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cold turkey
cold turkey
After playing rhythm lead in country and easy listening circles for many
years backing singers I still find the hardest challenge is to try and
introduce a song I have never heard of and midway doing a lead break or turn
around. Yet others seem to handle it with ease and proficiency once the beat
has been described. Searching for vids or advice on this topic has always
been unsuccessful as everyone seems to be in the rut of just learning licks
or riffs so I'll ask this group.. with a smile...
Butts
After playing rhythm lead in country and easy listening circles for many
years backing singers I still find the hardest challenge is to try and
introduce a song I have never heard of and midway doing a lead break or turn
around. Yet others seem to handle it with ease and proficiency once the beat
has been described. Searching for vids or advice on this topic has always
been unsuccessful as everyone seems to be in the rut of just learning licks
or riffs so I'll ask this group.. with a smile...
Butts
Re: cold turkey
donbutts wrote:
> After playing rhythm lead in country and easy listening circles for many
> years backing singers I still find the hardest challenge is to try and
> introduce a song I have never heard of and midway doing a lead break or turn
> around. Yet others seem to handle it with ease and proficiency once the beat
> has been described. Searching for vids or advice on this topic has always
> been unsuccessful as everyone seems to be in the rut of just learning licks
> or riffs so I'll ask this group.. with a smile...
>
> Butts
>
>
>
>
As long as you know the chord progression, whether from a chart or from
memory, you can do it. It's easier if the song is in one key, but if
not, the chord changes will still lead you through possible lead choices
using the chord tones (notes actually making up each chord) as locators,
or homing devices. Sometimes the chord tones are all you need,
especially if there are fast chord changes.
One way to find the notes you want is to use chord shapes, especially
the E, A, and D shapes, as moved up and down the neck, as anchor points
for remembering the associated scales. The middle note of each of these
triads (the fretted strings in each case) is the root. The string above
is the 3rd and the one below is the 5th.
Knowing this, as well as knowing there's only a semitone (one fret)
between 7 and 8, and only a semitone between 3 and 4, as notes of the
scale, tells you where you can find any note in the scale. All the other
notes are two frets (semitones) apart.
Example: an A chord.
Root is on middle fretted string, the 3rd string. Note 7 in the scale
must be one fret down from there. Note 2 in the scale must be two frets
up from there. Note 3 in the scale is the third, and it's on the highest
fretted string, the second, so there must be another 2 located 2 frets
lower, or the open second string (check: two frets up from A is B, the
second note in the A scale, same note as the open B string, so, yes, B
is the second note in the scale). Note 4 in the scale must be one fret
above the 3rd (one fret between 3 and 4) so there's a fourth note at the
second string, third fret. Notes 5 and 6, the only ones not yet
mentioned, are on the fourth string, second fret (5) and two frets up
from there (6).
Move the whole thing up two frets, XX444X, and you can find the notes of
the B major scale just as easily. Try doing that on a piano!
Same applies, with requisite shape changes, to the E and D shapes.
Middle string of those fretted is the root, fifth is below, third above.
Now you know where the scale notes are, start by playing melodies to see
how actual melodies are strung together in practise. You will start to
hear sequences of notes that connect chords together, which after all is
what a melody is.
--
Stephen
Ballina, Australia
donbutts wrote:
> After playing rhythm lead in country and easy listening circles for many
> years backing singers I still find the hardest challenge is to try and
> introduce a song I have never heard of and midway doing a lead break or turn
> around. Yet others seem to handle it with ease and proficiency once the beat
> has been described. Searching for vids or advice on this topic has always
> been unsuccessful as everyone seems to be in the rut of just learning licks
> or riffs so I'll ask this group.. with a smile...
>
> Butts
>
>
>
>
As long as you know the chord progression, whether from a chart or from
memory, you can do it. It's easier if the song is in one key, but if
not, the chord changes will still lead you through possible lead choices
using the chord tones (notes actually making up each chord) as locators,
or homing devices. Sometimes the chord tones are all you need,
especially if there are fast chord changes.
