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Topic: C6th Improvization |
Kevin Bullat
From:
Huntington Beach, CA
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Posted 16 Feb 2006 8:38 pm |
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When I take solos in our band's tunes, I find myself pretty much moving the bar with the chord progression and noodling in the straight bar position in that particular chord.
I will grab notes in the 3-fret mode boxes that stretch from the fret the chord is at that moment, to two frets to the left towards the nut. That way in addition to the V, VI, I III intervals in the straight bar, I can get the II and IV intervals.
What are some other options for solo work besides the straight bar and accompanying mode box (i.e. play the chords minor 7th etc)?
P.S. Yeah, I Know how to speel improvisation...[This message was edited by Kevin Bullat on 16 February 2006 at 08:39 PM.] |
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Garry Vanderlinde
From:
CA
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Posted 16 Feb 2006 9:53 pm
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Have you tried the C major penatonic scale around the 7th fret Cmaj 7 position? Lots of good stuff there.
Kevin, great photo of you playing uke in your Tiki bar on the front page this morn.(2/16/06)in the Los Angeles Times Home section! A real fun article with a bunch of great pictures. |
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Andy Volk
From:
Boston, MA
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Kevin Bullat
From:
Huntington Beach, CA
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Posted 17 Feb 2006 9:18 am
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Garry,
Thanks. The wife and I have been tiki-fying our hale for a while.
Having a tiki bar in the practice studio really helps with band attendance on practice days.
You're (and anyone else) more than welcome to stop by sometime. Email me.
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Gary Anwyl
From:
Palo Alto, CA
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Posted 18 Feb 2006 10:20 am
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Here's a link to the LA Times article. It's a nice article with some very cool pictures. You might have to register to view the article (but it's free).
Living the Tiki Life |
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Gary Anwyl
From:
Palo Alto, CA
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Posted 18 Feb 2006 10:42 am
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Getting back to Kevin's original question about improvisation, one idea is to use harmonized scales.
Maybe you already do this. But in case you don't, here's the concept. Instead of doing single note noodling in a straight bar position, you would play pairs of notes that are separated by an interval of a third.
The tab below shows where pairs are in the key of G.
E |-------------7-------------12---14-------
C |---7----9----7---12---14---12---14---19--
A |---7----9--------12---14-------------19--
G |-----------------------------------------
E |-----------------------------------------
C |-----------------------------------------
If you want to go from a straight bar G chord at the 7th fret to a D chord at the 14th fret you can use these pairs of notes to get there.
If you use slants it's even better.
E |-----------------------------------------
C |---7----9---11---12---14---16---18---19--
A |---7----9---10---12---14---15---17---19--
G |-----------------------------------------
E |-----------------------------------------
C |-----------------------------------------
------------------
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Garry Vanderlinde
From:
CA
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Posted 23 Feb 2006 1:47 pm
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What time are the Mai Tai's being served? 
Have you tried out this position for the key of C?
E |-----------------------8-----
C |------------------7-9--------
A |-------------5~7-------------
G |-------5---------------------
E |--3-5------------------------
C |-----------------------------
E |--8--------------------------
C |-----9-7---------------------
A |-----------6~5---------------
G |----------------5-----5------
E |-------------------5---------
C |-----------------------------
[This message was edited by Garry Vanderlinde on 23 February 2006 at 02:20 PM.] |
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Mike McBride
From:
Indiana
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Posted 24 Feb 2006 5:05 pm
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I have been noodling the blues with my E6 tuning on 6 string. With a little fuzz, it sounds great!
I am aiming to jam on some western swing tunes but have yet to gain speed on 2 string riffs. Do most of you do single string runs or 2 string licks when improvising uptempo numbers? |
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