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Topic: Share-A-Lick |
Rich Sullivan
From: Nelson, NH 03457
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Posted 24 Nov 2015 6:51 pm
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I thought I would share a couple of licks, and see if anyone else wants to jump in with a favorite lick.
I heard a piano player using this first one, and tried various positions until I found that in this position, it plays easily, even at very fast tempos. As Mike Neer has pointed out, the real magic of a 6th tuning lies in the whole tone (or major second) interval between the five and six tones (or between the G and A strings in C6 tuning), because it creates a sort of pivot point for playing melodies. When I was learning this lick, I also realized that by dropping down one string, the major second interval expands by a half-tone to a minor third. And dropping down one more string expands the interval by another half-tone to a major third. (I knew the string intervals already, but I hadn't put it together that those three string pairs shrink or expand sequentially by a half-tone depending on the direction you move.) Anyway, that is the basis for making this lick work. My idea of the value for a lick like this is to play it in all the keys, and then to mess around with it, changing rhythms, inverting notes, and finding other variations.
The next lick is just a common major blues scale, shown in two positions. Notice the last half of the lick is identical to the ending of the lick shown above. Most players would probably find this lick in the home key position as shown in the last two measures. But the first two measures show the same lick centered around the IV chord position. Learning to play over the I chord, while in the IV chord position, can lead to a major advancement in your playing (IMHO). I hope these two licks give you some new ideas. And that others might also share some of their discoveries.
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Guy Cundell
From: More idle ramblings from South Australia
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Posted 24 Nov 2015 10:23 pm
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Great idea for a thread, Rich. I enjoyed your two licks.
My contribution is the opening phrase of Jitterbug Waltz. I've been playing it on 6 string reso for a while and have just started working on it in A6 on 8 string reso. Looks straight forward but keeping the 3/4 meter going without accompaniment can be tricky. Taking off on the 'one and' doesn't help.
Is it a scale or an arpeggio? Strictly speaking it isn't a scale as it is not organised in ascending or descending order. I have seen exercises in the same fashion referred to as 'digitals'.
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Andy Volk
From: Boston, MA
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Posted 25 Nov 2015 5:08 am
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Okay, I'll play! Here's one: a chord run using slants that subs a number of chords for the dominant chord in a ii-V-I progression. It works because the sounds are all essentially of the same "flavor." You could leave out the last reverse slant to straight bar A6th-to-A6th as your taste dictates. This run works both in Hawaiian and swing contexts and is movable to all keys. I like it best in an uptempo tune.
_________________ Steel Guitar Books! Website: www.volkmediabooks.com |
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Doug Beaumier
From: Northampton, MA
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Andy Volk
From: Boston, MA
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Posted 27 Nov 2015 6:18 am
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Here's one more. Try this over a static Cmaj7 chord in BIAB. Alternating C-major and D-major triads lends a modern, open sound that's different from that of a scale or playing a Cmaj7 arpeggio. Superimposing triads over chords is a cornerstone of guitarist Larry Carleton's approach.
_________________ Steel Guitar Books! Website: www.volkmediabooks.com |
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Mike Neer
From: NJ
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Posted 28 Nov 2015 8:02 am
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Great idea for a thread, Rich!
Here's a little something. These are both based on cool little anomalies in the C6 tuning. Just a closer look at playing around with intervals. Sometimes something doesn't have to make sense harmonically to sound good, so don't be afraid to color outside of the lines.
https://youtu.be/g_WRfWPpytQ
_________________ http://www.steelinstruction.com/
http://mikeneer.com |
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Rich Sullivan
From: Nelson, NH 03457
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Posted 3 Dec 2015 4:54 pm
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I like all of the posts. A really good variety, and some interesting ideas. Thought I would keep this alive by adding a couple more.
The first lick is meant to replicate the ending tag in the Ray Price recording of Heartaches By The Number. Of course that was Jimmy Day on E9 pedal steel. But here it is on non-pedal C6. I play the last dyad as an extreme reverse slant, but you could also approach it as a string pull.
This next lick was often used by Little Roy Wiggins. It is all palm harmonics, and can be used in either a I-IV or a V-I progression. It is a good exercise for keeping the right hand moving in sync with the bar while playing palm harmonics.
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Nic Sanford
From: Oklahoma
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Posted 19 Dec 2015 7:16 pm
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Thanks, everyone who shared licks. This is great. |
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Jim Fogarty
From: Phila, Pa, USA
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Posted 19 Sep 2017 4:25 pm
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Bit of a zombie thread, I know....but good stuff. Maybe folks have more to add now? |
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Jim Fogarty
From: Phila, Pa, USA
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George Piburn
From: The Land of Enchantment New Mexico
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Posted 19 Sep 2017 6:00 pm No Interest Deleted
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No One has expressed Interest in my lick > Deleted
Last edited by George Piburn on 11 Dec 2017 1:38 pm; edited 1 time in total |
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Jim Fogarty
From: Phila, Pa, USA
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Posted 19 Sep 2017 6:58 pm
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Figured I should try adding something. Tabbed this out for one of my students.