One way to find the notes you want is to use chord shapes, especially
the E, A, and D shapes, as moved up and down the neck, as anchor points
for remembering the associated scales. The middle note of each of these
triads (the fretted strings in each case) is the root. The string above
is the 3rd and the one below is the 5th.
Knowing this, as well as knowing there's only a semitone (one fret)
between 7 and 8, and only a semitone between 3 and 4, as notes of the
scale, tells you where you can find any note in the scale. All the other
notes are two frets (semitones) apart.
Example: an A chord.
Root is on middle fretted string, the 3rd string. Note 7 in the scale
must be one fret down from there. Note 2 in the scale must be two frets
up from there. Note 3 in the scale is the third, and it's on the highest
fretted string, the second, so there must be another 2 located 2 frets
lower, or the open second string (check: two frets up from A is B, the
second note in the A scale, same note as the open B string, so, yes, B
is the second note in the scale). Note 4 in the scale must be one fret
above the 3rd (one fret between 3 and 4) so there's a fourth note at the
second string, third fret. Notes 5 and 6, the only ones not yet
mentioned, are on the fourth string, second fret (5) and two frets up
from there (6).
Move the whole thing up two frets, XX444X, and you can find the notes of
the B major scale just as easily. Try doing that on a piano!
Same applies, with requisite shape changes, to the E and D shapes.
Middle string of those fretted is the root, fifth is below, third above.
Now you know where the scale notes are, start by playing melodies to see
how actual melodies are strung together in practise. You will start to
hear sequences of notes that connect chords together, which after all is
what a melody is.
--
Stephen
Ballina, Australia
Re: cold turkey
>
>
> As long as you know the chord progression, whether from a chart or from
> memory, you can do it. It's easier if the song is in one key, but if not,
> the chord changes will still lead you through possible lead choices using
> the chord tones (notes actually making up each chord) as locators, or
> homing devices. Sometimes the chord tones are all you need, especially if
> there are fast chord changes.
>
> One way to find the notes you want is to use chord shapes, especially the
> E, A, and D shapes, as moved up and down the neck, as anchor points for
> remembering the associated scales. The middle note of each of these triads
> (the fretted strings in each case) is the root. The string above is the
> 3rd and the one below is the 5th.
>
> Knowing this, as well as knowing there's only a semitone (one fret)
> between 7 and 8, and only a semitone between 3 and 4, as notes of the
> scale, tells you where you can find any note in the scale. All the other
> notes are two frets (semitones) apart.
>
> Example: an A chord.
>
> Root is on middle fretted string, the 3rd string. Note 7 in the scale must
> be one fret down from there. Note 2 in the scale must be two frets up from
> there. Note 3 in the scale is the third, and it's on the highest fretted
> string, the second, so there must be another 2 located 2 frets lower, or
> the open second string (check: two frets up from A is B, the second note
> in the A scale, same note as the open B string, so, yes, B is the second
> note in the scale). Note 4 in the scale must be one fret above the 3rd
> (one fret between 3 and 4) so there's a fourth note at the second string,
> third fret. Notes 5 and 6, the only ones not yet mentioned, are on the
> fourth string, second fret (5) and two frets up from there (6).
>
> Move the whole thing up two frets, XX444X, and you can find the notes of
> the B major scale just as easily. Try doing that on a piano!
>
> Same applies, with requisite shape changes, to the E and D shapes. Middle
> string of those fretted is the root, fifth is below, third above.
>
> Now you know where the scale notes are, start by playing melodies to see
> how actual melodies are strung together in practise. You will start to
> hear sequences of notes that connect chords together, which after all is
> what a melody is.
>
--
> Stephen
> Ballina, Australia
Thanks for prompt reply Stephen and I will study your advice and see what I
gain from it. I ommitted to say that we do get a chord chart and have just
been playing from ear from the chords given. I dont really think about the
root note etc as I usually just play any required note by ear rather than
position. Trouble is I lack originality when only given a few moments to
kick it all off and find myself doing the old 1,4 and 5 routine more like a
pedal steel. Thought there might be a lesson or two on this topic where you
can categorise the usual types of songs and have a variety of intros for
that category. eg a 6/8 beat grab an intro from 'file' with eight notes to
the bar and utilise them as per the chord structure. Clear as mud??
