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a quick question on doublestop theory


335clone

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Posted

Mark and I were going over this on his site, but I wanted to ask a specific question.

 

Say you have the following doublestops

 

E--3--4--7--8--10--12--13--15

B------------------------------

G--4--5--7--9--10--12--14--16

 

 

the note pairs are

 

G A B C D E F G

B C D E F G A B

 

In the key of G, would these be thirds or sixths? Does it matter the voicing, if both notes are played simultaniously ala hybrid picking?

 

If they were stacked such..

 

B C D E F G A B

G A B C D E F G

 

but still played simultaniously would they be sixths or thirds?

 

As Mark pointed out, you can work backwards from the root or forewards, ending at the same note and the total will add to 9. How do you determine if they are 2nds/7ths, 3rds/6ths ???

 

**Does it all hinge on the pitch of the notes, with the lower note determining the interval degree?**

 

As an aside, any tips for using doublestops as fills in a progression would be appreciated. Which intervals sound best in a certain style and/or sliding 6ths (or whatever) starting from the X degree of the scale to Y degree are common in Z style.

 

Hope this makes sense, and TIA.

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Posted

"Thirds or sixths". That is your answer...from a "quick response" to a "pondering" answer.

 

I'll post a lesson you'll dig in a minute. I have to find it, I'l be back.

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Posted

Wow, thanks Mike.

I'll have to mull all that over at home, but that is what I was looking for ( though it would be neat to know which doublestops give a certain feel over a given chord, kind of how minor scales are considered dark, major bright, etc..,) I guess that might be asking a bit much.

Cheers

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Posted

You don't need to spend too much time on all the chord naming stuff, it's just another 'theory' angle...a long angle :)

 

But the moves are what's important as they add extension, tension, and resolution all over the place in just one set/group/line of double stops.

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Posted

Mark and I were going over this on his site, but I wanted to ask a specific question.


Say you have the following doublestops


E--3--4--7--8--10--12--13--15

B------------------------------

G--4--5--7--9--10--12--14--16



the note pairs are


G A B C D E F G

B C D E F G A B


In the key of G, would these be thirds or sixths? Does it matter the voicing, if both notes are played simultaniously ala hybrid picking?


If they were stacked such..


B C D E F G A B

G A B C D E F G


but still played simultaniously would they be sixths or thirds?


As Mark pointed out, you can work backwards from the root or forewards, ending at the same note and the total will add to 9. How do you determine if they are 2nds/7ths, 3rds/6ths ???


**Does it all hinge on the pitch of the notes, with the lower note determining the interval degree?**




 

 

Let's look at just one example and maybe it will help with the others.

 

 

If you're playing a double stop with B as the lower note and G as the upper note you are playing the interval of a 6th (minor 6th).

 

If you're playing a double stop with G as the lower note and B as the upper note you are playing the interval of a 3rd (major 3rd).

 

However the interval is different than the function of the note. If you were playing either of those over a G chord, the G would function as the root, and the B would function as the 3rd, regardless of which inversion you were playing for those two notes.

 

Does that make sense?

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Posted

Let's look at just one example and maybe it will help with the others.



If you're playing a double stop with B as the lower note and G as the upper note you are playing the
interval of
a 6th (minor 6th).


If you're playing a double stop with G as the lower note and B as the upper note you are playing the
interval of
a 3rd (major 3rd).


However the interval is different than the function of the note. If you were playing either of those over a G chord, the G would function as the root, and the B would function as the 3rd, regardless of which inversion you were playing for those two notes.


Does that make sense?

 

 

It's starting to sink in.

 

Thanks

Posted

E--3--5--7--8--10--12--13--15

B------------------------------

G--4--5--7--9--10--12--14--16



the note pairs are


G A B C D E F G

B C D E F G A B


In the key of G, would these be thirds or sixths? Does it matter the voicing, if both notes are played simultaniously ala hybrid picking?



Sixths.

(Also that's the key of C, but I'm just nitpicking :o)

If they were stacked such..


B C D E F G A B

G A B C D E F G


but still played simultaniously would they be sixths or thirds?




Thirds

**Does it all hinge on the pitch of the notes, with the lower note determining the interval degree?**



Yes. Start on the lower note, and count up the scale. In the case of the very first one, B is the lowest note, and G is the 6th note above that. Therefore it's a sixth.

As an aside, any tips for using doublestops as fills in a progression would be appreciated. Which intervals sound best in a certain style and/or sliding 6ths (or whatever) starting from the X degree of the scale to Y degree are common in Z style.



The chord progression is what matters the most. For any major or minor chord, two of those sixth pairs (or third pairs if you flip them upside down) will match the notes of the chords.

Say if you're in the key of C, and you are coming up with something for a C chord. The E-C and G-E pairs match the C chord (since a C chord is spelled C-E-G). Use those as your primary ones (i.e., the one you should play right on the beat when the chord starts), and use the rest of the pairs to connect them together with whatever pair you're going to play on the first beat of the next chord.

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Posted
Thirds


Yes. Start on the lower note, and count up the scale. In the case of the very first one, B is the lowest note, and G is the 6th note above that. Therefore it's a sixth.


The chord progression is what matters the most. For any major or minor chord, two of those sixth pairs (or third pairs if you flip them upside down) will match the notes of the chords.


Say if you're in the key of C, and you are coming up with something for a C chord. The E-C and G-E pairs match the C chord (since a C chord is spelled C-E-G). Use those as your primary ones (i.e., the one you should play right on the beat when the chord starts), and use the rest of the pairs to connect them together with whatever pair you're going to play on the first beat of the next chord.



Good info. Matching cool doublestops to a chord was what I'm looking for.:thu:

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