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Topic: Playing on Changes |
Robert Porri
From:
Windsor, Connecticut, USA
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Posted 21 Oct 2004 8:52 am |
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It is not easy to put into words what I want to ask. But here goes an attempt...
When playing against certain chords and wanting to add moving lines (say double notes), is it best to stay within the same key, unless the key specifically changes? Here's an example of what I mean. E9 tuning. I'm using strings 3 and 5 throughout this example. Thinking of a I chord and a IV chord in the key of A, on the A chord (I chord), I could play strings 3 and 5 together with pedals AB at the 12th fret. Then maybe for some movement, release the pedals and move up the same strings to the 15th and then 17th frets. Creating a bit of a harmonized A major scale. Then, say we change to the D chord (IV chord). I could stay in the harmonized A scale and play the 17th fret pedals AB down, move the bar up to the 19th fret (AB down), then onto the 22nd fret releasing the pedals. To my knowledge, that keeps me in an A major harmonized scale (would you say diatonically harmonized?). BUT, is it also valid to sort of start thinking of the D (IV) chord the same as the A (I)chord as far as embellishing it, mimicking the same movements used on the A chord? In other words, playing the 17th fret AB down, 20th fret no pedals and 22nd fret no pedals.
If I didn't mess up my example above, the basic question is which should be used? Why? Can either be used? Why? In what situation would you choose one way or the other? Do you just use your ear and hope someone that knows better isn't listening and cringing??
That sums up a basic question I've had for many years and usually muddle my way through for better or worse. I just dug a little deeper and found that there is a G# note when you stay in the key of A (which would bring out the raised 4th (lydian sound) when you go to the D(IV) chord. Whereas when you play it the other way just mimicking the same movement as was on the A chord, the G# becomes a G natural or a regular 4th in relation to the D chord so it really forces a sort of key change to D.
I hope I've said this all correctly.
Thanks for any help with this.
Bob P. |
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Tim Bridges
From:
Hoover, Alabama, USA
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Posted 22 Oct 2004 4:07 am
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There are numerous ways to do harmonic "walk ups" and/or "walk downs" that can transition from one chord to another, or to transition keys. Alot of this id covered in Jeff Newman's "From the Bottom Up". I believe it is covered in alot of instructional material. There are really dood ones using the AB pedal combinations as well as the BC combinations. Depending on your set up, you can also use 7th chords. In my case it is pedal B and LKR playing the standard major chord string combinations on the E9th neck. You can also use the A pedal alone, or alternately with the AB, or BC combinations; at the appropriate frets and scale intervals. So much of this will depend on the voicing and timing you seek. Hope this helps.  |
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Jeff Lampert
From:
queens, new york city
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Posted 22 Oct 2004 8:43 am
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Robert, you've analyzed it correctly. If you stay in the A scale over the D chord, the "lydian" sound is the G# note played over the D chord. If you go to the D scale, then you play a G note instead. There is no right or wrong. These are valid options. You play what sounds best to you but what sounds best in one song may not be what sounds best in a different song.
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[url=http://www.mightyfinemusic.com/jeff's_jazz.htm]Jeff's Jazz[/url]
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