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Topic: Autumn Leaves in C6th |
Andy Volk
From: Boston, MA
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Former Member
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Posted 19 Mar 2017 3:49 am
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Thanks Andy!
was just talking to 'THE TEACHER' (JE) about this tune.
Got it printed up, and will be working on it this week.
ron |
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Jeff Garden
From: Center Sandwich, New Hampshire, USA
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Posted 19 Mar 2017 4:17 am
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Thank you, Andy! |
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Andy Volk
From: Boston, MA
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Posted 19 Mar 2017 5:08 am
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You're welcome! And here's part two ... kind of a kitchen sink dump of various improv ideas. You likely wouldn't use all these approaches in one chorus like this but my intent was to show some ideas to newer C6th players. If you're a seasoned player I'm probably boring you.
Bar 3 features a D7 bar slant played using the nose of the bar on fret 9 to play two strings.
Bar 4 subs Em7 for Gmai7.
Bar 5 features a pedal-steel like slant move that could alternately be played as a behind-the-bar bend.
Bar 17 uses an Emin cliche lick over Gmai7. This chord progression (Em, Em(Maj7),Em7,A9) appears in countless songs like "A Taste of Honey","Michelle", "Chim Chim Cheree", etc. Bar 21 repeats it over Em.
The improv ends with a transition from Eminor to Emajor using a pedal point open E note throughout. This last lick is useful to insert in other songs that end in E.
MIDI audio of above: https://soundcloud.com/aev/autumn-leaves-improv-ideas-c6-2-audio _________________ Steel Guitar Books! Website: www.volkmediabooks.com |
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Steven Tekulsky
From: New York, USA
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Posted 19 Mar 2017 6:13 pm Autumn Leaves
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Thanks, Andy! Just received his C6 lap steel book recently, and it is a fantastic resource - helping to improve my lap steel playing. |
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David M Brown
From: California, USA
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Posted 20 Mar 2017 7:28 am
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I like how you handled measure 21 where some players do a Em-Eb7-Dm-Db7 walk down. |
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Andy Volk
From: Boston, MA
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Posted 20 Mar 2017 8:18 am
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Yes, that's the typical jazz player approach to that measure but I never cared for it. While I love spicy, even dissonant harmony at times, AL is such a simple, beautiful tune that I like to keep it close to the source. I've always loved Edith Piaff's version: https://www.youtube.com/watch?v=n2s2tPORlW4 _________________ Steel Guitar Books! Website: www.volkmediabooks.com |
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David M Brown
From: California, USA
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Posted 20 Mar 2017 9:20 pm
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Andy Volk wrote: |
Yes, that's the typical jazz player approach to that measure but I never cared for it. While I love spicy, even dissonant harmony at times, AL is such a simple, beautiful tune that I like to keep it close to the source. I've always loved Edith Piaff's version: https://www.youtube.com/watch?v=n2s2tPORlW4 |
That's a great choice.
I grew up playing the "typical jazz player" changes - but who can argue with Piaf? |
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Miles Lang
From: Venturaloha
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Posted 22 Mar 2017 9:56 am
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Awesome. Thanks, Andy! |
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Doug Freeman
From: Los Angeles, CA
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Former Member
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Posted 25 Mar 2017 5:17 pm
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Now that I'm playing thru this, there's some things....
Measure 9 starts with a 5-3-2 bar slant that I'm gonna need a longer bar for! (Long scale)
This is very slanty!!!
Measure 4 with a make-able 7-6-5, but the next string open sounds real cool, but it'll take mucho work.
Can there be too many slants? Can anyone put up a clip of this with no "meow" ?
The notes are there, but it's challenging for sure. I might have to 2-note it
Yes I'm whining! |
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Guy Cundell
From: More idle ramblings from South Australia
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Posted 25 Mar 2017 5:43 pm
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Ron Ellison wrote: |
Now that I'm playing thru this, there's some things....
Measure 9 starts with a 5-3-2 bar slant that I'm gonna need a longer bar for! (Long scale)
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try 5-5-5 strings 1, 3 & 4 |
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Andy Volk
From: Boston, MA
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Posted 26 Mar 2017 2:48 am
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Ron, my apologies! Sorry to twist your bar hand in circles! That was a total error. Unplayable. I'd still use a slant there, but likely this one (bar 9) ...
Slants are indeed challenging - especially three-note slants. Depending on your string spacing, scale length, and where on the fretboard you want to play them, they can be even more challenging. But they are worth it because they open so many more possibilities. Some excellent players kind of avoid them because they don't ever want their intonation to sound off but I say go for them and see if you can make them work in your music. Sometimes, a wee bit of downwards bar pressure will help pull a three-noter into perfect tune. Vibrato is also your pal. With chord melody, the top note of the chord is usually your melody so often, you can't go wrong in leaving off the bottom note of a too difficult slant. _________________ Steel Guitar Books! Website: www.volkmediabooks.com
Last edited by Andy Volk on 26 Mar 2017 4:42 am; edited 1 time in total |
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Ted Duross
From: Ottawa, Ontario, Canada
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Posted 26 Mar 2017 3:21 am
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Thanks, Andy... I'm just getting started (about a year in) but I might as well aim high : ) |
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Former Member
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Posted 26 Mar 2017 4:17 am
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Thanks Andy,
I also have a D,(which could change) on top, and a Bb on the bottom. So I'm going to write it out and see what I can make out of your transcription.
I first tried this the other day with Guy's sheet of Little GS. I wanted to change from E7 to this bluesy G7 I came up with, (without having to change the Gmaj strings on my tricone). I made two versions of the tune, but had issues. I now know it's not so easy to change keys unless the string notes correspond.
E7 L-H = EBDG#BE
G7 L-H = GBDFBD ..But my 7th went from the 4th string to the 3rd in G7.
I liked most of what I came up with, and it started sounding like a cross of sweet Georgia brown and LGS.
A good exercise though, and gave me some ideas..
I like slants, to my ears they need to be strategically placed. |
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Stefan Robertson
From: Hertfordshire, UK
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Posted 27 Mar 2017 12:08 pm
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man that reharmonisation looks tough.
Really different melody note choices but nice to see a different approach.
I don't envy you guys with less strings.
Great job Andy looks good though and that is the key.
For the F#m7b5 I ignore the b5 and just play an F#m7. _________________ Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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David M Brown
From: California, USA
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Posted 27 Mar 2017 1:59 pm
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Stefan Robertson wrote: |
For the F#m7b5 I ignore the b5 and just play an F#m7. |
Not to my ear. You could play it as if it were Am/F# - but you need the half diminished chord sound there to be correct. |
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Stefan Robertson
From: Hertfordshire, UK
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Posted 27 Mar 2017 11:10 pm
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David M Brown wrote: |
Stefan Robertson wrote: |
For the F#m7b5 I ignore the b5 and just play an F#m7. |
Not to my ear. You could play it as if it were Am/F# - but you need the half diminished chord sound there to be correct. |
I only play it the second part leading to the B section. Sounds ok. But I guess its because I play the individual notes to maintain the melody.
As full chords sometimes sound too guitar like and cluttered for steel. _________________ Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Stefan Robertson
From: Hertfordshire, UK
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