Couldnt find the vid on utube, but for some reason it decided to work ok from here last night :)
Did manage to snatch some other vids of yours from the U.
Lots of stuff here you guys are laying down, trying to get my head around at least some of it.
My first experiment to show ya all I am working on what you are laying down for us, is I tuned to a DGDBb
for a mighty blues sounding feeling ( for me at least ). Working on the numbers to this still. But I think I can do it.
I think I can do it. I think I can do it.
TO THE WISE OLD SAGES WILLING TO SHARE OFTEN FROM THIER POOL OF KNOWLEDGE.....
WOW, Ask and you shall recieve. Thanks guys for ALL the imput. The knowledge shared here is sure to put me in a study mode for some time. Lots of good stuff here and even more I dont even know is good YET !
Jef, the vid you put up - Thanks for the time and effort. It starts out and looks like it WILL BE just over 15 minutes long, but always shuts off just 3 minutes into in ?
In any case, with all the info shared, I have copied,cut and paste, so that I have it on paper in front of me to go over.
I am sure to be back with questions.
THANKS AGAIN
sorry dude. works ok for me.. yeah it is just over 15 minutes, which is utubes limit, thats why its hosted at clubhouse. I gotta do that vid again theres some real key stuff in there will help a boatload of u guys Glenn, yes open minors are real cool, i dunno why more dont do em the redgum one on the right is G,D,G,Bb
and the reentrant thing is cool too, my banjo has e,E,G# (sometimes G for minor), b,e the first and 5th strings are unison
TO THE WISE OLD SAGES WILLING TO SHARE OFTEN FROM THIER POOL OF KNOWLEDGE.....
WOW, Ask and you shall recieve. Thanks guys for ALL the imput. The knowledge shared here is sure to put me in a study mode for some time. Lots of good stuff here and even more I dont even know is good YET !
Jef, the vid you put up - Thanks for the time and effort. It starts out and looks like it WILL BE just over 15 minutes long, but always shuts off just 3 minutes into in ?
In any case, with all the info shared, I have copied,cut and paste, so that I have it on paper in front of me to go over.
Interesting approach. Creating a banjo type instrument with a higher (bottom) string, certainly opens up a whole new world too. Originally, I started playing 6 string in open D tuning DADf#ad. It was only after reducing down to a basic triad tuning (513) on 3 string CBG, did I fully visualize the full potentical of the moveable chords systems based on major chord intervals that appears on the fingerboard. Now I explore all the horizonal movement possibilities created by:
D(ADf#)ad 513
DA(Df#a)d 135
DAD(f#ad) 351
Someday, I would like to have the time to fully study all this. The potential if offers for arranging is enormous. Thanks for sharing. Enjoy.
Glenn Reither said:
Not at all Keni. I'm a jazz nerd so I enjoy a harmony chat and the more arcane the better.
I did experiment with tuning bflat G D g. That puts the HIGH minor 3rd on the 1st string. I made it minor so you could play all minor chords with a simple barre and add one finger on the 1st string for major. And keeps GDg as a handy open 5th for slide. That was the main reason for moving the highest pitched string to a banjo-ish location. Also means your tonic chord can stay in root position rather than 2nd inversion. Kinda sounded nice having that bflat (the highest pitched string) being the first one struck on a downstroke too.
Keni Lee Burgess said:
Hello Glenn, I did not intend to make my replies too technical. I just can't help myself when taking about the possibilities. Strum sticks with their diatonic scales make CBG easier to play. The fretted notes are all good notes for the tuning of the instrument. You can basically use your ear and find melodies. Basically strum sticks are dulcimers, but instead of on your lap you play them like a guitar. I am quite sure if you google, you will come across instructional material. Thank you for the discussion. Sorry for any confusion. Enjoy
Not at all Keni. I'm a jazz nerd so I enjoy a harmony chat and the more arcane the better.
I did experiment with tuning bflat G D g. That puts the HIGH minor 3rd on the 1st string. I made it minor so you could play all minor chords with a simple barre and add one finger on the 1st string for major. And keeps GDg as a handy open 5th for slide. That was the main reason for moving the highest pitched string to a banjo-ish location. Also means your tonic chord can stay in root position rather than 2nd inversion. Kinda sounded nice having that bflat (the highest pitched string) being the first one struck on a downstroke too.
Keni Lee Burgess said:
Hello Glenn, I did not intend to make my replies too technical. I just can't help myself when taking about the possibilities. Strum sticks with their diatonic scales make CBG easier to play. The fretted notes are all good notes for the tuning of the instrument. You can basically use your ear and find melodies. Basically strum sticks are dulcimers, but instead of on your lap you play them like a guitar. I am quite sure if you google, you will come across instructional material. Thank you for the discussion. Sorry for any confusion. Enjoy
Hello Glenn,
I did not intend to make my replies too technical. I just can't help myself when taking about the possibilities. Strum sticks with their diatonic scales make CBG easier to play. The fretted notes are all good notes for the tuning of the instrument. You can basically use your ear and find melodies. Basically strum sticks are dulcimers, but instead of on your lap you play them like a guitar. I am quite sure if you google, you will come across instructional material. Thank you for the discussion. Sorry for any confusion. Enjoy
Oooh a biscuit tin strummer with the signature goofy fret??? Worth coming home for! I'll grab you a couple of sweet boxes in the Caribbean!
