Help with transitions, wanted!

Kjell Ohlsson · From: Mora, Dalecarlia, Sweden

Hi fellow steelpickers,

I really would appreciate if you can help me along with some transitions from a 1 via 17 to a 4, from a 5 to a 1 chord.
I´m just as interested in one string transitions as of chord-driven or should I write multiple string wise. 4 by 4 not longer than 2 beats, OK maybe 3 if necessary. E9th fretboard.
Is there any of you using diminished or augmented chord in transitions or bridges I´m even interested in those.
I think, for us newbies/below average pickers, on our way up, this would be a godsend.
You´ve been helping me along before and now I´m in for more.
Thanks a lot guys!

Kjell
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Larry Bell · From: Englewood, Florida

Kjell,
A I to IV change is identical to a V to I -- both are the interval of a perfect 4th. Anything you do thinking 'I to IV' is equally applicable for 'V to I'. (you may already know this but it's worth repeating)

The Dom7 chord (I to I7 to IV) is a simple passing chord by itself. The leading tone (IN THE 1 CHORD, the tonic descends a whole tone to the b7, then another whole tone to the 6th -- IN THE 4 chord, that 6th becomes the Major 3rd). There are a million + ways to voice this. Experiment a bit.

A Iaug (triad -- 1 3 5#) or Iaug7 (4 note chord - 1 3 5# 7b) is a natural transition. If you think about the A pedal function, you are going from G on the 3rd fret -- no pedals -- to C on the same fret -- A+B, half-pedaling the A pedal is an obvious 'midpoint' between the I and IV chord. That's what a transition or 'passing chord' is.

NOTE: for the pedals down position (G at 10th fret) the equivalent move to half pedaling the A pedal is using the F lever with pedals down -- it's the same 5-->5#-->6 leading tones.

Variations would include IMajor-->I7-->Iaug7-->IV
The timing can be as blatant or as subtle as you wish. An aug5 chord can be offensive in some settings. A full measure or I to a full measure of Iaug to the IV chord may be too much. Try JUST ONE BEAT of the augmented chord (either aug triad or Dom7#5) -- 1 (1 1 1 1+) 4
(each number is 4 beats, except in parentheses where each is ONE beat(

Just some ideas. Another is to use the 4# chord one beat before the 4 chord
1 (1 1 1 4#) 4
This works particularly well in blues progressions where the 4 chord can itself be a Dom7 chord and could be played with all Dom7 chords.

This is a very broad topic and can be approached in many ways. Think about the 'voice leading' -- as you mention the single notes that convey the motion. If you think about the 6th scale tone as the 'destination' in both these examples, if you go through the Dom7 chord 1 goes to 7b goes to 6. Approaching from the other direction, starting on the 5th scale degree, 5 goes to 5# goes to 6. The 6th scale tone of the I chord is the 3rd tone of the IV chord.

I think you're on the right track.
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Kjell Ohlsson · From: Mora, Dalecarlia, Sweden

Thank you Larry, this was a very profound lesson in the mysteries of transition and I really do appreciate your effort. I think,in addition, that I can understand most of it and for me it´s just the practice part, right? Over and over again, determined I´m gonna make it.
One thing though, you´re talking/writing about leading tone and when I come to think of it, in C Dom7: 1-3-5-7b (C-E-G-A#) I would like to have C as the leading tone but reading your words I found that you mean a flat 7 (A#) as leading tone, is it because it´s more dominant than the others, or what? I would like to have C as the leading tone, C is ground tone (root).
If you got time to answer this I would be ever so grateful.
//Kjell
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Larry Bell · From: Englewood, Florida

Kjell,
The chord progression is C -- C7 -- F

The 'leading tones' taking you through that change can be C -- Bb -- A. The C is the root of the C chord, the Bb is the b7 (that's what a Dominant 7 is, as opposed to a Major 7 or natural 7th), the A is the Major 3rd of the F chord.

The tones can also be G -- G# -- A
That one takes you through the C to F progression using the 5th tone of the I chord (the C). It goes through the augmented 5th (#5).

Those leading tones CAN BE the highest note in the chord voicing, but don't have to be. Also, there are many other ways to get from 1 to 4. I don't pay much attention to courses that are available but I believe I've seen some that specifically address the 1 to 4 (or 5 to 1 -- same thing) change and how to play over it.

If you want the leading tone to be C, try playing
C Dm Em F -- so the leading tone walks up the CMajor scale. That can be a bit boring, since that's more or less what the bass player will be playing, but certainly is an option.

Here's a famous 1 to 4 -- one variation on the 'Emmons cross' from several Ray Price songs

Kjell Ohlsson · From: Mora, Dalecarlia, Sweden

OK Larry,
I think I´ve got it right now, it´s more fun to know why you´re doing things and how to build yourself a way to do it than just knowing the way to do it, like a trained monkey. Those theoretical discussions, enables you to find other ways to achive what you´re aiming for and that´s exactly what I want.
So once again Larry, thanks a lot for giving me the time and ideas.
Take care
//Kjell
_________________
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Bud Angelotti · From: Larryville, NJ, USA

Whatever chord is called for on the chart, play it's dominate 7th first, before the chord on the chart. Whoops I just gave away a trade sectret !

Lane Gray · From: Topeka, KS

I like going from the root position of the chord (say fret 8 for a C-F move) on strings 5 and 8, briefly squeeze and release the A pedal (optional, here comes the key move), drop down to 6 as you drop your B to A# then release the lower as you drop your E. another contrary motion/counterpoint move.
If you don't drop your Bs, then go to fret 5,raising 8 instead of 6X, sliding up to six as you release the raise and engage the lower.
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Herb Steiner · From: Spicewood TX 78669

Kjell
I would highly recommend Jim Loessberg's course 15 Ways to Get From a I to a IV Chord.

It's available on Jim's website, http://jimloessberg.com/e9thdsc3.htm for 16 bucks and worth it.

(I see it's out-of-stock in b0b's catalog, which is why I posted Jim's web address)
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Jonathan Shacklock · From: London, UK

Lane Gray · From: Topeka, KS

Here is Buddy playing it for Ray, about the third bar in:
http://www.youtube.com/watch?v=eFj680v3xM8&feature=youtube_gdata_player
Sinkler may know which tutorial, but Mickey walks you through it on one I can't find. I like that lick.
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More amps than guitars, and not many effects

Jonathan Shacklock · From: London, UK

Thanks Lane, very nice. Found the Mickey video:
http://www.youtube.com/watch?v=qH2kUMQW9kk

Lane Gray · From: Topeka, KS

I watched that before I had a smartphone that could play video (I live in the sticks and have no net access but my phone), so I learned that move by watching that video over and over for an hour at the Topeka library. Then I drove to the bar I was playing that night. Tried playing it, it wasn't right, so I drove back to the library, watched it three more times and back to the bar to play it.
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

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