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you should practice.

and enjoy it.

love jef xx

homebro tin guitar. Ted Crocker downunder pickup. Little fender amp

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Comment by Mortimer Mudbutt on July 29, 2011 at 9:14am
Very interesting,,, thanks for opening eyes.
Comment by The Phrygian Kid on May 31, 2011 at 6:06am
if you come by this late, there is a couple chord diagrams and scales on the first page of the comments, click next down bottom there...
Comment by The Phrygian Kid on May 30, 2011 at 7:10am

Thanks for understanding KLB, i really appreciate it.

 

the point of this excercise guys, is its only 3 chord shapes, but they are 'squeezed' into the context of different scale patterns.   You dont need to turn your mind into a messy boggy database of 150,00 chord shapes.  Its a dead end.  Or better yet, it has no end.

 

Observe how the same shape is 'pushed' minor and then even diminished, its the same chord, but the scale is like a different set of fences on the landscape.

 

PS this is the secret to the fretboard, shhhh

 

well, that and thinking in terms of ⅰ ,ⅳ, ⅴ ..   later we add ⅱ, ⅵ & ⅲ and you're in business.   Abandon the A,B♭, -> G thing, you dont need to understand it to make music.

Comment by Mike Babcock on May 29, 2011 at 11:35pm

Jef,

 

Nicely done and a great video!

Comment by Keni Lee Burgess on May 28, 2011 at 7:09am
A very nice video. It speaks volumes and you didn't say a single word. I too have found theory a great tool to explore and have fun. Whenever I feel like I hit the wall and things are the same old same old, I investigate something new and the Blues just takes a hike. Many players don't take the time to realize the relationship between scales and chords and that thru study it gets very exciting. The guitar fingerboard opens up and "musical ideas can be easily visualized right in front of your face". Instead of being lost, you find too many roads to go down. LOL What at first was a cold seemingly useless scale, turns into an unexpected surprise.  Some real nice playing, application of theory and great inspiration. Thanks for sharing. Enjoy, Keni Lee  
Comment by Tres Seaver on May 25, 2011 at 7:46am

I"ve never played or seen (in person) a strummer with split frets.  On a "standard" diatonic instrument, starting the scale on the seventh gives you the Locrian mode (1-b2-b3-4-b5-b6-b7-1, e.g., B-C-D-E-F-G-A-B).  The diminsihed triad (1-b3-b5, e.g. B-D-F) doesn't present any difficulties here:  what is tricky is to play the diminished 7th chord (1-b3-b5-bb7, e.g., B-D-E-G#).  If I really wanted to play that note on a strumstick, I guess I would be bending up the b6th note.

 

BTW, I first learned the modes when taking piano (Lord, that was forty years ago now!):  in C, they have the nice property of being all on the white keys, which makes for an easy mnemonic.

 

http://en.wikipedia.org/wiki/Locrian_mode

Comment by The Phrygian Kid on May 25, 2011 at 2:29am

Tres Seaver !!!

first man who ever welcome me to cigar box nation over two years ago !!

thanks mate, very good information :)

 

except...

need a strummer made by a friggin GENIUS to capo to the locrian..

:D  need to capo behind the split fret to get the diminished 5th..

Comment by Tres Seaver on May 23, 2011 at 10:27pm
Diane, the interesting thing about a "diatonic" fretboard is that you can get the modal scales just by capoing. Dorian capos at the first diatonic fret, which would be the second on a chromatic instrument, Phrygian at the second (fourth chromatic), Lydian and the third (fifth diatonic), Mixolydian at the fourth (seventh chromatic), Aeonlian at the fifth (ninth chromatic), Locrian at the sixth (eleventh chromatic).
Comment by jim on May 23, 2011 at 1:17am
FUN 4 ALL!
Comment by The Phrygian Kid on May 22, 2011 at 11:29am
hey Di, up until i went minor at 3:00 or whatever you could do it on any strumstick yeah.   The dorian stuff beyond that you'd need this mystery 3rd fret, but you'd also want a 1/2 fret a minor third from the root note on the middle string (would be 8th fret on a regular chromatic neck)   .. but just capo the strummer for either mode..

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