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Post new topic E9 small exercise using fifth intervals
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Author Topic:  E9 small exercise using fifth intervals
Bengt Erlandsen

 

From:
Brekstad, NORWAY
Post  Posted 26 Apr 2007 1:09 am    
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Here is a small exercise I made to help my ear get used to some fresh sounds and at the same time open up my view on how to connect positions on the steelguitarneck.
It might be easier if one can have a bass player play the lowest note in each of the 4note groups.
WARNING it does not sound typical country

have fun

Tab:

From a Gmajor scale play from G to B = G A B C# D E F# G A B
mute the strings between each note and move the bar as quick as possible
F#|-------------------------------------------------------
D#|-------------------------------------------------------
G#|-------------------------------------------------------
E |-------------------------------------------------------
B |-------------------------------------------------------
G#|-------------------------------------------------------
F#|-------------------------------------------------------
E |---3---5---7---8---10--12--14--15--17--19--------------
D |-------------------------------------------------------
B |-------------------------------------------------------
 
Then for every note played add another note 2 steps above from the same scale
 
F#|-------------------------------------------------------
D#|-------------------------------------------------------
G#|-------------------------------------------------------
E |-------------------------------------------------------
B |-------------------------------------------------------
G#|-------------------------------------------------------
F#|-------------------------------------------------------
E |---3-7--5-8--7-10--8-12--10-14--12-15--14-17--15-19----
D |-------------------------------------------------------
B |-------------------------------------------------------
 
Then for every note played add another note on the 5th string
 
F#|-------------------------------------------------------
D#|-------------------------------------------------------
G#|-------------------------------------------------------
E |-------------------------------------------------------
B |----3-7---5-8---7-10--8-12--10-13--12-15--13-17--15-19-
G#|-------------------------------------------------------
F#|-------------------------------------------------------
E |---3-7---5-8---7-10--8-12--10-14--12-15--14-17--15-19--
D |-------------------------------------------------------
B |-------------------------------------------------------

The keen eye will observe that there is 6 different perfect fifth intervals played
and only one tritone(flat fifth interval) and each group of 4 notes outlines either
a maj7, dom7 or minor7b5 voicing




I have not written any specific rhythm. Just play each 4 note in a rhythm that feels good to you.
And for ease of play I have used no pedals/levers and only two different strings Very Happy


Bengt Erik
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steve takacs


From:
beijing, china via pittsburgh (deceased)
Post  Posted 29 Apr 2007 11:08 am    
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Thanks, Bengt. For anyone not familiar with this Norwegian's huge and helpful contribution to the TAB section, do a search over the past several years. His stuff is a goldmine. steve t
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Bengt Erlandsen

 

From:
Brekstad, NORWAY
Post  Posted 29 Apr 2007 10:57 pm    
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Thanks for the kind words Steve.
I am just glad I can give something back here on the forum. Anothers person different viewpoint could be the thing that takes playing/understanding the instrument to another level. I have learned so much here from different members here and I am still picking up new things.

In the beginning when one starts to play there can be a lot of focus spent on patterns/scales and such.
There is a lot of patterns and they will be different on other tunings. but what is equally(more) important is to pay attention to the sound of different scales/voicings/arpeggios when played over different chords.

That was one of the reasons why I made the example in my original post.
A little time spent on practising stuff on a single string helps connect visual structure w sound so next time you (hear a note) want to play a note different from the one you are already playing you know exactly how many frets up/down you need to move the bar.

Spend a little time trying to understand the information below. It applies to any tuning and half of it can even be done without a guitar. The mental picture sound not only be a visual one, but also a audible one. Connect the two together and music will be free to flow.

Tab:

 
O - - - o - - - o         = Augmented triad
O - - - o - - o           = Major triad
O - - o - - - o           = minor triad
O - - o - - o             = Diminished triad
 
 
 
 
R   2   3 4   5   6   7 R
 
O - - - o - - - o - - - O = Augmented chord structure
O - - - o - - o - - - o O = Major7th chord structure
O - - - o - - o - - o - O = Dom7th chord structure
O - - o - - - o - - o - O = minor7th chord structure
O - - o - - o - - - o - O = minor7b5th chord structure
O - - o - - o - - o - - O = Diminished chord structure
 
 
O - - o - o - o - - o - O = minor pentatonic scale
O - - o - - - o - - o - - = which chord structure?
 
 
O - o - o - - o - o - - O = Major pentatonic scale
O - - - o - - o - - - - - = which chord stucture?
 
O - - - o - - o - - - o - = which chord structure?
O - o - o o - o - o - o O = Major scale
- - O - - o - - - o - - o = which chord structure?
 
O - o - o o - o - o - o O - o - o o - o - o - o O = 2octaves Major scale
O - - - o - - o - - - o - - o - - o - - - o - - - = build chords from every other note.
R - - - 3 - - 5 - - - 7 - - 9 - -11 - - -13 
- - - - - - - - - - - O - - o - - o - - - o - - = which chord structure?
 
 
O - o - o o - o - o - o O = Major scale
- o - O - - o - o - o - - = which scale structure?
 
 



Bengt Erik Erlandsen
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