1950s Chord Voicings
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- Stefan Robertson
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I'm pretty sure it was self study and familiarity with Intervals.
But music training I would be surprised as he consulted others on what tuning to use for jazz chords.
I'm also sure if he were trained he would approach the neck based on musical notation and not intervals and tab.
But music training I would be surprised as he consulted others on what tuning to use for jazz chords.
I'm also sure if he were trained he would approach the neck based on musical notation and not intervals and tab.
Stefan
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What I hear in the solo is P7, with P6 added when it repeats two measures later to give a IV13b5.
I agree. The impression I get from Buddy's Basic C6 course is that he understood theory completely, although I don't believe he read notation. But then why would he? Most steel players don't, for the simple reason that most people who hire them don't write it. But it's a great achievement to nail theory without a visual reference, although I can attest that playing bass certainly helps.Stefan Robertson wrote:I'm pretty sure it was self study and familiarity with intervals
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs
From listening to his playing for so long, even well before I'd ever picked up a steel guitar, I can hear that Buddy had a deep understanding of the Blues and many of the variations of it that make up about 50% of jazz, as well as other song forms.
He knew the foundation of harmony, understanding the functions of chords and where they were going. In knowing this, you can cut to the chase and use a simplified method of thinking. Buddy simplified things down to his "pockets", which are like the equivalent of the way a guitarist might pentatonic scale shapes. Most of all, he knew which pockets to connect and how to connect them, and this could only come from much time spent playing and experimenting.
I am not even saying this is the only method he used, but he didn't just put his bar on the strings and go. He was hearing the stuff in his head. He knew where a dominant chord was used and how to substitute other chords for it. Knowing a limited number of useful extensions is the secret sauce. Of course, this all boiled down for brevity here, but it's taken me many years to even come to my own understanding of it.
I know that Pat Martino was an influence on him, and as someone who has also studied Martino and his concepts, I think that Buddy utilized a tool of simplifying things down to minor scales. This is really a common thing today, but when Martino wrote about it, he used his own approach to it in his book Linear Expressions.
Jazz is based primarily on reharmonization of the Blues, I Got Rhythm, and a few other tunes. If one masters these forms and all the variations, you're already in the door.
He knew the foundation of harmony, understanding the functions of chords and where they were going. In knowing this, you can cut to the chase and use a simplified method of thinking. Buddy simplified things down to his "pockets", which are like the equivalent of the way a guitarist might pentatonic scale shapes. Most of all, he knew which pockets to connect and how to connect them, and this could only come from much time spent playing and experimenting.
I am not even saying this is the only method he used, but he didn't just put his bar on the strings and go. He was hearing the stuff in his head. He knew where a dominant chord was used and how to substitute other chords for it. Knowing a limited number of useful extensions is the secret sauce. Of course, this all boiled down for brevity here, but it's taken me many years to even come to my own understanding of it.
I know that Pat Martino was an influence on him, and as someone who has also studied Martino and his concepts, I think that Buddy utilized a tool of simplifying things down to minor scales. This is really a common thing today, but when Martino wrote about it, he used his own approach to it in his book Linear Expressions.
Jazz is based primarily on reharmonization of the Blues, I Got Rhythm, and a few other tunes. If one masters these forms and all the variations, you're already in the door.
- Stefan Robertson
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Really great nugget of advice.Mike Neer wrote:From listening ...
Jazz is based primarily on reharmonization of the Blues, I Got Rhythm, and a few other tunes. If one masters these forms and all the variations, you're already in the door.
Mike you are lucky that we don't live nearby. I would be jamming and analysing the theory every second I could with you.
You'd have a spare couch with my name on it.
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist"
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist"
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