Commander Cody's Hot Rod Lincoln - main boogie-woogie guitar riff in E for C6 Lap Steel.
Play fast!!
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Guy Cundell
From: More idle ramblings from South Australia
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Posted 10 Dec 2017 3:26 am
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The piano intro for Leon Russell/Joe Cocker's Hitchcock Railway which is actually Jose Feliciano's guitar intro. Can be done without the slant with a 5 fret jump.
https://www.youtube.com/watch?v=A0BVXS_6hU8
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Stefan Robertson
From: Hertfordshire, UK
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Posted 11 Dec 2017 4:21 am Giant Steps Changes Outline
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really like the Share-a-lick thread. Remember seeing one a while back but great that we now have takers this time around.
I like the changes outlined in Giant Steps. Interesting as it can be played in the E13 tuning on the middle intervals of R-2-3-5. And simply moving up and down the neck. But I would rather using the proximity technique and less movement. So below you will find the same progression outlining the changes but all at frets 5 to fret 7.
Enjoy.
In case you were wondering why that 9th is in the middle of the E13 tuning lots of options. Love it.
_________________ Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Stefan Robertson
From: Hertfordshire, UK
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Posted 11 Dec 2017 5:45 am
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Here's the Intro from Doug Jernigan called Doug's Melody from his album Sky High Steel
Slow ballad in the Key of G.
I really like the smooth move to the dim which is an Ab7 and the move from the Major to the Augmented Chord.
_________________ Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Einar Baldursson
From: Stockholm, Sweden
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Posted 13 Dec 2017 7:03 am
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I've been working on some John Coltrane arrangements in C13th and figured that his solo on Giant Steps might be fun to try as well. Here's the first few bars.
E
C
A
G
E
C
Bb
C
_________________ Wherever You Go, There You Are |
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Mike Neer
From: NJ
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Posted 13 Dec 2017 7:27 am
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Giant Steps is in my permanent rotation for practicing, just so I can learn to mindlessly navigate the changes and play more melodic on it. I hope to be performing a new arrangement of it this month live.
Actually, in a recent burst of inspiration I picked up my Strat for the first time in years and recorded this quick punk rock and roll take (no steel lol): https://soundcloud.com/user-708420441/giant-steps
_________________ http://www.steelinstruction.com/
http://mikeneer.com |
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Einar Baldursson
From: Stockholm, Sweden
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Posted 13 Dec 2017 8:02 am
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Way cool Mike. Judging from your notes on the whiteboard you're also a fan of the "minor conversion" concept à la Pat Martino. Thinking in minor has always been easier for me and on a tuning featuring a minor triad on top (just like standard guitar tuning) it's pretty easy to visualize the changes. _________________ Wherever You Go, There You Are |
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Mark Roeder
From: Milwaukee, Wisconsin, USA
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Stefan Robertson
From: Hertfordshire, UK
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Posted 13 Dec 2017 2:00 pm
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So I must say E13 is killing it.
Giant Steps lays out right on target between frets 5 to 7 then 1 to 3.
Really great close proximity voicings. _________________ Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Stefan Robertson
From: Hertfordshire, UK
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Guy Cundell
From: More idle ramblings from South Australia
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Posted 18 Dec 2017 1:01 pm
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A lateral approach to this in contrast with the linear approach posted previously. Less bar movement, more string skips and not as good a voicing on the end. Swings and roundabouts.
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Andy Volk
From: Boston, MA
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Stefan Robertson
From: Hertfordshire, UK
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Posted 21 Dec 2017 5:15 am
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Very Nice Andy. You said the magic word/name.
I'm saving this one for later. _________________ Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Guy Cundell
From: More idle ramblings from South Australia
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Posted 31 Jan 2018 7:31 pm
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Here is a great picking/blocking exercise. The top and bottom lines of this twin guitar intro offer different levels of challenge. The rhythm with accents across the meter is common to both. But blocking is essential to making it work. A combination of pick blocking and trailing left-hand fingers would be my method. Keeping bar noise to a minimum as it descends adds to the problem. The top line offers more of a challenge with the string skip required.
Here is the original, with Jimmy Wyble on the top line and Noel Boggs on the bottom, played an octave up from the following tab.
https://www.youtube.com/watch?v=ZvrOhfD1jsE
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