You speak the truth, Kimosabe. Getting into the habit of calling chords by their Roman numeral is a good thing, although it get's kinda complicated in music that modulates. For instance, there'd be some Billy Joel stuff that would be a challenge to write in Roman numerals and keep the musical thread clear. But if there aren't heavy modulations, I think of chords by number, not note. We used a movable root system in my ear training so what was V at the start of the tune might become ii (or whatever) later on. We got so we could sight-sing atonal stuff. Which, believe it or not, was not as much fun as talking to girls.
I've noticed quite a few pro guys use Roman numerals, especially in jazz circles.
Anyhoo, it's steel drums for the next 4 months.
Jef Long said:
Glenn Reither said:
I really like One F's tutes. I bet his gat students dig him. Onya Jef! You've convinced me, I'll build a strummer when I get back next year.
thanks for the kind words blind g, u know im a fan. im doing a batch of wee tin diddy strummers week after next to use up some crappy little tins, one has ur name on it. :)
Tom... Keni Lee is spot on about the relativity business.. A,B,C# etc etc is a necessary way to communicate with other musicians, U need to all get on the same page. But for ur own thinking as u play a i,ii,iii,iv paradigm is actually WAAAY smarter and will get u understanding the music a lot better and quicker. U may have heard or be aware that a single piece of music could be performed in different keys? Perhaps when u work with a vocalist particularly, u may need to 'transpose' a piece down or up a couple of keys. So where the chart says G, u may be playing F, where it says A, ur moving it to G on the fly. The reason this works is the i,ii,iii values remain consistent, so the particular piece of music says the same things..
Given that ur typical cbg is made to be played in one key most of the time, especially by beginners it is more convenient and sensible to use the roman numeral paradigm to name the notes, something I will demonstrate in a coming video when we track down some chords to a tune from the internet and adapt it to our 3 string cbg.
I really like One F's tutes. I bet his gat students dig him. Onya Jef! You've convinced me, I'll build a strummer when I get back next year.
thanks for the kind words blind g, u know im a fan. im doing a batch of wee tin diddy strummers week after next to use up some crappy little tins, one has ur name on it. :)
Tom... Keni Lee is spot on about the relativity business.. A,B,C# etc etc is a necessary way to communicate with other musicians, U need to all get on the same page. But for ur own thinking as u play a i,ii,iii,iv paradigm is actually WAAAY smarter and will get u understanding the music a lot better and quicker. U may have heard or be aware that a single piece of music could be performed in different keys? Perhaps when u work with a vocalist particularly, u may need to 'transpose' a piece down or up a couple of keys. So where the chart says G, u may be playing F, where it says A, ur moving it to G on the fly. The reason this works is the i,ii,iii values remain consistent, so the particular piece of music says the same things..
Given that ur typical cbg is made to be played in one key most of the time, especially by beginners it is more convenient and sensible to use the roman numeral paradigm to name the notes, something I will demonstrate in a coming video when we track down some chords to a tune from the internet and adapt it to our 3 string cbg.
Hello Tom,
Glenn did a nice job presenting an introduction to theory. Basically, it is all about relativity. If you look at the pictures on my page you will find a chart for all 13 keys of music. Each key is made of 8 notes. Most people know these notes when they are sung: do, re, mi, fa, so, la , ti do These are tones 1-8. Regarding open tuning, commonon keys are D and E, G and A, and C. This is mainly due to the fact you can tune a standard strung and tuned guitar EADGBE and tune to these keys. Please consider purchasing one of my instructional CDs (www.ebay.com / search: keni lee) I cover this material and show you how I practically apply it in the creation of my renditions of classic blues. Please feel free to ask further questions. Enjoy.
Tom said:
Ok, I am hooked, and have a question. I see a lot of stuff written that goes, I use the 1,3,5 (3 major scale tones) the Dgbd / 5135 .......... the DGDgbd / 515135 .... the GDgd (1515) the CGCgce / 151513 and the ADf#d 5135, the 151 /GDG and on and on and on. You get my drift right ?
I can figure out when I see a abcd or what ever that we are talking about a 4 string instrument, and when I see a abc it is a 3 string instrument we are talking about and mean that string tuned open to that tone right, but what the heck is the 151 or 5135 or the 135 and all that stuff mean. Keep in mind now if I am asking this I must not be too sharp on this stuff, so go easy on me here.
I really like One F's tutes. I bet his gat students dig him. Onya Jef! You've convinced me, I'll build a strummer when I get back next year.
Jef Long said:
Tom.
:)
if u look carefully at Glenn's recipes for chords directly above, u will observe they are essentially made from alternate notes from the scale. G,B,D,F, etc etc. Ignore the sharps, flats etc for a minute and just look at the letters and u will see he is skipping the alternate ones over. Whether a particular note is sharped or flatted depends on the scale u are working with at the moment.
