Posted by Andrew Wasson
Wednesday, January 21, 2015
Welcome to... "Micro-Lesson 061"
This Micro Lesson explores a Double-stop Riff in the key of, "A Minor."
This Micro Lesson covers an interesting Two-Note chord riff in, "A Minor." Guitarists generally refer to two-note chords as, "Double-Stops." These ideas operate around the use of two notes from the bigger, (more complete), chord of three-notes.
If a power-chord is not the focus of the phrase, (or entire progression), the other Double-Stop chords will generally use the root and the third. This approach is what we find in Micro-Lesson 61.
The harmony established by this double-stop phrase quickly moves through the small two-note double-stops, "A minor," "B minor," and, "G major" in the first two measures. An, "F major," to, "C major," wraps up the phrase, finally resolving on a, "G" chord.
The March 2015 issue of Acoustic Guitar will feature an excerpt from Bruce Cockburn’s new memoir, Rumours of Glory, in which the Canadian singer, songwriter /guitarist talks about why, at 23, he left ’60s-era folk-rock, to focus on solo acoustic music.
He’d met finger-style guitarist Fox Watson, who taught Cockburn how to play in alternate tunings.
“I was sort of disdainful of open tunings back then because I didn’t like most of what people did with them — playing the same four chord formations in different tunings, trying for a specious variety in their sound without going to the trouble of actually learning their instrument,” Cockburn writes. “But when Fox played in any of several tunings he used, what came out was fluid as a mountain creek and agile as a gull.”
That was more than four decades ago. Since then, Cockburn has returned to playing electric guitar in rock bands, but he never left an acoustic guitar far behind, and he’s developed a style that is unmistakably his.
In this special half-hour edition of Acoustic Guitar Video Sessions, gear editor Marc Greilsamer talks at length with Cockburn about his love of acoustic guitars and the singer-songwriter performs three tunes: the instrumental “Bohemian 3-Step,” “Waiting for a Miracle” and his most famous song, the politically fierce “If I Had a Rocket Launcher.”
This Micro Lesson explores a smooth Latin /Bossa Riff in the mode of, "B Dorian."
The riff applies both major and minor seventh and minor sixth chord qualities. This fun bouncy groove pushes heavily on the sounds of the, "B Minor" tonality right from the start at measure one.
The "B Minor" color carries over into measure two with the appearance of the "Bm6" chord, (where the Dorian mode is established).
A drift to the 'parent major' tonality occurs in bars three and four with the, "Amaj7 and Dmaj7," chords. The really unique aspect is, of course, the Latin rhythmic feel of the two-bar clave rhythm.
PERFORMANCE: Watch those alternating Bass-Notes and play the riff slowly at the beginning to thoroughly memorize the groove prior to introducing more speed. Enjoy! Micro Lesson 060: "B Dorian" Latin /Bossa Riff
Have you ever noticed how many legendary guitar parts and memorable riffs throughout the years consist of both the guitar and bass playing exactly the same part?
Often there is nothing else accompanying the two instruments (well, okay, drums), but, simply put, the guitar and bass have played 100-percent identical parts that are loud and proud, and have provided the hooks for loads of iconic, hit records.
Think about these songs: “Green Onions” by Booker T. and the MGs and “Can’t Turn You Loose” by Otis Redding (both songs feature Steve Cropper on guitar and Donald “Duck” Dunn on bass), “Day Tripper” and “Birthday’ by the Beatles, “Sunshine of Your Love” by Cream, “War Pigs” by Black Sabbath, “Dazed and Confused” and “Kashmir” by Led Zeppelin, “Sad But True” by Metallica, “Take the Money and Run” by the Steve Miller Band, and the list goes on and on. I’m sure you can add several more if you’ve clocked enough listening time.
Some songs like Gnarls Barkley’s “Crazy” also feature this guitar/bass lock step, but here the guitar plays a less prominent role, so it has the effect of being part of the bass sound, but with a higher tonal range and a percussive attack on the top end. Tons of Bob Marley tunes and other classic reggae tracks add a different spin on the guitar/bass arrangement, generally by using palm muting on the guitar so as to accentuate the note and attack, but not let the guitar sound ring out as long as the bass does.
When played with a pick, some electric basses can simulate the guitar-and-bass-together effect without a guitar in the mix, and even some acoustic bassists can almost achieve the sound by themselves. But while giving kudos to the bassists who can emulate a simultaneous guitar and bass sound, it’s never quite the same as having it played by both instruments. The fact is, the combination of guitar and bass playing as one is so strong that it’s no wonder the technique has spawned so many amazing and successful records—not to mention the hit-making careers of the artists who have employed the concept.
I have recorded countless single-note electric- or acoustic- guitar parts that ape the bass—usually palm muted. I place these guitar parts up in the mix to varying degrees— depending on the needs of the song—but, more often than not, I tuck them deep into the soundscape until they are almost subliminal. Sometimes, the idea works perfectly for some sections of a song, but not all. When it does works, it can really bring extra texture, identity, and focus to the part, and, c’mon, is there an easier way to achieve something cool and unique when recording a track?
