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Topic: 'Django's Castle' forward slant fest (video) |
Guy Cundell
From:
More idle ramblings from South Australia
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Posted 15 Aug 2018 4:28 pm |
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Here's my arrangement of Manoir De Mes Reves, also known as Django's Castle. There are many forward slants with double stops includes. Is it in tune? You be the judge. I've been playing this for a couple of weeks and it is OK to my ears and the band hasn't complained like they have on other occasions. The scale of the Beard is about 25 1/4", so fairly long. The slants should be harder towards the nut but it doesn't feel much easier up the neck.
https://youtu.be/ytM_Z5T3tBY
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John Rosett
From:
Missoula, MT
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Posted 15 Aug 2018 6:26 pm
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Very nice!
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"it's not in bad taste, if it's funny." - john waters |
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Andy Volk
From:
Boston, MA
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Posted 16 Aug 2018 12:58 am
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Beautiful, Guy!
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Steel Guitar Books! Website: www.volkmediabooks.com |
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Doug Beaumier
From:
Northampton, MA
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Bill Groner
From:
QUAKERTOWN, PA
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Posted 16 Aug 2018 6:12 am
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AWESOME!!! 
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Currently own, 6 Groner-tone lap steels, one 1953 Alamo Lap steel, Roland Cube, Fender Champion 40 |
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Miles Lang
From:
Venturaloha
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Posted 16 Aug 2018 10:41 am
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| Awesome! |
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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 16 Aug 2018 3:11 pm
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| Thank you for the vote of confidence John, Andy, Doug, Bill and Miles. It is a beautiful tune that lays out well in its original key in A6. That chord in the third bar is unusual. It really shimmers if you let it ring. There are not too many contexts where it works other than a ballad like this one. It is a close voiced major thirteenth. While there is just one semitone interval there, I imagine that there must also be some overtones beating against one another above the fundamental tones. |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 17 Aug 2018 12:27 am
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Nice Guy. Those A7/Bb etc chords finally I can use. I see them as finally using a mM7 chord.
Eg.
in the context of the song Your A7/Bb is simply a GmM7 in root position Root, b3, M7
Straight bar for me yessssss!!!
_________________
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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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 17 Aug 2018 8:27 pm
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Thanks for that Stephan but I think you’re holding the wrong end of the bat when it comes to the chords on the chart. They are lifted from the lead sheet in the Django Real Book to be used only as a guide for accompaniment. They are by no means an analysis of the chords used in the tab.
The bass note of first A7/Bb chord (meaning A7 with Bb bass) is often not used in performance and is only faintly detectable in the original recording. (Check the Joe Pass version below) What it does do is to add extra colour to the A7 chord making it A7b9 or maybe a form of Bbdim or Dbdim, all functioning as a dominant chord in D major. (I am mystified as to how you can hear some equivalency with GmM7.)
The name of the game in creating chord melody is to harmonise the melody note with relevant notes from the underlying chord type, (major/minor/dominant) using whatever extra colours you can and progressing smoothly to the next chord (voice leading), creating or resolving dissonance. So, the first chord in my charts is an A13b9 (no 3rd). The trick is to identify what each note of the melody is in the chord below it. There are some beautiful ones in this tune.
The problem for steel guitar is the limited choices that are available but, in the words of Stevie Wonder, “You’ve gots to work with what you’ve gots to work with.†However, I am sure that your tuning offers many more opportunities than does ol’ A6 so I look forward to hearing your recording of this fairly simple melody in the future. It is a good piece to work on because there are so few notes in the melody.
Joe Pass version
https://www.youtube.com/watch?v=L-Wh9jEPyfU |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 20 Aug 2018 1:01 am
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| Guy Cundell wrote: |
Thanks for that Stephan but I think you’re holding the wrong end of the bat when it comes to the chords on the chart. They are lifted from the lead sheet in the Django Real Book to be used only as a guide for accompaniment. They are by no means an analysis of the chords used in the tab.
The bass note of first A7/Bb chord (meaning A7 with Bb bass) is often not used in performance and is only faintly detectable in the original recording. (Check the Joe Pass version below) What it does do is to add extra colour to the A7 chord making it A7b9 or maybe a form of Bbdim or Dbdim, all functioning as a dominant chord in D major. (I am mystified as to how you can hear some equivalency with GmM7.)
The name of the game in creating chord melody is to harmonise the melody note with relevant notes from the underlying chord type, (major/minor/dominant) using whatever extra colours you can and progressing smoothly to the next chord (voice leading), creating or resolving dissonance. So, the first chord in my charts is an A13b9 (no 3rd). The trick is to identify what each note of the melody is in the chord below it. There are some beautiful ones in this tune.
The problem for steel guitar is the limited choices that are available but, in the words of Stevie Wonder, “You’ve gots to work with what you’ve gots to work with.†However, I am sure that your tuning offers many more opportunities than does ol’ A6 so I look forward to hearing your recording of this fairly simple melody in the future. It is a good piece to work on because there are so few notes in the melody.
Joe Pass version
https://www.youtube.com/watch?v=L-Wh9jEPyfU |
Response for Theory lovers.
OK So I was referring to the Notes G, Bb, F# being GmM7 - Root b3 M7
Instead of b9, M3, Root. LOL but the notes are the same.
OK So I'll look more at the Joe Pass version as the more common voicings that Sheryl Bailey was saying Jazz players use heavily for 7b9 is - b9, b7, M3 OR b9, M3, b7.
Either way I have all of those voicings so I'll spend some time then moreso on the Joe Pass version.
in reference to your voicing I was looking at the notes more than the chord function as I have been waiting to use that voicing of a mM7 which all this time was simply another 7b9 function voicings. LOL
_________________
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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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 20 Aug 2018 3:45 am
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Ok, Stephan. I get the GmM7 but I still think you are coming at it from the wrong direction. I am sure you have plenty of chords available but you need to work backwards from the melody.
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 20 Aug 2018 4:55 am
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Haven't attempted to even work on it chord melody wise.
So I know what you mean.
Misunderstanding as I was merely exclaiming that your instance of a GmM7 voicing was helpful as I usually don't use that chord/voicing ever but was dying to try as it always sounds bad when functioning as a mM7 to my ears.
As for chord melody my choices would be quite different and more guitar/pedal steel like due to inversion options.
Eg.
I may try 13b9 melody note on the 13th
Then a D or a D6 or a DM7 with the 5th as melody note
So forth and so on.
_________________
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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