Butts
enzed
(across the ditch)
>
>
> As long as you know the chord progression, whether from a chart or from
> memory, you can do it. It's easier if the song is in one key, but if not,
> the chord changes will still lead you through possible lead choices using
> the chord tones (notes actually making up each chord) as locators, or
> homing devices. Sometimes the chord tones are all you need, especially if
> there are fast chord changes.
>
> One way to find the notes you want is to use chord shapes, especially the
> E, A, and D shapes, as moved up and down the neck, as anchor points for
> remembering the associated scales. The middle note of each of these triads
> (the fretted strings in each case) is the root. The string above is the
> 3rd and the one below is the 5th.
>
> Knowing this, as well as knowing there's only a semitone (one fret)
> between 7 and 8, and only a semitone between 3 and 4, as notes of the
> scale, tells you where you can find any note in the scale. All the other
> notes are two frets (semitones) apart.
>
> Example: an A chord.
>
> Root is on middle fretted string, the 3rd string. Note 7 in the scale must
> be one fret down from there. Note 2 in the scale must be two frets up from
> there. Note 3 in the scale is the third, and it's on the highest fretted
> string, the second, so there must be another 2 located 2 frets lower, or
> the open second string (check: two frets up from A is B, the second note
> in the A scale, same note as the open B string, so, yes, B is the second
> note in the scale). Note 4 in the scale must be one fret above the 3rd
> (one fret between 3 and 4) so there's a fourth note at the second string,
> third fret. Notes 5 and 6, the only ones not yet mentioned, are on the
> fourth string, second fret (5) and two frets up from there (6).
>
> Move the whole thing up two frets, XX444X, and you can find the notes of
> the B major scale just as easily. Try doing that on a piano!
>
> Same applies, with requisite shape changes, to the E and D shapes. Middle
> string of those fretted is the root, fifth is below, third above.
>
> Now you know where the scale notes are, start by playing melodies to see
> how actual melodies are strung together in practise. You will start to
> hear sequences of notes that connect chords together, which after all is
> what a melody is.
>
--
> Stephen
> Ballina, Australia
Thanks for prompt reply Stephen and I will study your advice and see what I
gain from it. I ommitted to say that we do get a chord chart and have just
been playing from ear from the chords given. I dont really think about the
root note etc as I usually just play any required note by ear rather than
position. Trouble is I lack originality when only given a few moments to
kick it all off and find myself doing the old 1,4 and 5 routine more like a
pedal steel. Thought there might be a lesson or two on this topic where you
can categorise the usual types of songs and have a variety of intros for
that category. eg a 6/8 beat grab an intro from 'file' with eight notes to
the bar and utilise them as per the chord structure. Clear as mud??
Butts
enzed
(across the ditch)
Re: cold turkey
"donbutts" <remove.donneybutts@hotmail . com > wrote in message
news:gyENj.9735$3N1.7700@newsfe17.lga...
>
>>
>>
>> As long as you know the chord progression, whether from a chart or from
>> memory, you can do it. It's easier if the song is in one key, but if not,
>> the chord changes will still lead you through possible lead choices using
>> the chord tones (notes actually making up each chord) as locators, or
>> homing devices. Sometimes the chord tones are all you need, especially if
>> there are fast chord changes.
>>
>> One way to find the notes you want is to use chord shapes, especially the
>> E, A, and D shapes, as moved up and down the neck, as anchor points for
>> remembering the associated scales. The middle note of each of these
>> triads (the fretted strings in each case) is the root. The string above
>> is the 3rd and the one below is the 5th.
>>
>> Knowing this, as well as knowing there's only a semitone (one fret)
>> between 7 and 8, and only a semitone between 3 and 4, as notes of the
>> scale, tells you where you can find any note in the scale. All the other
>> notes are two frets (semitones) apart.
>>
>> Example: an A chord.
