joinning  the two scales together and playing any of the notes randomly is there any fast rules you  should obeyed by ? to make a lick/solo sound good ?

i think youve had enough of me have you tele man? hard work ha i was never any good in school

beth wrote:

joinning  the two scales together and playing any of the notes randomly is there any fast rules you  should obeyed by ? to make a lick/solo sound good?

...well, hopefully, NOT randomly!...because that'd make you an AVANT GUARDE JAZZ player (ha, ha)!

...also, the hallmark "sign" of a good music writer is that the "melody" line be "contained within one octave," which (obviously) most hot-rod guitar slingers totally ignore...it's OK to "show-off" on a "solo" but not ALL the time!

beth wrote:

i think youve had enough of me have you tele man?

...I'm OK, but unless you want some "chord" theory, I think we've about exhausted my "lead" knowledge...remember, I've been "...the rhythm" player since 1959, not a lead player (ha,ha)!

i guess i should learn some rhythm then, as i might never make it as a lead player dont know if my fingers move that fast any how!
can we start at the start of rhythm or where you think is the best place all i know about rhythm is it supports the lead I think!
this will be cool maybe i could change my mind and be a rhythm guitarist

...question: (A) what chords do you know now and (B) what chords (simple, complex, jazz, etc) do you want to learn?

i know the 7ths, minor, and major sus4, some slash chords thats all really i lear then as i need them i would guess the best place is the not so  Complicated ones but leave that for you at the moment im learning to solo in blues so my be if i learnt how to back that up with the rhythm?

...are you ready to "re-visit" the DEGREE notes? because that's what CHORDS are based upon, the ODD notes (1, 3, 5, 7) of the MAJOR or IONIAN scale:

TRIAD (3 note) = I(root) and III(3rd) and V(5th) notes, all played simultaneously.
TETRA (4 note) = I(root) and III(3rd) and V(5th) and VII(M7) notes, all plated simultaneously.

...'simple' songs ("cowboy" chords) use only triads, hence my earlier comments about thinking of triad chords as being "simple."

...'complex' songs use tetra-(and greater)-chords...at least in PIANO theory...guitar chords are "simplified."

...how chord notes are "changed" (per piano theory):

   I is PERFECT = PR
  II is MAJOR   = M2
III is MAJOR   = M3
IV is PERFECT = P4
  V is PERFECT = P5
VI is MAJOR    = M6
VII is MAJOR    = M7
  I' is PERFECT = PR' (octave)

   MAJOR notes, when "flatted" become MINOR, e.g.: M3 becomes minor 3, m3, etc.
PERFECT notes, when "flatted" become DIMINISHED and when "sharped" become AUGMENTED.

...thus, III or M3rd becomes III-min or m3 when "flatted"

...the V or P5th becomes V-aug or aug5 or #5 or +5 when "sharped"
...the V or P5th becomes V-dim or dim5 or b5 or -5 when "flatted"

...the VI or M6 becomes VI-min or m6 when "flatted" (but more commonly written as +5!)
...the VII or M7 becomes VII-min or m7 when "flatted" (but more commonly called "dominant 7" or d7 or simply 7)...this is "why" you will sometimes see the dominant 7th written as either "-M7" or confusing as "mM7"

well i can understand all that a good sign isnt it

...the basic "rules" for making the four fundamental chord types are:

TRIAD (3 note) chords:

        MAJOR chord = Root(PR), third(M3), and fifth(P5)............................ie: R, 3, 5
        MINOR chord = Root(PR), minor 3rd(m3), and fifth(P5)....................ie: R, m3, 5
AUGMENTED chord = Root(PR), third(M3), and augmented (#5 or +5).......ie: R, 3, +5
DIMINISHED chord = Root(PR), minor 3rd(m3), and diminished(b5 or -5)..ie: R, m3, -5

TETRA (4 note) chords:
       MAJOR chord = Root(PR), third(M3), fifth(P5), and seventh(M7) <---notice it's a Major-seventh (M7) not a dominant-seventh (d7)

..the other TETRA chords will be covered as we talk about them.

OK so far i have this i must be learning
what are we going to be leading to ?

i guess thats as far as we are taking this the OTM i thought we were going on  sorry to here you had the flue

Old Tele man wrote:

...
..the other TETRA chords will be covered as we talk about them.

...do you want chords for a specific "key", examples from songs, or examples of interesting/jazz chords? All will be four-note tetra chords, by the way.

examples of interesting/jazz chords what about chord progressions 12 bar blues in chords may be key of E not sure cool chords

beth wrote:

examples of interesting/jazz chords

...OK, here's a "blues" example of what's called "Freddie Green-style" chording (e.g.: only 3-note chords) in key of E



...since the chords are inherently "moveable," you simply move the whole sequence up to the 5th fret for A-chord and 7th fret for B-chord (Key-of-E). And, here's a "descending" turnaround ending to get from B7 back down to E:



...usually sounds better if played slightly "retarded" (slowed down tempo) to the final ending chord (E6/9, etc.).

beth wrote:

what about chord progressions 12 bar blues in chords may be key of E

...the best example of "how to" play the blues progression in different ways is shown in this article:

http://www.angelfire.com/fl4/moneychord … earle.html

beth wrote:

not sure cool chords

...an example of a "cool" chord is the "X6/9" chord, which is basically a 13th chord without its underlying dominant 7th note...sometimes, rarely, seen as X(add 6,9 or add 6/9). Here's three ways of making this chord:



...the 'yellowed' notes across the bottom show the most commonly used fingerings, although ALL the notes can be used.

...left example: you can make it by simply "folding over" your little finger that's fretting a 6th note on the B2-string so that it also simultaneously frets the 9th note on the E1-string ("E-shape" chord).

...for a 'Chet Akins' sounding ending, play the right example with the E6-string "open" but the rest of the notes fretted at frets 11 & 12.

sorry was away for a while with work..

ok what should i do with these chords? when can one use them ?

...the 6/9 chords are most often used as "ending" chords to songs, although I've used them in many Bossa Nova songs that originally called for a 13th chord.

...the moveable "blues / shuffle" chords are just that, a chordal "riff" that works well for blues, jazz, etc.

nice one would you have some sort of a chord progression i could try with these chords in it  ,,sorry i am away alot these days

...the example that comes to mind is Elvis Presley's HEARTBREAK HOTEL, which is standard I-IV-V rock-n-roll progression...the E6/9 fits nicely as "turnaround" chord after the intro.

...the shuffle chords work with just about ANY blues song...try HONKY TONK or Eric Claptons' CHANGE THE WORLD, etc.

Hey, OTM, I am still watching your excellent entries and compiling them.
Dr. T

so are these chords  would Substitute other chords with, or would you add them in while using the standard E open  chord we'll say like what you can do  with the D chord  and the Dsus 2

beth wrote:

so are these chords  would Substitute other chords with, or would you add them in while using the standard E open  chord we'll say like what you can do  with the D chord  and the Dsus 2

...you play the E/E, A/F#, E/G# chords while someone else played regular E-chord, then you'd move up to fret 5 and play exactly the same fingering (so the new chord names would be A/A, D/B, A/C#) as the other person played regular A-chord; samething up at fret 7 for B-chord.

...it's just a common I-IV-V blues progression in key-of-E, but you're playing a "chordal melody" on the bass strings using 'chord fragments.'