Getting a domniant and passive tone in a dyad

Instruments, mechanical issues, copedents, techniques, etc.

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Dennis Detweiler
Posts: 3745
Joined: 8 Dec 1998 1:01 am
Location: Solon, Iowa, US

Post by Dennis Detweiler »

Lane, you're right. With Bluegrass vocal, the high harmony is very dominate. But, it still buries the melody and accents the high harmony. A classic example of low harmony in duo vocals would be the Judd's or Everly's.
I was referring to playing melody with harmony on steel in country music. Personally, I like hearing the melody on the top with harmonies moving around on the bottom and keeping the melody dominate. Example: listen to Emmons play "Rose Colored Glasses" at the end of the first line in the chorus when he moves the harmony around while the melody drones. Very nice! But, play a two note scale with a harmony on top. Then play the same scale with melody on the top. Then go for whichever sounds best to your ears.








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1976 Birdseye U-12 MSA with Telonics 427 pickup, 1975 Birdseye U-12 MSA with Telonics X-12 pickup, Revelation preamp, Ibanez Analog Mini Delay and Hall Of Fame Reverb, Crown XLS 1002, 2- 15" Eminence Wheelhouse speakers, ShoBud Pedal, Effects Pedals. 1949 Epiphone D-8.
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