatonic
Chromatic
Use of arpeggios
Sequencing
Bluegrass scale
PLAYING “ROUND – THE – HORN”
European root movement
Recognizing V-I as I-IV
Don’t Let Your Deal Go Down
Sweet Georgia Brown
4′ 14″
Salty Dog Blues
Mr. Sandman
DOUBLE STOPS
Riffing with double stops
Alternate functions of Maj & min 3rds and 6ths
PLAYING BLUEGRASS SONGS (vs. TUNES)
Overall arrangement
Texture
Your contribution
LEAVING THE DOOR OPEN
Viewing other styles
Recognizing techniques and licks by their function
Possible donors for bluegrass
start gathering my analogies, (comparisons, similes and metaphores?)
TECHNIQUE consistencies
My analogy is first finding the sweet-spot of a given string where you get the most tone, dynamic control and speed.
then using your fore-arm as a “crane” you move your hand to the sweet-spot of each string. like an archer, golfer or a bowler… consistency is the key and in each example the technique is CONSISTENT . The golfer uses the same stance and swing and makes any “adjustment” for distance and power by using a different club. A bowlers stance and approach down the alley is always consistent – any “adjustment” to make the ball go right or left, is done by changing where he begins his approach – the middle, left, or right of the lane. Where an archer need only raise the tip of his bow, flatpickers should use consistent technique, making adjustments my “craning” the hand to the sweet spot of each string.
This is how I do it, but there’re more than one way to skin a cat. Watch carefully other players who are fluid and have great flow.
Many different approaches.
R hand
Practice ALL my techniques for right hand fluidity including emphasizing different beats while cross picking
now I could see the point driven home with a little cartoon (for the “visual” learning styles)
batter – swings
typist has the “guide keys” (different analogy)
… all about consistency …with any kind of technique – it eliminates one thought process by having ONE thing NEVER change!
choose the right thing to never change and make that your staple of technique for each hand.
T