>>
>> Root is on middle fretted string, the 3rd string. Note 7 in the scale
>> must be one fret down from there. Note 2 in the scale must be two frets
>> up from there. Note 3 in the scale is the third, and it's on the highest
>> fretted string, the second, so there must be another 2 located 2 frets
>> lower, or the open second string (check: two frets up from A is B, the
>> second note in the A scale, same note as the open B string, so, yes, B is
>> the second note in the scale). Note 4 in the scale must be one fret above
>> the 3rd (one fret between 3 and 4) so there's a fourth note at the second
>> string, third fret. Notes 5 and 6, the only ones not yet mentioned, are
>> on the fourth string, second fret (5) and two frets up from there (6).
>>
>> Move the whole thing up two frets, XX444X, and you can find the notes of
>> the B major scale just as easily. Try doing that on a piano!
>>
>> Same applies, with requisite shape changes, to the E and D shapes. Middle
>> string of those fretted is the root, fifth is below, third above.
>>
>> Now you know where the scale notes are, start by playing melodies to see
>> how actual melodies are strung together in practise. You will start to
>> hear sequences of notes that connect chords together, which after all is
>> what a melody is.
>>
> --
>> Stephen
>> Ballina, Australia
>
> Thanks for prompt reply Stephen and I will study your advice and see what
> I gain from it. I ommitted to say that we do get a chord chart and have
> just been playing from ear from the chords given. I dont really think
> about the root note etc as I usually just play any required note by ear
> rather than position. Trouble is I lack originality when only given a few
> moments to kick it all off and find myself doing the old 1,4 and 5 routine
> more like a pedal steel. Thought there might be a lesson or two on this
> topic where you can categorise the usual types of songs and have a variety
> of intros for that category. eg a 6/8 beat grab an intro from 'file' with
> eight notes to the bar and utilise them as per the chord structure. Clear
> as mud??
>
> Butts
> enzed
> (across the ditch)
> intro from 'file' with eight notes to
should that be six??
"donbutts" <remove.donneybutts@hotmail . com > wrote in message
news:gyENj.9735$3N1.7700@newsfe17.lga...
>
>>
>>
>> As long as you know the chord progression, whether from a chart or from
>> memory, you can do it. It's easier if the song is in one key, but if not,
>> the chord changes will still lead you through possible lead choices using
>> the chord tones (notes actually making up each chord) as locators, or
>> homing devices. Sometimes the chord tones are all you need, especially if
>> there are fast chord changes.
>>
>> One way to find the notes you want is to use chord shapes, especially the
>> E, A, and D shapes, as moved up and down the neck, as anchor points for
>> remembering the associated scales. The middle note of each of these
>> triads (the fretted strings in each case) is the root. The string above
>> is the 3rd and the one below is the 5th.
>>
>> Knowing this, as well as knowing there's only a semitone (one fret)
>> between 7 and 8, and only a semitone between 3 and 4, as notes of the
>> scale, tells you where you can find any note in the scale. All the other
>> notes are two frets (semitones) apart.
>>
>> Example: an A chord.
>>
>> Root is on middle fretted string, the 3rd string. Note 7 in the scale
>> must be one fret down from there. Note 2 in the scale must be two frets
>> up from there. Note 3 in the scale is the third, and it's on the highest
>> fretted string, the second, so there must be another 2 located 2 frets
>> lower, or the open second string (check: two frets up from A is B, the
>> second note in the A scale, same note as the open B string, so, yes, B is
>> the second note in the scale). Note 4 in the scale must be one fret above
>> the 3rd (one fret between 3 and 4) so there's a fourth note at the second
>> string, third fret. Notes 5 and 6, the only ones not yet mentioned, are
>> on the fourth string, second fret (5) and two frets up from there (6).
>>
>> Move the whole thing up two frets, XX444X, and you can find the notes of
>> the B major scale just as easily. Try doing that on a piano!
>>
>> Same applies, with requisite shape changes, to the E and D shapes. Middle
>> string of those fretted is the root, fifth is below, third above.
>>
>> Now you know where the scale notes are, start by playing melodies to see
>> how actual melodies are strung together in practise. You will start to
>> hear sequences of notes that connect chords together, which after all is
>> what a melody is.
