Please stop laughing.

[http://www.looknohands.com/chordhouse/guitar/index_rb.html]

You are talking about the low string rhythm pattern thing Chuck Berry plays right?

I use that rythm ALLOT on 6th tuned Steel ...and love it; ...and it is quite easy, laid right out in the Mixolydian box. It's just a matter of working back and forth on the 2 frets in the Mixolydian (dom7) box ...with some slide slurs for nice effect, keeping the "chunk-chunk" as an anchor to work around. The character of those "boogie-woogie" rythms are in accentuating the 5, 6, b7, 6, 5 movement on top of the voicing(s) ...and as usual the lower harmonies are all laid out on the proper 2 frets in the box ...with other fitting licks segments that have to be grabbed on one fret and then worked in the box ...for instance 7/b3-->1/3, 1/5 before continuing with 6, b7. Rythm accents on the dom7 extensions fret is way cool; 5, b7, 9, and 11 are sitting right there waiting their turn!

Keep in mind that the 6th tuned Steel is just barely over 1 octave in tuning, so many things found in the lower octave of a spanish guitar finger position (where those boogie-woogie rythms reside) are laid out across the Steel's 1 octave ...just a matter of picking them out.

I find Delbert McClinton's "boogie-woogie" type stuff to be excellent for working / practicing "boogie-woogie" rythms in the mixolydian box. His boogie is much looser than the chunk-chunk that is all too easy to get "trapped" in when thinking "chuck berry" ...although "chuck's" syle is wide open to the same looseness he allows with back-up bands depending upon his mood / circumstance / desire / etc.

The pentatonic stuff Andy speaks of can be found working around either side of the signature chord fret (down-scale fret in the box ... 3 frets up from the root 6th chord) in the Dorian box, ...and again grabbing those dom7 things in the Mixolydian box ...particularly the extensions that announce dom7 which opens up the min7 (blues / rock) thangs to fit.

Aloha,
DT~

[This message was edited by Denny Turner on 16 February 2005 at 02:46 PM.]

I've been lurking around here on No Peddlers trying to get educated on lap steels cause you guys seem to be having alot of fun and I'm thinkin' I'm missing out on something!

Anyway, sorry about the topic drift.

Chuck Berry licks are way cool!

sorry

musically retardedly yours,

quote:

---

"easy translation of Mixylodian??"

---

The easist way to describe The Mixolydian Mode is: It's a Major Scale, with the seventh tone flatted.

Stated another way: It's a Major Scale using the dominant seventh tone in place of the major seventh.

example:
C Major Scale : C, D, E, F, G, A, B, C
C Mixolydian: : C, D, E, F, G, A, Bb, C

"Mixolydian" is a brief word (mode name) for the dominant7 (ie. Major b7) scale and it's chords. Mode names are nothing but brief words that are easier to use rather than spelling out the entire math of a scale. For instance, ...Locrian is allot easier said / written than it's math min7b5b6 and the context of how to use it.

See Mixolydian box in the C6 Navigation chart.

Short basic music theory review using the number system.

Lesson text for the C6 Navigation chart.

"Threadzilla"; A comprehensive SGF discussion of Steel neck navigation via mode boxes. Here's an index list marked for basic, intermediate and advanced discussion postings. (So basics, intermediate and advanced postings can be found as a person's desires might be).

Aloha,
DT~

[This message was edited by Denny Turner on 17 February 2005 at 03:11 PM.]

For best results in finding the feel and timings, especially when learning / woodshedding; Turn the pre-amp gain up to 7 or more. Once the feel and timings are found, it can be felt at lower gains.

This is just introducing the positions and simple general timing. Mix'em up and search for additional voicings and timings. Fuller chords can be done by adding notes between these on their frets, ...by playing more than one string with the index and 2nd finger, ...and by raking the strings with either finger ... or slapping / raking with the thumb ("slapping" harmonics is cool) ... or 3 note chords with the Thumb and fingers ... ie. combinations of picking techniques. Experiment with all combinations of notes on the extensions fret (the lower fret in a Major scale box ... voicing in this dom7 box's case is low>hi = b7, 2/9, 4/11, 5, b7, 2/9) as dom7 chords for rythm and rythm accents.

Remember that the band will also be defining rythm timing and chord roots / triad definitions, ...so the Steel is quite free to syncopate, accentuate, overlay, etc rythm parts and chord voicings. If the band is playing / defining Chuck Berry type boogie woogie, the type of voicings and rythm tabbed below can add quite a bit more in character than the common 1/5 1/6 1/b7 boogie-Woogie riff on the 5th and 6th strings of spanish guitar!

Boogie in the Mixolydian (dom7) Box. (Frets 4 and 2 for E scale / chords).
Key of E
 
 
    In simple form:
    ------------------------------------
    ------------------------------------
    --------4-------4---5---4-------4---
    ----4-------4---------------4-------
    ------------------------------------
    ----4---4---4---4---4---4---4---4---
 
4/4 4---1---2---3---4---1---2---3---4---
    V---V---V---V---V---V---V---V---V---
 
 
 
    Some rythm inflection:
    ------------------------------------
    ------------------------------------
    --------4-------4---5---4-------4---
    --3_4-4-----4---------------4-------
    ------------------------------------
    --3_4-4-4---4---4---4---4---4---4---
 
4/4 4---1---2---3---4---1---2---3---4---
    V-^-V-^-V---V---V---V---V---V---V---
 
 
 
    Experimenting with adding the 7ths:
    --------------------------------------------------------------------
    --------------------2-------------------------------4-------2-------
    ------2-4---2---4-------4---2---4-1_2-2_4---2---4-------4-------4---
    --3_4---------------------------------------------------------------
    --------------------2-------------------------------4-------2-------
    --3_4-2-4---2---4-------4---2---4-1_2-2_4---2---4-------4-------4---
 
4/4 4---1---2---3---4---1---2---3---4---1---2---3---4---1---2---3---4---
    V-^-V-^-V---V---V---V---V---V---V-^-V-^-V---V---V---V---V---V---V---
 
 
 
     Tonic accent Riff:
     ------------------------------------
     ------4-----4-----4---4-----4-----4-
     ------4-4---4---4-4---4-4---4---4-4-
     --3_4---4-4-----4-------4-4-----4---
     -----------------------------------
     --3_4---------------4---------------
 
4/4  4---1---2---3---4---1---2---3---4---
     V-^-V-^-V-^-V---V-^-V-^-V-^-V---V-^-
 
 
 
    Blues accent ditty:
    ------------------------------------------------
    ------------------------------------------------
    --------------4_2~------------------------------
    ------------------------------------------------
    ------------------------------------------------
    ----------2_4___2~------------------------------
 
4/4 1---2---3---4---1---2---3---4---1---2---3---4---
    V---V---V-^-V-^-V---V---V---V---V---V---V---V---
 
 
 
    Blues tag lick around the min7 chord fret:
    (Loose timing. Timing noted here just for loose reference)
    7---6---5-----------------------
    ----------5_7-5_7---------------
    --------------------75--7-------
    --------------------------7_9---
    ----------------------7---------
    --------------------------------
                       ///
                        3
4/4 1-------2-------3-------4-------
    V---^---V---^---V---^---V-^-----

Aloha,
DT~

[This message was edited by Denny Turner on 21 February 2005 at 02:34 AM.]