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Third and seventh (or seventh and third) on the D and G string with another note on one of the upper strings. So for Cmaj7, you get E and B on the middle strings and can throw the D or G or F# or whatever up top.
Make the extra note the root and for C6 you get …
x x 2 2 1 x
Or
x x 7 9 x 8
So I transposed those through the sixth diminished scales.
I use those rootless-shell-plus-a-melody note voicings basically exclusively at this point, so using the same through the sixth diminished scales just works better because I can blend them into what I do already
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10-05-2024 10:05 PM
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An improvisation from last month, in which my Prog rock is showing:
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Moonglow again.
Dropbox
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Here’s another. Same disclaimer as before. Just trying to get those voicings in everywhere. Wouldn’t play it this way live (even if I could, which I obviously can’t).
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Like All Of Me, Body And Soul expresses surrender to a beloved.
Here is my submission upon my new mini beater.
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Originally Posted by A. Kingstone
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Originally Posted by pamosmusic
First eight - Drop 2, second eight - Drop 2/4. I like the thickness of Drop 2/4. I'm going to explore more of it.
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Yes, this is my list in alphabetical order.
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I like how you use the low open string. I just stole that.
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Been meaning to join the party here for a while and finally had some time to throw something together.
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Here’s one from earlier this week, on my first guitar, now 40 years old:
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Responding to the discussion above about Old Folks … the lyrics are actually a big part of why I like this tune. Originally, I just knew it via the Miles and Metheny versions, but not too long ago I stumbled on its origins.
It was written in the 30s, but as though it was older (1910-ish), and is kind of the archetypal “Americana” song. It’s a slice of life in a small town (likely in Missouri), about a town character named Old Folks who is kind of the town drunk/bum and is also a Civil War veteran.
Its intent is to capture a moment when direct memory of the Civil War was ending with the deaths of the last veterans. It can be read as nostalgia for the confederacy, but black artists started performing it (famously, Nat Cole), which inverted that. I used to do it at as an instrumental, but once I became more of aware of its history I started singing it (for better or worse …)
I’m very limited as a solo guitar performer. My solution to that problem is to also be a very limited singer. Helps fill out a set.Last edited by John A.; 10-12-2024 at 03:35 PM.
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You're a lot more pleasant to listen to than I am, John.
I don't like to sing, I'm not very good at it, and I don't play the guitar well when I'm trying to sing. But I'm the default singer in my blues band every time we lose a vocalist. The first time it happened was at least 15 years ago when our then vocalist (a skilled and powerful singer with a wonderful voice) didn't show up for a gig. There we were on stage at the designated hit time, and the mic was just standing there all alone. Nobody else wanted to sing and somebody had to - so I stepped up and did the deed. We got through the gig and the band decided to drop the vocalist because he'd left us in the lurch just to take one better paying gig. So I kept singing until we found someone who could actually do the job.
Since then, we've had a few very fine singers. The best 3 were too good to stay with us for long, which I predicted when each first arrived on our stage. So when each one left, I was back at the mic until we got a replacement. Since Covid, we've had a fine singer and guitarist who's become a good friend, and we enjoy playing together. But I'm still doing about 25% of the singing. I've gotten a bit better over the years, but I really shouldn't be left alone with a live microphone.
You sing fine, my friend!
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Thanks for your kind words David. I’ve been singing blues for a long time. At first it was because no one else would, but I got to be OK at it and I enjoy it. As I’ve started doing more jazz performance (mainly duos and drummerless trios) over the last several years I’ve add some vocals to my sets. I don’t think I could stand on my own as a singer, and I don’t have a whole lot of repertoire yet, but I think it works as variety and a break from instrumentals that audiences like.
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Yep, John A. got down-to-earth NYC vocal chops, going for that high note. Legit. I would sound like sh*t, so never do it.
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Jeff (thread starter) Perhaps Winter of vocals.
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Pulled the Tele out for the first time in a while; it’s a 1991 MIM. It’s stock, except for being setup with .011 flatwounds (D’A Chromes):
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Solo seems to be the only way I play (shouldn’t that be the title to a blues tune?) Here I am messing around with Stella. Sorry about the atrocious recording.
Sent from my iPhone using Tapatalk Pro
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Originally Posted by Peter C
I always loved Billy Taylor's solo piano version of Old Folks.
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Glad you are all keeping it going here...been so busy.
Today I'm remembering "Tis Autumn." A few things I want back here, but what a good tune.
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This thread must be amongst the most musical threads on the forum! Goes to show how great a solo instrument the guitar is, and how jazz music suits it! I mean, even with most pro players and all their great albums, i could still listen to them just play solo guitar all day!
And all these beautiful guitars ..!!
Here 's two improvs with my two archtops, a Mesrobian L5 clone, and an Elferink Tonemaster:
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PM3C or LGB30
Today, 04:40 PM in Guitar, Amps & Gizmos