| Author |
Topic: Hello!!!! Counter points re-visited |
Ricky Davis
From:
Bertram, Texas USA
|
Posted 20 Feb 2001 9:43 pm |
|
Thought I would start off another counter point thread and this one is on the E9th pedal steel.
And it's also a test(ha....... 
Name the chord on the "&" of 1?
This is a counter point ending from 5 chord to 1 chord.
There are 4 beats per measure and you start the lick on the 3rd beat of the measure> noted below tab; and end on the 1 beat of next measure or end of song(whatever).
An ending from D to G
3.__________________
4._10__9__8__7R~~6R~
5.___________7~~~6a~
6.________8__7~~~6~~
7._____9____________
8._10_______________
9.__________________
(3) & (4) & (1)
Have fun and lets get some more up here folks; these are great moves that show off the styling of the pedal steel.
------------------
Ricky Davis
My Homepage
Rebel™ and Ricky's Audio Clips
www.mightyfinemusic.com
Email Ricky: sshawaiian@aol.com
|
|
|
 |
Fred Truitt
From:
Port au Port, Newfoundland, Canada
|
Posted 21 Feb 2001 4:17 am
|
|
Hello Mr. Ricky
As always, thanks for your input. I'm not good at the technical side so I had to use notes in order to answer the test question. Is that legal? If I understand the question, I think that is a Cdim chord. Anyhoo, that is a great lick. Jeff Lampert has me working so hard on C6th, I haven't touched E9th in a couple of weeks. I'll be watching this thread.
Regards......Fred |
|
|
|
P Gleespen
From:
Toledo, OH USA
|
Posted 21 Feb 2001 4:30 am
|
|
I think that while it technically IS a Cdim triad, that in this context, it's functioning as an Ab7 chord (A flat Dominant 7), which is the "subV7" chord of G.
Oh, and I almost forgot, nice lick! I love those counterpoint lines like that.
[This message was edited by P Gleespen on 21 February 2001 at 04:32 AM.] |
|
|
|
Dave Little
From:
Atlanta
|
Posted 21 Feb 2001 4:34 am
|
|
| Test Answer: Tacit |
|
|
|
Jeff Lampert
From:
queens, new york city
|
Posted 21 Feb 2001 6:07 am
|
|
1_________________________________________________________________________________
2____6LL_~_7LL_~_6_~_8____________________________________________________________
3____________________________________11___10___8b_~_8_____________________________
4_________________________8____________________8L_~_8_____________________________
5____6a__~__7__~_6_~_8____________________10______________________________________
6_________________________8__________11___________________________________________
7_________________________________________________________________________________
8_________________________________________________________________________________
9_________________________________________________________________________________
10________________________________________________________________________________ |
|
|
|
Jeff Lampert
From:
queens, new york city
|
Posted 21 Feb 2001 6:50 am
|
|
| Since the chord is resolving into a G, my guess is that would be a D7b9. Same notes as the diminished, but with a D bass note. If an Ab bass note is used, then Ab7. [This message was edited by Jeff Lampert on 21 February 2001 at 07:03 AM.] |
|
|
|
Ricky Davis
From:
Bertram, Texas USA
|
Posted 21 Feb 2001 11:11 am
|
|
Well in the context of it being the 5 chord of G which is D>and D was being played on the bass; than yes Jeff got the cake>D7b9.
the 4th string is the b7th tone of D; the 5th string is the natural 3rd tone of D; and the 6th string is the b9th tone in the chord description. Yes a dim. triad and yes also a variation of a dim13th. So all in all the 7b9; dim.9;13thdim; are all great resolve chords.
Oh and here is my next counter point.
From D back to G.
1.____________________|____
2._____11L____________|____
3.~10__11___13~~~~~~~~|____
4.~10__11R__13L~13~13R|_~15
5.~10_______13~~~~~~~~|_~15
6.____________________|_~15
7.____________________|____
(1) (2) (3) & (4) (1)
Have fun.
Ricky |
|
|
|
P Gleespen
From:
Toledo, OH USA
|
Posted 21 Feb 2001 11:23 am
|
|
| . [This message was edited by P Gleespen on 21 February 2001 at 11:27 AM.] |
|
|
|
P Gleespen
From:
Toledo, OH USA
|
Posted 21 Feb 2001 11:27 am
|
|
Drat. There I go overcomplicating the harmony again!
[This message was edited by P Gleespen on 21 February 2001 at 11:30 AM.] |
|
|
|
Ricky Davis
From:
Bertram, Texas USA
|
Posted 21 Feb 2001 12:25 pm
|
|
I know just what ya mean P. I'm always thinkin' and hearing in Harmony.
Actually part of what everyone has said is true>so it's really a test of how one looks at a possibility that fits all.
Ricky |
|
|
|
Larry R
From:
Navasota, Tx.
|
Posted 21 Feb 2001 1:35 pm
|
|
| Ok, I'll be the first to show my ignorance. What is a counterpoint and how is it used? |
|
|
|
Ernie Renn
From:
Brainerd, Minnesota USA
|
Posted 21 Feb 2001 8:58 pm
|
|
Ricky;
The first lick in the thread: Lynn Owsley showed me this lick. It's the "J-E-L-L-O!" lick. I like the counterpoint licks, too.
------------------
My best,
Ernie
The Official Buddy Emmons Website
www.buddyemmons.com
|
|
|
|
Ricky Davis
From:
Bertram, Texas USA
|
Posted 21 Feb 2001 10:37 pm
|
|
Hi Larry. A Counter point as spoken about on the Steel guitar is when you have one melody line going up a scale(of some sort) and the other melody line going down a scale. I also consider one note staying the same as another note is move through a scale>to be a counter point also(But that's just me).
Ernie> Cool that Lynn showed you that> So what does that ("he always has to be funny") Lynn mean by it's the Jello Lick????
Ricky |
|
|
|
Ernie Renn
From:
Brainerd, Minnesota USA
|
Posted 22 Feb 2001 3:41 am
|
|
Ricky;
It's like the theme for Jello in the commercials. You know, J-E-L-L-O...
------------------
My best,
Ernie
The Official Buddy Emmons Website
www.buddyemmons.com
|
|
|
|
Ricky Davis
From:
Bertram, Texas USA
|
Posted 22 Feb 2001 11:19 am
|
|
| Gotcha Ernie>that's is it.(ha....... |
|
|
|
Bengt Erlandsen
From:
Brekstad, NORWAY
|
Posted 23 Feb 2001 5:54 pm
|
|
This will wake up your Piano-man.
1------------5--------------------------------------------------3-----------
2------------------------------4~~~~~4L-3LL---3LL--------------------3LL----
3---5-----------------------------------------------------4~~3--------------
4---------------------5--------------------------------5-----------3--------
5------------------------------4~~~~~~--3--------4A~5A--------------------3-
6------------5--------5B----------------------------------------------------
7---5-----------------------------------------------------------------------
8---------------------------------------------------------------------------
9---------------------------------------------------------------------------
10---------------------------------------------------------------------------
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
1---------------------------------------------------------------------------
2------------4--------------------------------------------------------------
3---------------------------------------------------------------------------
4---------5--------------------------------------------------------17~~~~~--
5---------------------5A-------6--------5-----7--7A----9A-------------------
6---4~~5-----4B-------5B-------6B---------------------------------17~~~~~~--
7----------------------------------------------------------------17~~~~~~~--
8---------------------------------------------------------------------------
9---------------------------------------------------------------17~~~~~~~~--
10---------------------------------------5-----7--7A----9A-------------------
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Bengt
|
|
|
|
