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Topic: How to apply two note chords. |
Tom Mikkelson
From:
Kansas, USA
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Posted 11 Feb 2021 1:06 pm |
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| Are there any rules for picking the best two notes for playing chords normally using four to five notes? I know theory pretty well but having played the guitar for 50 years I've never had to contend with this concept. Any information or reference material will be deeply appreciated. Thanks in advance. |
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Travis Brown
From:
Florida, USA
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Posted 11 Feb 2021 1:24 pm
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I'm not much of a steel player, but years ago I read that the 3rd and 7th are the notes that most clearly define chords (assuming you have another instrument playing the bass note).
Since I read that, I have experimented with just playing the 3rd and 7th in my right hand on piano, and I have to say it gets you most of the way there. I personally would include the 6th and 3rd as a viable combination, especially on lap steel.
Now that I think about it, maybe I need to apply this to lap steel!!! |
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Dana Blodgett
From:
California, USA
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Posted 11 Feb 2021 2:20 pm
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Tom try the “search†feature here on the forum. Under “My Chord Charts†by Jesse Leite, you will arrive with some ideas about your post, about a dozen or so posts in you’ll see some tablature of 2 note “Harmonized Scalesâ€.by Scott Swartz...This hopefully will give you some ideas.
You didn’t say what kind of chords
You mentioned 4 or 5 notes
If your familiar with music theory I’d say that a 4 note arpeggio (R, 3, 5, 7) at any interval in a Major Scale can be played over the 2 chord.
In key of C Any Major 7th arpeggio can be played over the dm7(2)
CMaj7-dm7-em7-Fmaj7-G7-am7-bm7b5-Cmaj7
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Dana Blodgett
From Los Osos,Ca.
'74 ShoBud 6140 3+4, Martins HD28,D-12-28, D-15,'65 Gibson LG-1, '77 Gibson Les Paul special dbl cut p-90's, Les Paul Special p-100's,Les paul Special Hybrid(maple top) hbkr's,'68 Fender Strat reissue, Fender Squire Jazz bass,Epi mandolin,Epi Wilshire '66 reissue, Kamaka Concert uke, 70's Kamaka Soprano Uke, Fender Super amp, Ampeg ba112 bass amp,60's harmony banjo,'00 Gibson SG Supreme
Last edited by Dana Blodgett on 11 Feb 2021 7:24 pm; edited 2 times in total |
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Bill McCloskey
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Posted 11 Feb 2021 3:10 pm
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| The 3rds and 7ths give the flavor of the chord. You can skip the 5ths and the bass will usually pick up the root. |
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Fred Treece
From:
California, USA
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Posted 11 Feb 2021 6:41 pm
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| Dana Blodgett wrote: |
a 4 note arpeggio (R, 3, 5, 7) at any interval in a Major Scale can be played over the 2 chord.
In key of C Any Major 7th arpeggio can be played over the dm7(2)
CMaj7-dm7-em7-Fmaj7-Gmaj7-am7-bm7b5-Cmaj7 |
Not really sure what you’re trying to say here, but definitely do not play a Gmaj7 arp over a Dm7 chord. If you meant G7, okay. The 2m chord does indeed open up a lot of diatonic note choice, but one of the best two-note options is probably still the b3/b7 of the chord itself. |
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Dana Blodgett
From:
California, USA
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Posted 11 Feb 2021 7:23 pm
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Sorry, Fred is right, my boo bo, I meant the V7 (G7).
I corrected it
_________________
Dana Blodgett
From Los Osos,Ca.
'74 ShoBud 6140 3+4, Martins HD28,D-12-28, D-15,'65 Gibson LG-1, '77 Gibson Les Paul special dbl cut p-90's, Les Paul Special p-100's,Les paul Special Hybrid(maple top) hbkr's,'68 Fender Strat reissue, Fender Squire Jazz bass,Epi mandolin,Epi Wilshire '66 reissue, Kamaka Concert uke, 70's Kamaka Soprano Uke, Fender Super amp, Ampeg ba112 bass amp,60's harmony banjo,'00 Gibson SG Supreme |
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Jean-Sebastien Gauthier
From:
Quebec, Canada
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Posted 12 Feb 2021 4:12 am
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I suggest you to learn scales harmonized in 3rd and 6th. If you play country or blues guitar I guess you already learned your "double stops"?
I think they are one of the best tool for steel.
You can also look for Freddie Green (guitar), I think he is the king of 2 notes chord comping. |
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Tom Mikkelson
From:
Kansas, USA
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Posted 12 Feb 2021 4:50 am
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| Thanks everyone for the tips. And Dana Blodgett thanks for the info here on the forum I will check them out. |
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Peter Krebs
From:
Portland, Oregon, USA
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Posted 12 Feb 2021 10:00 am
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| It’s been helpful to me in figuring this stuff out to voice ‘double stops’ with the 3rd in the bass position and the color (or tension note) above it (as opposed to the reverse). Makes more sense to my guitar player brain/ears for some reason. With all the ‘chords’ you can grab via slants, it can get confusing! My 2c. Good luck! |
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Fred Treece
From:
California, USA
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Posted 12 Feb 2021 11:19 am
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| Peter Krebs wrote: |
| It’s been helpful to me in figuring this stuff out to voice ‘double stops’ with the 3rd in the bass position and the color (or tension note) above it (as opposed to the reverse). Makes more sense to my guitar player brain/ears for some reason. With all the ‘chords’ you can grab via slants, it can get confusing! My 2c. Good luck! |
This excellent point brings up the question of voicing and voice-leading. Sometimes the two voices (3rds and 7ths, or 5ths and 3rds, or whatever) sound better when they’re inverted depending on what voicing precedes and follows the current voicing.
A simple example would be to take two dom7 chords, G7 and C7. Try following F/B (7/3 of G7) with E/Bb (3/7 of C7). This works better (IMO) than following 7/3 after another 7/3, or 3/7 followed by another 3/7. |
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Tom Mikkelson
From:
Kansas, USA
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Posted 13 Feb 2021 6:31 am
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| Thanks Fred Treece, looks like some good info to put into practice. |
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James Kerr
From:
Scotland, UK
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Posted 13 Feb 2021 1:06 pm
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Hi Tom,
This only refers to Instrumental playing not accompanying.
I use a very simple style of playing with the Melody being only one note and two note chords used to embellish that where needed. I never use whole bunches of notes in a chord.
Have a listen to this one written by Lloyd Green the master himself. and see what you think.
https://www.youtube.com/watch?v=Mwta8z3ylJU
James Kerr. |
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Tom Mikkelson
From:
Kansas, USA
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Posted 13 Feb 2021 1:17 pm
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Hi James
Yes that was nice. I have just started the steel guitar and I am used to playing both chords and lead on my guitar. I'm working on transitioning my approach playing the steel as compared to my guitar. Thanks for the info, I can use all I can get. |
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