>>
> --
>> Stephen
>> Ballina, Australia
>
> Thanks for prompt reply Stephen and I will study your advice and see what
> I gain from it. I ommitted to say that we do get a chord chart and have
> just been playing from ear from the chords given. I dont really think
> about the root note etc as I usually just play any required note by ear
> rather than position. Trouble is I lack originality when only given a few
> moments to kick it all off and find myself doing the old 1,4 and 5 routine
> more like a pedal steel. Thought there might be a lesson or two on this
> topic where you can categorise the usual types of songs and have a variety
> of intros for that category. eg a 6/8 beat grab an intro from 'file' with
> eight notes to the bar and utilise them as per the chord structure. Clear
> as mud??
>
> Butts
> enzed
> (across the ditch)
> intro from 'file' with eight notes to
should that be six??
Re: cold turkey
Ok, here's your assignment - select TWO of the tunes you will MOST
LIKELY run into, or that mystify you the most. write THREE original
two bar intros for each.
to simplify, make ONE of the intros something using OPEN strings, and
ascending mode.
number TWO should be NO open strings, and in a descending mode using
3rds or sixths.
number THREE either/or open strings ascending using chords and
arpeggios.
SECOND TUNE: four bars of "lead"
number ONE: middle of the neck - using pentationics ascend and
descend
number two: ABOVE the 8th fret - using chords on the top four
strings, with a few single string notes
number three: from the Nut to as high as you can go, scalar lines
across all six strings from low to high..
go till you get stuck. figure out what it is your unsure of and fix
it. don't bother practicing what you can already do - just smooth
out the problem.
note: this is easier/not as easy as it looks on paper.
Ok, here's your assignment - select TWO of the tunes you will MOST
LIKELY run into, or that mystify you the most. write THREE original
two bar intros for each.
to simplify, make ONE of the intros something using OPEN strings, and
ascending mode.
number TWO should be NO open strings, and in a descending mode using
3rds or sixths.
number THREE either/or open strings ascending using chords and
arpeggios.
SECOND TUNE: four bars of "lead"
number ONE: middle of the neck - using pentationics ascend and
descend
number two: ABOVE the 8th fret - using chords on the top four
strings, with a few single string notes
number three: from the Nut to as high as you can go, scalar lines
across all six strings from low to high..
go till you get stuck. figure out what it is your unsure of and fix
it. don't bother practicing what you can already do - just smooth
out the problem.
note: this is easier/not as easy as it looks on paper.
Re: cold turkey
Yeah, I would just learn to run the changes.
That will always be safe, and melodic as you are playing the tones of
the chord at hand.
The only tricky thing is connecting the lines at each chord change.
Just takes a bit of time.
Then there is emulating the melody, motif development, etc. Playin
changes is the safest way to me if you have a lead sheet and don't
know the tune very well.
Good luck
Yeah, I would just learn to run the changes.
That will always be safe, and melodic as you are playing the tones of
the chord at hand.
The only tricky thing is connecting the lines at each chord change.
Just takes a bit of time.
Then there is emulating the melody, motif development, etc. Playin
changes is the safest way to me if you have a lead sheet and don't
know the tune very well.
Good luck
Re: cold turkey
"Derek" <derek@ycoaoffice . com > wrote in message
news:3589148e-4491-46c0-8542-65e28e48c77c@8g2000hsu.googlegroups . com ...
> Yeah, I would just learn to run the changes.
>
> That will always be safe, and melodic as you are playing the tones of
> the chord at hand.
>
> The only tricky thing is connecting the lines at each chord change.
> Just takes a bit of time.
>
> Then there is emulating the melody, motif development, etc. Playin
> changes is the safest way to me if you have a lead sheet and don't
> know the tune very well.
>
> Good luck
Thanks for all your replies and help
Butts
"Derek" <derek@ycoaoffice . com > wrote in message
news:3589148e-4491-46c0-8542-65e28e48c77c@8g2000hsu.googlegroups . com ...
> Yeah, I would just learn to run the changes.
>
> That will always be safe, and melodic as you are playing the tones of
> the chord at hand.
>
> The only tricky thing is connecting the lines at each chord change.
> Just takes a bit of time.
>
> Then there is emulating the melody, motif development, etc. Playin
> changes is the safest way to me if you have a lead sheet and don't
> know the tune very well.
>
> Good luck
Thanks for all your replies and help
Butts