Take a look at this video and get urself a strummer and a capo dude. If u are disciplined about your studies there is several years worth of material right there.
Replies
Couldnt find the vid on utube, but for some reason it decided to work ok from here last night :)
Did manage to snatch some other vids of yours from the U.
Lots of stuff here you guys are laying down, trying to get my head around at least some of it.
My first experiment to show ya all I am working on what you are laying down for us, is I tuned to a DGDBb
for a mighty blues sounding feeling ( for me at least ). Working on the numbers to this still. But I think I can do it.
I think I can do it. I think I can do it.
Tom said:
sorry dude. works ok for me.. yeah it is just over 15 minutes, which is utubes limit, thats why its hosted at clubhouse. I gotta do that vid again theres some real key stuff in there will help a boatload of u guys Glenn, yes open minors are real cool, i dunno why more dont do em the redgum one on the right is G,D,G,Bb
WOW, Ask and you shall recieve. Thanks guys for ALL the imput. The knowledge shared here is sure to put me in a study mode for some time. Lots of good stuff here and even more I dont even know is good YET !
Jef, the vid you put up - Thanks for the time and effort. It starts out and looks like it WILL BE just over 15 minutes long, but always shuts off just 3 minutes into in ?
In any case, with all the info shared, I have copied,cut and paste, so that I have it on paper in front of me to go over.
I am sure to be back with questions.
THANKS AGAIN
D(ADf#)ad 513
DA(Df#a)d 135
DAD(f#ad) 351
Someday, I would like to have the time to fully study all this. The potential if offers for arranging is enormous. Thanks for sharing. Enjoy.
Glenn Reither said:
I did experiment with tuning bflat G D g. That puts the HIGH minor 3rd on the 1st string. I made it minor so you could play all minor chords with a simple barre and add one finger on the 1st string for major. And keeps GDg as a handy open 5th for slide. That was the main reason for moving the highest pitched string to a banjo-ish location. Also means your tonic chord can stay in root position rather than 2nd inversion. Kinda sounded nice having that bflat (the highest pitched string) being the first one struck on a downstroke too.
Keni Lee Burgess said:
I did not intend to make my replies too technical. I just can't help myself when taking about the possibilities. Strum sticks with their diatonic scales make CBG easier to play. The fretted notes are all good notes for the tuning of the instrument. You can basically use your ear and find melodies. Basically strum sticks are dulcimers, but instead of on your lap you play them like a guitar. I am quite sure if you google, you will come across instructional material. Thank you for the discussion. Sorry for any confusion. Enjoy
You speak the truth, Kimosabe. Getting into the habit of calling chords by their Roman numeral is a good thing, although it get's kinda complicated in music that modulates. For instance, there'd be some Billy Joel stuff that would be a challenge to write in Roman numerals and keep the musical thread clear. But if there aren't heavy modulations, I think of chords by number, not note. We used a movable root system in my ear training so what was V at the start of the tune might become ii (or whatever) later on. We got so we could sight-sing atonal stuff. Which, believe it or not, was not as much fun as talking to girls.
I've noticed quite a few pro guys use Roman numerals, especially in jazz circles.
Anyhoo, it's steel drums for the next 4 months.
Jef Long said:
thanks for the kind words blind g, u know im a fan. im doing a batch of wee tin diddy strummers week after next to use up some crappy little tins, one has ur name on it. :)
Tom... Keni Lee is spot on about the relativity business.. A,B,C# etc etc is a necessary way to communicate with other musicians, U need to all get on the same page. But for ur own thinking as u play a i,ii,iii,iv paradigm is actually WAAAY smarter and will get u understanding the music a lot better and quicker. U may have heard or be aware that a single piece of music could be performed in different keys? Perhaps when u work with a vocalist particularly, u may need to 'transpose' a piece down or up a couple of keys. So where the chart says G, u may be playing F, where it says A, ur moving it to G on the fly. The reason this works is the i,ii,iii values remain consistent, so the particular piece of music says the same things..
Given that ur typical cbg is made to be played in one key most of the time, especially by beginners it is more convenient and sensible to use the roman numeral paradigm to name the notes, something I will demonstrate in a coming video when we track down some chords to a tune from the internet and adapt it to our 3 string cbg.
good luck with it
Glenn did a nice job presenting an introduction to theory. Basically, it is all about relativity. If you look at the pictures on my page you will find a chart for all 13 keys of music. Each key is made of 8 notes. Most people know these notes when they are sung: do, re, mi, fa, so, la , ti do These are tones 1-8. Regarding open tuning, commonon keys are D and E, G and A, and C. This is mainly due to the fact you can tune a standard strung and tuned guitar EADGBE and tune to these keys. Please consider purchasing one of my instructional CDs (www.ebay.com / search: keni lee) I cover this material and show you how I practically apply it in the creation of my renditions of classic blues. Please feel free to ask further questions. Enjoy.
Tom said:
Jef Long said:
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