Yes, no surprise that a hot young player with eclectic tastes and big ears would grab the opportunity to hang with Lenny, who has been one of my main guys since I got his first album (?) in'69.
Seeing as Bill Evans was one of Lenny's main influences along with McCoy Tyner, getting quartal harmony would be high on his list for things a copedent should facilitate.
I guess I need to really investigate PF's C6 setup. I've got the equivalent of Buddy's 5x4 happening on my guitar now, and it is great for swing and bop changes, but maybe not so much for more modern stuff. Admittedly, I don't really understand how to use quartals at all well, so maybe it is all there after all, but.....
Interesting side note: touring with Lenny 50 years ago on bass was Ron Halldorson, who I understand was also a pretty fair steel player. A Winnipeg guy, I believe. There are also some tracks out there with Rick Danko of The Band on bass.
That's my Canadian content.
Top D note on C6. Buddy Emmons
Moderator: Shoshanah Marohn
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- Location: British Columbia, Canada
Just showing you how much I use the first string when I play. A lot more then the G string ever offered me.
Here's another C6 intro for ya. Slower style to learn from. Key of F. Chart:
1 5 1 2'/5 - 1/4 1/5
YOUTUBE SAMPLE
Ron
Here's another C6 intro for ya. Slower style to learn from. Key of F. Chart:
1 5 1 2'/5 - 1/4 1/5
YOUTUBE SAMPLE
Ron
- scott murray
- Posts: 2752
- Joined: 4 Aug 1998 11:00 pm
- Location: Asheville, NC
so how many of us still use the G on top? I do.
I'm nothing special but I play a lot of oddball stuff that could be considered "modern"... I've worked out around 50 Thelonious Monk tunes on C6 and I've found the G on top more useful for that stuff.
I also enjoy playing a few of the older instrumentals that had the G on top... Four Wheel Drive, Almost To Tulsa, B. Bowman Hop...
I do raise my 3rd string to D independent of string 4 which comes in quite handy too.
I'm nothing special but I play a lot of oddball stuff that could be considered "modern"... I've worked out around 50 Thelonious Monk tunes on C6 and I've found the G on top more useful for that stuff.
I also enjoy playing a few of the older instrumentals that had the G on top... Four Wheel Drive, Almost To Tulsa, B. Bowman Hop...
I do raise my 3rd string to D independent of string 4 which comes in quite handy too.
1965 Emmons S-10, 3x5 • Emmons LLIII D-10, 10x12 • JCH D-10, 10x12 • Beard MA-8 • Oahu Tonemaster
- scott murray
- Posts: 2752
- Joined: 4 Aug 1998 11:00 pm
- Location: Asheville, NC
thanks for the suggestion Paul. I rarely tend to use pedal 5 with the C# raise, I want to incorporate it more.
the high G serves as an open drone string on some of those songs. on Almost To Tulsa the high G is a hammer-off string. Buddy Charleton re-cut it on his Playing Silk album after switching to the D on top. I love both versions but the original really used that high G and it's missing from the later version.
the high G serves as an open drone string on some of those songs. on Almost To Tulsa the high G is a hammer-off string. Buddy Charleton re-cut it on his Playing Silk album after switching to the D on top. I love both versions but the original really used that high G and it's missing from the later version.
1965 Emmons S-10, 3x5 • Emmons LLIII D-10, 10x12 • JCH D-10, 10x12 • Beard MA-8 • Oahu Tonemaster