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Topic: adjust to align with the underlying harmony |
Stuart Legg
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Posted 19 Jan 2015 1:33 am |
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Have you noticed how steel players who try to play fast … live and die by their scale patterns, shapes and clusters.
Have you noticed how a lot of steel players die by those same patterns, shapes and clusters and it is usually blamed on what folks refer to as an illness “Music Theory“.
I think all players noodle in patterns shapes and clusters the difference is the good ones listen and adjust to align with the underlying harmony.
Funny I don’t remember where it said in Music Theory you weren’t allowed to do that!! |
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Ian
From:
San Francisco, CA
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Posted 19 Jan 2015 2:30 am
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| No I haven't. |
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Charlie McDonald
From:
out of the blue
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Posted 19 Jan 2015 4:29 am Re: adjust to align with the underlying harmony
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| Stuart Legg wrote: |
I think all players noodle in patterns shapes and clusters the difference is the good ones listen and adjust to align with the underlying harmony.
Funny I don’t remember where it said in Music Theory you weren’t allowed to do that!! |
I don't either, so apparently I was allowed to do that. Other things weren't allowed, like improvisation--momma don't allow no guitar music around here.
The current trend--just play the melody dammit--is something that must be transcended in order to align with the harmonies created by melody.
No theory, just fact! 
But when it comes to language theory, you've transcended principles of punctuation so far that participles don't have a chance to dangle. |
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Dick Sexton
From:
Greenville, Ohio
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Posted 19 Jan 2015 5:35 am Language theory...
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| But when it comes to language theory, you've transcended principles of punctuation so far that participles don't have a chance to dangle. |
Danglish... My language of choice!  |
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Charlie McDonald
From:
out of the blue
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Posted 19 Jan 2015 6:33 am Re: Language theory...
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Dang, Dick! (It's obvious elocution is important to forum members)
[Edited for continuity of thread]
Last edited by Charlie McDonald on 20 Jan 2015 3:34 am; edited 1 time in total |
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Dick Sexton
From:
Greenville, Ohio
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Posted 19 Jan 2015 6:53 am
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DG Whitley
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Posted 19 Jan 2015 7:11 am
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| Oh gosh, English was my worst subject in high school and college, I'm just not going there. You guys have at it. |
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Charlie McDonald
From:
out of the blue
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Posted 19 Jan 2015 8:13 am
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My bad; Stuart's post was about something important that seems to be outside the realm of theory as taught, something that should be.
Am I right, Stuart? |
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Stuart Legg
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Posted 19 Jan 2015 12:38 pm
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Improvising outside of Music Theory????
There is no connection whatsoever between Music Theory and a spontaneous series of nonsensical outbursts of pointless noodling. |
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Dick Sexton
From:
Greenville, Ohio
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Posted 19 Jan 2015 2:42 pm Noodles and Clusters?
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| An example of which you speak? |
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 19 Jan 2015 4:08 pm Re: adjust to align with the underlying harmony
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| Stuart Legg wrote: |
| Have you noticed how steel players who try to play fast … |
According to Yoda - "There is no try. You either do, or you do not."
Other than that, I've noted that there is a growing contingent here that seems to be against "playing fast"?
What's up with that? |
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Stuart Legg
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Posted 19 Jan 2015 4:30 pm
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Dick Sexton requests an example?
Not a fair question Dick given a person will normally refuse to call out anyone.
The question is at best rhetorical at worst a paradox of damned if I do or damned if I don’t.
So I will only say in general “some players all the time†and “all the players some of the time“. |
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Bo Legg
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Posted 19 Jan 2015 5:18 pm
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I can give you lots of examples from my playing which in general could always be described as a series of nonsensical outbursts of pointless noodling.
I have some place in my files examples of the Theory of fast picking by using entirely the 3m pentatonic scale of the key.
I couldn't find them right away but I did find a slow version which I think will demonstrate the Theory and my noodling
At times good choice of notes and other times pointless noodling, some might say the whole thing is pointless noodling but I did stay strictly within the C#m Pentatonic scale.
Here is an example in theory of Playing only within a C#m Pentatonic over a Jazz progression with a lot of chords in the Key of A.
C#m Pentatonic over the key of A
Last edited by Bo Legg on 19 Jan 2015 5:24 pm; edited 2 times in total |
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Charlie McDonald
From:
out of the blue
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Posted 19 Jan 2015 5:21 pm
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I don't play anything fast, but seeming pointlessness (mistakes) is what I count on, as subconscious adaptations of theory.
They might be good ideas; I don't know until I play them. |
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Dick Sexton
From:
Greenville, Ohio
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Posted 19 Jan 2015 5:28 pm Answer...
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Stuart... Perfect answer.
I wish I did not have to relie on licks, pockets and such. Could play the melody perfectly every time. But I can't remember what was played during the first part of the song. At 71 I'm glad I can still remember the way to the restroom. I guess I'm getting old before my time. So I'll pull a lick out of my... uh, bag of tricks, noodle "around" what the singer is singing a bit. Jump time, skip time, break time and tell myself I'm playing jazz to keep the "boys" on their toes. Fully realizing, I'll never be first call steel on anything for anyone. But that is ok. Been a hell of a ride.
My point I guess, I don't care if you don't us commas, have dangling this or that in your sentences. I still read them every one and enjoy it.  |
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Stuart Legg
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Posted 19 Jan 2015 5:58 pm
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Well if we can prove it with slow songs how about this for noodling
click here |
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Charlie McDonald
From:
out of the blue
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Posted 20 Jan 2015 3:33 am
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| Stuart Legg wrote: |
Improvising outside of Music Theory????
There is no connection whatsoever between Music Theory and a spontaneous series of nonsensical outbursts of pointless noodling. |
Maybe I see your point: noodling outside the theory that music follows becomes pointless.
Bo's first example might be called noodling if there weren't music behind it. The often 'accidental' juxtaposition of melody in C#m pentatonic with seemingly unrelated chords creates the music. If that's noodling, it works. He may be in a pocket, but the music is out of it, creating new or unexpected changes.
The song with Cindy Brandon--she sets a regular progression, but what Bo does over it is purposeful--doing, not trying.
Something in his brain and hands knows where he can suspend fourths, sixths, and roots.
It's all wrong! He's not noodling! It could be mapped, each interaction, but we don't, because it's music.
I'd say that's the deal, Dick, to get out the tricks and use them, to forget what you did and continue, making jazz.
It's nothing like written English, where the map loses the meaning and you're going to have to justify it.
As for why there is a growing contingent against playing fast,
it's mostly made up of guys like me who can't do it. I don't think it will catch on. |
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Roual Ranes
From:
Atlanta, Texas, USA
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Posted 20 Jan 2015 6:16 pm
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| I like DANGLISH. & noodling. SO THERE! |
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