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Author
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Topic: Charlie Parker's "Cool Blues" tab, C6/A7
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Jesse Pearson
Member From: San Diego , CA
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posted 07 February 2004 07:35 PM
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I posted the tab for Birds "Cool Blues" for C6/A7 tuning in the tab section.
http://steelguitarforum.com/Forum8/HTML/001912.html It's just the head for now. This is a cool little jam that you can play with your jazz buddies.  [This message was edited by Jesse Pearson on 07 February 2004 at 07:37 PM.] |
HowardR
Member From: N.Y.C.,N.Y.
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posted 08 February 2004 05:40 AM
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Once again, this is much appreciated. This will help me a great deal with what I want to learn, and on the tuning I'm using. |
Denny Turner
Member From: Northshore Oahu, Hawaii USA
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posted 08 February 2004 07:44 AM
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Jesse,My VERY full plate the last couple months usually only allows me to zip through the forum here without saying much; But I just wanted to jump in here and say THANKS A MIL for working out and posting the tabs .....especially the ones you choose. Great stuff to show how the substitutions contained in the fret-board boxes work for position, harmony, vamping, etc, ...even when the same notes have to be found in a different box to get the scale / harmony / vamping positions a person might hear / desire; Illustrated by Andy's reply on the "Cool Blues" tab thread. A great contribution that's appreciated my Friend. I wish I could hang out here and pick up / study more of your postings; And I darn sure will in several more weeks when I get the shop / house remodeling done and things back in place and running "smoothly" again. ---------- Maybe worthy of mention here: I hope and suppose that you have found that allot of more exotic out-of-church-modes stuff can be found by moding the modes we discussed to death in mode-zilla; Which provides more-exotic boxes overlaying the church modes' boxes, mostly in the half-step frets between them, (not unlike overlaying cycles of 4ths over cycles of 5ths) ...the same approach you offered / discussed super-locrian in the mode-zilla thread. And by modulating (inverting) the Locrian box up and down the neck in minor 3rds, we find we're moving a box full of accidentals that can be applied in boxes adjacent to each church mode or each moded mode etc etc etc. And intuitively I think that exotic graphic interval patterns that are not square in straight-bar boxes, will still run up and down the neck offering that interval pattern's own modes in the same pattern up and down the neck ...arranged by the intervals sequence just like the church modes square patterns are. Aloha,
Denny T~ [This message was edited by Denny Turner on 08 February 2004 at 07:46 AM.]
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HowardR
Member From: N.Y.C.,N.Y.
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posted 08 February 2004 08:15 AM
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I was gonna say that....  [This message was edited by HowardR on 08 February 2004 at 08:16 AM.] |
Jesse Pearson
Member From: San Diego , CA
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posted 08 February 2004 03:13 PM
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Yea, I hear ya brother. If I take the time to look at the steel like a horn, I can see it in the same way. There's so much good resource stuff out there for horn and guitar players, that it only makes sense to transpose it onto the neck of the steel in the same way. I'm starting to tab out a study on Charlie Parker and one on Dejango Rienhart's approaches onto C6/A7. I can see now that the Hawaiian steel can easily hold its own at a Bebop jam. |
Jesse Pearson
Member From: San Diego , CA
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posted 09 February 2004 11:15 AM
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I added this forward slant chord to the beginning of the 5th measure(F7) to set up the picking and make it easier. This was a nice surprise because it's a new voicing I haven't seen in the JB instructional course. This is clearly a Lydian b7 chord and uses the the Lydian Dom scale as a 1st choice scale. It also makes a great comping chord when on the 4 chord. The Lydian Dom is the 4th mode of melodic minor. I use it on blues all the time, sounds like an altered dom7 but more inside. In blues, I mostly use this scale on the 4 chord to get a sophisto sound.
F9#4
E|-------|
C|-------|
A|-12----| 3rd
G|-12----| 9th
E|-11----| b7
C#|-10----| #4
As you can see, this is a non root (NR) chord and it also lacks the 5th. Leaving the root and or the 5th out is common, the bass player will cover that.[This message was edited by Jesse Pearson on 09 February 2004 at 04:00 PM.] |
Jesse Pearson
Member From: San Diego , CA
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posted 09 February 2004 01:18 PM
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Here's the scale to play over F7#4 lydian dom. This scale would sound nice over plain ole F9, when used as a 4 chord in a blues. Notice how the first 4 notes are the whole tone scale.
F lydian dom. F7#4 E|------------------------------10-11-13-15-17-19-| |
C|------------------------11-12-------------------| |
A|------------------10-12-------------------------| |
G|-----------7-8-10-------------------------------| |
E|-------7-8--------------------------------------| |
C#|-4-6-8------------------------------------------| |
F G A B C D Eb F G A B C D Eb F G A B
F9 Arpeggio E|--------------11-13-| |
C|----------12--------| |
A|----10-12-----------| |
G|-10-----------------| |
E|--------------------| |
C#|--------------------| |
R 9 3 5 b7 R
F G A C Eb F
[This message was edited by Jesse Pearson on 09 February 2004 at 04:39 PM.]
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