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Topic: The penny dropped |
Stefan Robertson
From:
Hertfordshire, UK
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Posted 12 Sep 2022 12:08 pm |
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So after understanding the theory chord wise and the flexibility one can use on any given chord the penny dropped.
Most lap steel playing is based around the melody note. All other notes underneath are what the tuning gives most players in a straight bar under the bloody bar. Hence why the theory behind substitutions on lap steel seem to be somewhat lacking.
Only players who have committed to a specific tuning need to know the theory to find the equivalent under their bar.
I say this not trying to upset or offend but realise that in sticking to one tuning you better know it inside out or play songs in specific tunings. My path is not right or preferred by most but I’d rather work in my one tuning.
I figure. If I can do it on my tuning and mimic the sentiment of another tuning then I’ve learnt 2 things. The instrument better and the chord theory. Which means further down the road more freedom.
Ps the penny dropped when I compared all the things you are by Tom Morrell vs Doug Jernigan. The melody note on both is key. E13 is grab central. The penny bloody dropped. Lol. Finally. I get why the substitutions are made it’s pretty much based entirely on the darn melody note. Video to come.
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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" |
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Tim Toberer
From:
Nebraska, USA
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Posted 13 Sep 2022 5:06 am
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| Quote: |
| The melody note on both is key. |
I had to re-read your post a couple times Stefan, but I think I get what you are saying. I have been having some revelations myself regarding harmonizing any particular melody. You are really in the deep end of the pool with All The Things You Are! I know that is where you love to hang out these days. For me I have been stepping away from the theory thing and just getting back to playing with feeling, which is what I started to lose by immersing myself in theory every day. I have been arranging old folk songs I love cause the melodies are expressive and easy. The melody note is key and 99% of the time it is the highest note. Harmonizing with 2 and 3 note chords, it seems the notes below the melody note should flow in a sort of counterpoint melody, or create the sense of a compatible chord. This seems to happen organically on steel guitar without thinking that much about theory. If it sounds good, it is good! |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 13 Sep 2022 5:45 am
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Exactly Tim. Now I get why Buddy Emmons even surprised himself. Some theory can explain some moves but I'm realising if it works use it.
His laugh was not only mistakes but sometimes different approaches to the same melody and I guess he would laugh when it worked like a child experiencing a magic trick as well.
Been pretty much studying Buddy and Doug and starting to connect the dots between playing styles and chord melody approaches.
_________________
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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Mike Neer
From:
NJ
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Posted 13 Sep 2022 6:08 am
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If you really want to understand what is possible harmonically, listening to piano players is really the only way. Herbie, Ahmad Jamal, bill Evans, Geri Allen, Monk, Keith Jarrett, Paul Bley, etc. Those are my heroes.There are endless possibilities and many cannot be explained simply, they just have to be heard. Listening to steel players is only going to get one foot in the door, and that foot is most often what is possible to physically play instead of what can be conceptualized. I try to always hear it first and then figure out how to make it work. I like to play with with other musicians, so I tend I to be sparing in the voicings I choose and I let others fill in the gaps.
This version of All The Things is a little out there, but so am I. I recorded this demo a couple of years ago when I was trying to come up with a concept for the Real Book cd.
https://soundcloud.app.goo.gl/VXdEY2yXkVc3UUzK8
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Links to streaming music, websites, YouTube: Links |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 13 Sep 2022 6:19 am
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| Mike Neer wrote: |
If you really want to understand what is possible harmonically, listening to piano players is really the only way. Herbie, Ahmad Jamal, bill Evans, Geri Allen, Monk, Keith Jarrett, Paul Bley, etc. Those are my heroes.There are endless possibilities and many cannot be explained simply, they just have to be heard. Listening to steel players is only going to get one foot in the door, and that foot is most often what is possible to physically play instead of what can be conceptualized. I try to always hear it first and then figure out how to make it work. I like to play with with other musicians, so I tend I to be sparing in the voicings I choose and I let others fill in the gaps.
This version of All The Things is a little out there, but so am I. I recorded this demo a couple of years ago when I was trying to come up with a concept for the Real Book cd.
https://soundcloud.app.goo.gl/VXdEY2yXkVc3UUzK8 |
Love the last chord. What out there re-harmonisation. Love it. What are some of the chord subs that they use.
Definitely will check out some modern piano players.
_________________
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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