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Topic: Basic C-6th Scale Patterns: Lesson #18 |
robert kramer
From:
Nashville TN
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Posted 29 May 2010 10:20 am |
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In Lessons #15, #16 & #17 we added half step – chromatic intervals to our CM7 Scale Pattern – one fret at a time at the 5 → 7 → 8 → 10 frets.
This week we’re back home at the 12th fret where it’s easy to hit a chromatic interval and then land safely on one of the chord tones located all the way across the fret:
C = Root, E = 3rd, G = 5th. All examples are in the key of C.
The first diagram shows the notes of our CM7 Scale pattern with the half step chromatic intervals located 11 to 12 fret: (F# to G) – (G# to A) – (Bb to B).
The second diagram is an exercise using an F# to G (b5 to 5) – half step chromatic interval – 11 to 12 fret – combined with a C arpeggio. Play over CM7.
**Each exercise is divided into easy to learn groups (a) – (b) – (c) – (d). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**
(C-6th w/ knee lever lowering 3rd string C to B)
Here are two exercises that use the half step chromatic interval of G# to A located at the 11 to 12 fret of our CM7 Scale Pattern.
The first diagram is an exercise beginning with a G# to G (#5 to 5) – half step chromatic interval – (4th string → 11 to 10 Fret) – leading into a G# to A (b6 to 6) – half step chromatic interval – (4th string → 11 to 12 Fret) – combined with a C arpeggio.
The second diagram is an exercise using the G# to A (b6 to 6) – half step chromatic interval – (4th string → 11 to 12 Fret) – combined with a C arpeggio. Play over CM7.
**Each exercise is divided into easy to learn groups (a) – (b) – (c) – (d). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**
(C-6th w/ knee lever lowering 3rd string C to B)
Here are two exercises that use the half step chromatic interval – Bb to B located at the 11 to 12 fret. Since Bb is the b7 (Dominant 7th) of C, the next two exercises begin to introduce Dominant 7th sounds into our Major 7th Scale Pattern. Play back these two exercises – first over a CM7 Chord – then over a C7 Chord and listen to the difference in harmony. Playing the Bb with the B over a C7 Chord starts to sound like a Bebop Dominant Scale.
The first diagram is an exercise beginning with a Bb to A (b7 to 6th) – half step chromatic interval – (3rd string → 11 to 10th fret) leading into two Bb to B (b7 to 7) – half step chromatic intervals: (3rd string → 11 to 12 Fret) and (4th string → 13th to 12th fret) – combined with a C arpeggio.
The second diagram is another exercise using two Bb to B (b7 to 7) – half step chromatic intervals: (3rd string → 11 to 12 Fret) and (4th string → 13th to 12th Fret) – combined with a C arpeggio.
**Each exercise is divided into easy to learn groups (a) – (b) – (c) – (d) – (e). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**
(C-6th w/ knee lever lowering 3rd string C to B)
Lesson #19 posted in two weeks.
***Please note the exercises in Lesson #15 have been divided into easy to learn groups with accent notes to show the timing:
http://bb.steelguitarforum.com/viewtopic.php?p=1590612&highlight=#1590612
Tip of the Week: Hank Jones, one of the most respected jazz pianists of the postwar era, died May 16th at the age of 91. Jones was renowned for his touch on the piano. When asked about this during an interview he replied: “I never tried consciously to develop a “touch.” What I tried to do was make whatever lines I played flow as evenly and fully and as smoothly as possible. “I think the way you practice has a lot to do with it. If you practice scales religiously and practice each note firmly and with equal strength, certainly you’ll develop a certain smoothness. I practice a lot. I still do when I’m at home.”
Hank Jones was 78 years old at the time of this interview. |
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Scott Henderson
From:
Camdenton, Missouri, USA
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Posted 5 Jun 2010 6:34 am
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Wow it's amazing how yo get in a rut of playing and forget stuff. Thanks for reminding me of these patterns. I opened a whole nother cell in my brain (that I had turned off evidently!!) Enjoy you posts very much. Would be interested in your approach to chords on C6 regarding jazz.
Thank yo so much
_________________
D-10 JCH Dekley U-12 D-8 Magnatone Mullen RP Evans RE 200 profex 2 BJS bars
Dentyne gum (peppermint) |
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robert kramer
From:
Nashville TN
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Posted 9 Jun 2010 7:28 pm
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Scott – Thanks for checking in. I use these scale patterns to read from scale books. My approach to chords is to take a standard and learn it in a chord melody using both the sheet music and recordings of the song. Then I play the song over and over again looking for chord substitutions. I get a lot of ideas from '40's & '50's Jump music. When I hear good horn riff - I put chords under it using as many dominant 7th chords as possible. One approach to Bop harmonies is to take a Charlie Parker song – slow it down to ballad tempo – and play it as a chord melody. Start off with a blues like “Now’s The Time,” “Billie’s Bounce,” Parker’s Mood” or “Relaxin’ at the Camarillo.” For more chords look at a “Bird Blues” progression like “Blues for Alice” or “Sippin’ at Bells" - and then on to Bird's many Bebop songs.
Here are some chords. The first one is an extended I-VI-II-V in Eb that can be used as an intro or ending. The second one is a Bill Evans type intro in F.
Key to Chart:
C-6th w/ D on top
Count = 1 → 2 → 3 → 4
Factory C-6th Pedals 5 & 6
NP = No Pedals
BKL = Knee lever lowering third string C to B
BbKL = Knee Lever raising 4th string A to Bb
(10) = Note is sustained from previous note – not picked
+Frank – Thanks for your reply. These written charts are all I can manage right now – I hope to get audio examples together for the future.
For now, you might take an exercise – learn the first group in an exercise – record it – learn the second group – record it – the third and so on and then play back your recording to hear the timing of the entire exercise. Be sure to accent the notes as indicated in each group. All exercises are played as eighth notes. Every note is picked and blocked – no slides.
The goal of Lessons #15 - #21 on chromatics is to be able to look down at the fretboard and visualize the Major Scale Pattern while also being able to visualize the chromatic intervals around the Major Scale Pattern – so you can improvise by adding chromatic notes to your scale tones on the fly. I will summarize this in Lesson #21..
***Easier to read if you save as JPG and print***
Last edited by robert kramer on 11 Jun 2010 1:54 pm; edited 1 time in total |
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FRANK MARIANO
From:
PENSACOLA FL
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Posted 10 Jun 2010 4:46 am thanks
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Robert, Your approach to scales is great,is their any way you can post them on audio to get the feel
of how they should sound? |
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robert kramer
From:
Nashville TN
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Posted 11 Jun 2010 2:09 pm
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Frank – Thanks for your reply. These written exercises are all I can manage for now – I hope to get audio examples together for the future.
For now, you might take an exercise – learn the first group in an exercise – record it – learn the second group – record it – the third and so on and then play back your recording to hear the timing of the entire exercise. Be sure to accent the notes as indicated in each group. All exercises are played as eighth notes. Every note is picked and blocked – no slides.
The goal of Lessons #15 - #21 on chromatics is to be able to look down at the fretboard and visualize the Major Scale Pattern while also being able to visualize the chromatic intervals around the Major Scale Pattern – so you can improvise by adding chromatic notes to your scale tones on the fly. This will be summarized this in Lesson #21. |
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