Straight, No Chaser tab

Mike Neer · From: NJ

I have posted to my Lapsteelin' blog for the first time in a long time. On tap today is tab for the head to Straight, No Chaser, which I must brag and say is pretty cool! Check it out: http://www.lapsteelin.com/2017/07/19/straight-no-chaser/

I'd be happy to discuss anything about the tune or recording here. Looking forward to it!
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Stefan Robertson · From: Hertfordshire, UK

Yay. My theory is starting to pay off in drips and drabs.

So looking at your version from your Bebop book these are the notes of the Bb Chromatic scale Entirely. Yay Or at least its how I can play it.

So I'm assuming its the same now you have transposed it to A.

This entire lick is my closed position 6th Fret. Nice

PS I stay away from open strings unless absolutely necessary. Easier for me to transpose for now.
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Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
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Mike Neer · From: NJ

It's all the same notes (transposed) but it's played entirely differently. I think this was a pretty creative way of playing it.
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Stefan Robertson · From: Hertfordshire, UK

I dig the approach as the chords are changing under it gives it a different feel. Makes it sound more advanced than it is.

Theoretically it probably is.

I'm digging the fills you do after on the album also grabbing some chords every now and then. You should def share that.
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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"

David Mason · From: Cambridge, MD, USA

That is extremely strange, Mike. And/or brilliant! Coming into it in such an unusual way means you can come OUT of it in a new way too. I have long thought that chromatic lines, rather the lack of them, can hold steel guitar playing back until you work though some systematic way of using them. On a six-string guitar, using your (left-hand) middle finger - or not - is surely one of the biggest ways to change the time orientation of the licks and melodies. Towards re-iterating a lick, but on a different beat? Ye Olde "rhythmic displacement." It's there on a steel guitar, just not used much. For horn players it's as easy as breathing.

But WHAT were you even THINKING about here when it popped - "Cliffs of Dover?" Even, daresay, John Fogerty or something? So-called "harp harmonics?" Wow. (a gift from the benevolent saucer-lords?)

Stefan Robertson · From: Hertfordshire, UK

Just had another go at this and love the change in direction sound. I am using your bebop tabledit version as a reference on Bb.

Man I get that bop idea. Instead of running the full 2 octave scale it's that switch back and forth that I was looking for.

Now to study the why it works.

Also the chords underneath are really dark Monk voicings that are really mainly minor triad inversions with the occasional 13th chord to connect and drop2 m7 voicings.

so it's a Bb minor blues piece.

Just wondering can I place a mM7 somewhere and how?
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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"

Mike Neer · From: NJ

Not a minor blues, just a straight up Bb blues.
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Andy Volk · From: Boston, MA

The use of open notes in the head is really brilliant, Mike, so bragging deserved. It reminds me of some of the standard guitar arrangements I've seen that Chet Atkins did where he created some incredible licks that would otherwise be very difficult to play by using open strings in conjunction with fretted strings in unexpected ways. The Hellecasters (John Jorgensen, Will Ray, Jerry Donahue) had a few columns in Guitar Player years ago where they showed examples of this concept. I often use high and low drone strings in chords but the way you use 'em for melody on this cut is so cool. I will try to look for more opportunities to steal - er, borrow - this idea.
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Charlie McDonald · From: out of the blue

I wouldn't have known this unless I read it; it does make the playing make sense. I also enjoy the way you write about it, intelligently.

The tune knocks me out: Monk composing outside the box, when there really was no box.

Mike Neer · From: NJ

When you are arranging tunes as an artist, rather than playing as a sideman, you have the luxury of amending things in order to benefit your performance, whereas as a sideman, you may not be able to take advantage of things like this. On a gig with someone else, I'd be playing this head (if I'm playing it at all) differently.

This is why it is so important for the proliferation of the instrument to become as complete a musician as you can.
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Stefan Robertson · From: Hertfordshire, UK

Haha I was wondering why I thought it was a minor Blues with inversions.

Now I'm looking at it right. A standard Bb blues. With Dominants, 13th and m7
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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"

Joseph Carlson · From: Grass Valley, California, USA

Thanks for sharing. This opens up some new ideas for getting chromatic runs that don't sound so "slidey", for lack of a better term.

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