If you are not familiar with my work you can enter the charts here and lesson text here.

If you are familiar with my methods, ...might have had some difficulty envisioning it, ...and/or might desire some additional views into what's going on, you can click here for new charts I've made for each scale / mode charted separately and a brief single-chart overview of how / why it all works.

A short / basic music theory refresher can be found here should anyone desire it.

This is good work, which many of us ought to use to increase our knowledge.

I know that this took a lot of work to produce. So many thanks for all your work.

It is a nice contribution for SGF'ers.

Aloha,

Don

quote:

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Guess it was genius and NOT madman!

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You know better than that, Andy. As I sit here in my leather WWI tank helmet, goggles, tie-died scarf, da-glo orange jump-suit, silver combat boots and "millenium falcon commando" joy stick, ....you sound more confident about "the insanity" thang than I am!

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Thank you all for the kind words. But it's really pretty easy to create and publish the charts and info now that I understand it reasonably well. I'll never be able to return to the cosmos anywhere near what has been so generously shared by other Musicians over the last 47 years and given me such joy. ....although it don't hurt to try in the little bit I know.

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With several years of using this stuff now, I find that the brain and muscle-motor thang translates it remarkable well; Glissing right up to the fret where the ear & brain knows or recongizes a passage and/or chord context (most of the time anyway); Which makes sense since with moderate woodshedding the bar will inevidably reach a fret where the voicing matches the musical context; And the mistakes in woodshedding train the brain, eye and hands as much as success does in harmonious context. I find it quite amazing and rewarding that the brain and muscles train so easily and rather seamlessly to the modal template and playing intent ...by the repetition inherent in woodshedding.

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In context with this discussion chain's original question and answers: NOT TO DEVALUE ANYONE ELSE'S LIKING / SUGGESTIONS FOR OTHER TUNINGS; But regarding other simple triad tunings, don't forget that the 6th tuning IS a triad tuning in all but the 6th note, ...not only in it's 1 3 5 voicing but also affords 3 5 1 and 5 1 3 voicing as well; So most 1 octave licks of triad tunings are sitting right on the 6th tuning as well ...just not with the range of 2 octave triad tunings; ...although 2 octaves are on the Steel neck 12 frets distance, making some of even the 2-octave licks of simpler triad tunings possible. Add the benefits afforded by the modal structure, inversions, substitutions and voicings of the 6th tuning ...I just can't find that a few ver-batum "blues" type licks in 2 octave triad tunings, are an "economical" trade for most other triad licks available in the 6th tuning and the vast additional benefits the 6th tuning affords. BUT familiarity / habits of already known tunings / formats DOES INDEED justify having a neck tuned to a familiar tuning sitting ready to use when desired. I do that myself.

If folks desire Blues licks, try working all the strings of the 6th tuning, on both sides of the min7 / Dorian signature fret where the blues scale and allot of related voicings sit ready to mud-slide yer collards, cornbread, poi and scruples away. The Dorian signature fret and box is also great for minor(7) rythms and colorful substitution voicings for IV chord (it's the same box as the IV7 box). And the Dominant 7 voicings of the Mixolydian box is also chocked full of blues licks and fills, ...with the extension fret having 9 / 11 voicings of many if not most blues and funk rythms.

With more than 6 strings on a neck, lower octave triad notes can be added on the bottom to make old familiar funky licks even more available.

Aloha,
DT~

[This message was edited by Denny Turner on 25 May 2005 at 05:45 PM.]