Members BigBird Posted July 1, 2003 Members Posted July 1, 2003 I may have answered my own question, but does anyone practice the blues progressions by going up the fretboard chromatically and just changing the voicing and extensions of the chords. Does anyone know any good excecises for this. I am trying to add a jazzy sound to my blues playing, and figure this might be a good sort of excercise. That way I will also know how to easily go from one chord to the next without really changin positions.
Members 335clone Posted July 1, 2003 Members Posted July 1, 2003 Your post was a bit confusing. Do you mean use (for example) the E barre form, say starting with E, then A at the fifth fret and B at the seventh, and staying in "position" meaning use the same Barre form?
Members BigBird Posted July 1, 2003 Author Members Posted July 1, 2003 No I mean something like using voicings so that your hand progresses up the fretboard chromatically as you go through the progression. That way the sound of the chords you play, will constantly be ascending in pitch. For example if you play a G7 chord and then a G major7 chord followed by a G7b9 I think that the overal sound will be an ascending feeling as you go through the progression. Ihave a book on doing this with jazz, but it seems to go through a ii V I progression never a straight up blues progression. Plus some of the chords are really odd sounding, and I can't imagine really understanding how to use them at this point. I want to start with slightly more basic chord shapes.
Members keyplyr Posted July 1, 2003 Members Posted July 1, 2003 A great exercise to develop your chops is to take that ii - V - I then turn the I into a minor so it becomes the ii, thus starting the next ii - V - I. Example in key of C (2 beats each): Dm7 - G7 - CMaj7 - C6 - Cm7 - F7 - BbMaj7 - Bb6 - Bbm7 - Eb7 - AbMaj7 - Ab6 and so on.... Continue this around the Circle of Fifths and you will have played half of all basic chords. This also gives you a firm connection with motivic form and forward movement.
Members BigBird Posted July 1, 2003 Author Members Posted July 1, 2003 Thanks keyplyr, but I don't feel I am ready for the ii V I progression yet, so I am focussing on I IV V progressions. I am trying to determine a way to go up and then back down the fretboard usng different voicings. For example. Lets say I am playing G blues. Lets say I'm on the C7 chord and the next chord is the G7. Depending on where I am on the fretboard, I want to know how to get from the C7 to a G7 or one of its extensions with very little movement.
Members copperhead Posted July 2, 2003 Members Posted July 2, 2003 I would think it would be more useful to know the pentatonic positions for each key you want. That way you could change from the Em to the Am by using the notes that are where you are playing. You should practice some linking from one position to the next, either by slides or moving along one string. And you have to think which key you are playing in, so you might go from the B in Em to the C in Am to smoothly change from Em to Am. Not as easy as it sounds. Avoid Play Em, pause, Play Am, Pause, Play Em, Pause, Play Bm Pause You get the idea.
Members Terje Posted July 2, 2003 Members Posted July 2, 2003 Originally posted by BigBird I am trying to add a jazzy sound to my blues playing, and figure this might be a good sort of excercise. First thing to do for this is to listen to a lot of jazz players playing the blues. Now try these chords for a blues in C: x4323x, x4233x, x3232xJust move'em up one fret for C#
Members BigBird Posted July 2, 2003 Author Members Posted July 2, 2003 Thanks terje, but I may have been a little confusing with my question. You are for the most part on the money with what I am trying to do, only that Why would I play the c#. If I am in c or G or f blues, when would I use the c#. THe goal is to stay within the same key, but have an ascending chord type solo. The ultimate goal is to learn how to go from one chord to the next (or from one chord to its extension) with very little movement.
Members Terje Posted July 3, 2003 Members Posted July 3, 2003 Originally posted by BigBird Why would I play the c# Because you're playing a blues in C#. Then you can move these chapes up one fret and they will work for that key. They're moveable, OK. That was the point.
Members Terje Posted July 3, 2003 Members Posted July 3, 2003 Originally posted by BigBird The ultimate goal is to learn how to go from one chord to the next (or from one chord to its extension) with very little movement. There is very little movement in these chord shapes. That was the other point.
Members Wayrockin1 Posted July 3, 2003 Members Posted July 3, 2003 Originally posted by Terje First thing to do for this is to listen to a lot of jazz players playing the blues. Now try these chords for a blues in C: x4323x, x4233x, x4343x Just move'em up one fret for C# Terje, I don't follow how these chords relate to a C blues. Are you in something other than standard tuning?