Try it out and see what you find. Once it’s recorded, experiment with the level before you make any decision as to whether or not it works in the track. And, finally, make sure that the guitar and bass are glued together as tight as possible for the full impact of the effect. I’m guessing some songs will benefit greatly from experimenting with this technique, and you’ll add yet another handy recording trick up your sleeve.
Scott Mathews is a record producer, composer, vocalist, and multi–instrumentalist whose music has sold in excess of 40 million units and has generated more than 30 RIAA Gold and Platinum Awards in the pop, alternative rock, R&B, country, blues, and dance genres.
This Micro Lesson runs through a fast-paced arpeggio lick in the key of "A Major."
This Micro Lesson runs through a two-bar key of, "A Major," arpeggio lick.
The lick uses a stream of sixteenth-notes covering fret-board positions six to nine. The start of the lick takes full advantage of the key by employing the open 5th guitar string "A" tone.
Several pull-offs are used to connect the lick as the passage flows in ascending and descending directions.
Take your time developing the lick as it does have somewhat challenging fingerings for high speed performance of the line. Enjoy! Micro Lesson 059: "A Major" Arpeggio Lick
GuitarBlog: Octave Dispersion Technique... This week's GuitarBlog discusses the technique of displacing notes between octave ranges.
This unique guitar technique, (also known as Octave Displacement), flips scale or arpeggio tones between two octave ranges while performing melodies or riffs.
Scale tones will octave displace by alternating in ascending or descending ways one after another between lower and higher octave ranges.
To best explain and demo this topic, I'll be showing examples of how to do Octave Dispersion with both scales and arpeggios. I will also be including an example of how this could be used within a melodic line.
Enjoy this week's Guitar Blog, and be sure to check out the related videos listed below! Octave Dispersion Technique
Posted by Andrew Wasson
Saturday, January 17, 2015
One of the most popular chord types in music after the basic Major's and Minor's are the Dominant Seventh chords. This Dominant chord quality simply places a minor 7th interval above a Major Triad to produce the quality. However, the result of adding the Minor 7th is a very sour sound and one which works great in Pop music, Folk songs, jazz numbers and especially Blues. Don't allow the name to throw you, these chords are literally applied all over the place as chords written with, "7," in their naming symbols showing as; "C7, F7, A7, etc." Unlike Minor 7th or Major 7th, (notated as; m7 and maj7), chords written with the, "7," alone are all, "Dominant Seventh." Quite often guitar students will learn large open position Dominant 7 chords, or awkward Dominant 7 moveable types. Neither of which can be very easy to play, nor do very many of these shapes sound any good to an untrained ear. After all, these chords are considered as "Dissonant," and they certainly come across as behaving very bitter or sour sounding.
In order to help make these chords both easier to learn and more fun to play, I have organized a small collection of Dominant 7th chord voicings that can be applied to any chord progression. Let's begin with a group of very popular simple versions. In example one, the shapes are applied to, "D7," "A7," and "C7." Each of these shapes contain the root (naming note) of the chord within the bass, (as the lowest possible pitch). Learn the chord shapes first. Then, after listening to the audio clip of the example one progression, practice playing through the chord changes with a goal of producing a copy of the chord riff. Take your time, working toward clean, smooth rhythm and competent fret-board technique. EXAMPLE ONE:
The next group of Dominant Seventh chord types will not all apply the 'root in the bass' position. When this occurs, these shapes (without bass-root notes) are known of as, "inversions." A chord inversion is one in which the chord applies a note 'other than the root' within the bass. This might be any other chord tone, such as the; 3rd, 5th or the 7th chord tones. The selection of which tone is best suited as the bass tone is entirely up to the musician.
In example two, the chord changes move from an, "A7," with the 5th in the bass, to a "D7" in the root position, to a, "C#7," with the 3rd in the bass, and the final chord will be another "D7" with the root in the bass, (this time located off of the third string - labeled on the example two chart as; "D7 type2"). Spend a few minuets learning the chord shapes first. Then, after listening to the audio clip of
how the example two progression is supposed to sound, practice playing through the chord changes
with a goal of producing a good copy of the chord riff. Take your time, and
work at playing clean, smooth rhythm guitar and using competent fret-board technique. EXAMPLE TWO:
When it comes to learning any kind of chord type, understanding "where" the chord can be applied and how they sound is paramount. As every guitar players skills develop, the knowledge for both chords and rhythm guitar expands through applied use in the field as well as, through at home study and practice. Like anything we pursue, there's no substitute for good education. I've met far too many musicians /guitar players who know the sound of a chord, (or the fretting hand's fingering), but do not know the chords name. It is so important for every player to expand their knowledge of formal music theory at every opportunity. Keep in mind that the more knowledge you have the better you can communicate with your fellow musicians. Thanks for reading this week's Blogger post. All the best - Andrew Wasson