Members Sputnik Posted July 4, 2003 Members Posted July 4, 2003 Hopefully I understand your question correctly: You can "jazz up" your basic blues progression, say in Bb: |Bb7|Eb7|Bb7|Bb7| |Eb7|Eb7|Bb7|Bb7| |F7|Eb7|Bb7|F7| to something like this: |Bb7 E7|Eb7 A7|Bb7 Bdim7|F-7 E7| |Eb7 |Edim7 A7| Bb7 C-7|D-7 Db7| |C-7 |B7 |Bb-7 Db7|C-7 Cb7| The following substitution rules were used: 1) Any chord can be proceeded by it's V7 2) Any chord can proceeded by it
Members Terje Posted July 4, 2003 Members Posted July 4, 2003 Originally posted by Wayrockin1 Terje, I don't follow how these chords relate to a C blues. Are you in something other than standard tuning? Hey! Are they totally wrong? I don't play guitar as much as I play balalajka. Let's see...4th fret on the B-string is that's Eb, right? 3rd fret on the G-string that's Bb, 2nd fret on the D-string that's E and 3rd fret on the A-string is C. So that should be a C7#9 chord. What's wrong with that?And then we keep the Eb on the B-string, take the Bb down to A, take the E up to F and keep the C. That's F7. But the G9 is {censored}ing wrong! That should be x3232x. I'll correct it. Thanks, for checking it for me.
Members butch Posted July 4, 2003 Members Posted July 4, 2003 Sputnik .....great post .....To the pont and layed out well. How bout some triad subs for the shells? Butch
Poparad Posted July 5, 2003 Posted July 5, 2003 If you're just looking for more chord voicings to use when playing chords so you're not just laying out that barre G7 for 4 bars, then here are some things to try out: The basis for this is to take the chromatic scale and harmonize some sort of G7 under it. Since dominant chords can be altered a bunch, you can use just about any note in them. I've left out the F# since playing a major seventh on a dominant chord kind of changes the sound and function of the chord too much. Here they are, chord first, melody note second, specific chord name last. 3x34xx - B - G7 3x35xx - C - Gsus, G7sus, etc 3x342x - C# - G7#11 3x343x - D - G7 3x344x - D# - G7#5 3x345x - E - G13 x8996x - F - G13 x8998x - G - G13 x109108x - G - G7 x109109x - Ab - G7b9 x1091010x - A - G9 x1091011x - A# - G7#9 x1091012x - B - G7 x10121013x - C - Gsus, G7sus, etc Then you're back to the first G7#11. Here are some voicings that didn't fit in that sequence that are nice: xx0001 - F - G7 xx3434 - Ab - G7b9 xx3435 - A - G9 xx5767 - B - G7 xx5768 - C - Gsus, G7sus xx910109 - C# - G7#11 xx9101010 - D - G7 xx9101111 - D# - G7#5#9 xx9101012 - E - G13 You can play any of these that you want, omitted some as you ascend or descent. You can just stick to the notes of G mixolydian as a melody note if you don't want to alter the chord too much. You can also tweak these voicings a bit if you want to alter a 5th or 9th, or take one of the plain R 3 5 7 ones and make the 5th a 6th/13th or making the R a 9th to add some flavor. The bass player will be covering the root for the most part and the 5th is really incidental so you can change those without loosing the dom7 sound.
Members Jimmy James Posted July 5, 2003 Members Posted July 5, 2003 I have no idea what the hell you're talking about. I try to keep it real. Blues that is. But I want to use my brain as well. I practise 7th inversions off each chord over a I IV V. I stay away from the garden variety bar chords and try to play as many inversions off each 7th chord up and down the neck as I can think of IN TIME. It has to be in time or it's useless. It's great for shuffles and especially the real uptown swing stuff. When I'm playing with another guitar player, I'll be playing all these cool inversions of 7th chords on every beat while the other guitar player is stareing at me playing his stock bar chords. Aren't I just too cool?
Members Terje Posted July 6, 2003 Members Posted July 6, 2003 Originally posted by Jimmy James It has to be in time or it's useless. Amen! Hey, that's a pretty good sig BTW
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