So after lots of study and practicing voicings.
Starting to understand and build my repertoire.
Finally Discovered the fluidity and close voicings. Some great applications can be found by Master players like Buddy Emmons or Tom Morell.
In looking at the way they approach voicings they seem to love the close, quartal voicings whether Buddy is playing C6th or Tom on E13.
Those pesky 9ths really shine and start to bring it together.
Raisin the Dickens is a perfect example of how to apply those 9th’s
and also Pretty much most of Tom’s later recordings with the Timewarp Top hands man he connects it so fluidly makes you want to cry.
So for the E13 players if you aren’t grabbing those 9ths you are missing out.
Buddy even changed his C6th to have that 9th on top rather than a 5th as did Reece Anderson. – Its starting to all make sense. – Their 9th on top is the same octave as our low E13th 9th so use it.
Remember Keep Steelin’
So learning Steel Guitar is an interesting challenge with a learning curve like any other instrument.
What’s interesting is you can tune it to a chord that has at least a major chord in it and crank out a blues 1-4-5 progression in less than 10 minutes from the very first stage.
This is where most players go WRONG. Then they get stuck in a rut so everything they play is blues and before they know it that is ALL they can play. They’re technique was never focused on so they lather on the effects pedals thick and crank up the distortion. Then after that they waste years buying and selling lap steel guitars with not much knowledge about the instrument and focus on how good the timbre of the distortion sounds against they’re sloppy playing.
How do I say this. Cause THIS WAS ME at one point.
Just a quick google/YouTube search and you’ll get the jist of what I’m saying. There are tons of blues players out there that don’t play the blues because they choose to but rather play it cause that’s all they can play on their instrument.
Now I believe there are many ways to learn an instrument but nothing beats learning the language of music.
Once you start your journey don’t look for shortcuts and distorted gains. Try and play clean , slow and know what you are playing.
“Over time it’ll pay off. ” I tell myself this all the time.
So embrace the journey enjoy the steep curve and maybe one day we will meet at the top of the mountain and if we play blues it’s because we want to and not have to.
So I love the progression and the nuances and challenges of the song. Lots of options. Trying to strum more varied and wider voicings. I have been studying some jazz sus4 voicings so had to throw them in and the theory works well. Thankyou Mark Levine.
Some mistakes but this is a rough draft. Loads of full chords on my E13#9/F Tuning. Enjoy. Still discovering E13 and loving it.
Here is a short practice video
Just practicing some voicings on All the things you are. Thinking about using some flat 9ths in there as well for more dissonance.
So continuing the E13th Discovery.
That integral add9 if we look in the key of C. At the 8th Fret C, D, E, G is our Cadd9
An Add9 chord is simply a triad with the 9th degree added in. Unlike a standard 9th chord. add9 chords typically don’t include a 7th scale degree.
Now What makes it so interesting is that an add9 chord can be substituted for any diatonic triad in a major or minor key and still be diatonic (aka sound correct). If used with a major triad it adds some ethereal color to the chord. When used with a minor triad it adds a bit of dissonent tension.
To take it a step further to convey a 9th Chord:
I quite prefer to drop the Root note C entirely and simply play the remaining notes in Major/Minor. So
Major: One of my fav inversions E, G, D
Minor: Eb, G, D
In a Jazz context a simple add9 can thus also convey a M9 or a m9
So recent love of dissonance has led me to play with a tension filled dominant 7th.
Voicing For a 7th (standard Drop 2) – Root – b7 – 3rd.
Try sharpening your Root so example C would become C# – Which in a dominant chord would imply a b9 sound. Tense.
So b9 – b7 – 3rd. Enjoy your new voicing and hear other say what is that chord??? Feels like its going somewhere and it works. Now every time you want some tension add that b9 voicing and enjoy.
In the Key of C it would be.
Db – Bb – E
So here is a great one for us Lap Steel Guitar players wanting to emulate the pedal Steel A&B pedal which goes from a 1 chord to a 4 chord. So in the Key of C its a C – F move.
Konig & Meyer 14065-000-55 395mm to 585mm Leather Adjustable Keyboard Bench – Black
So all too often we spend on lots of different types of gear but one has never been so overlooked than where we put our derriere.(Hope I spelt that right)
We use chairs and all sorts and from my experience of long practice hours just as concert pianists and pros know a good Piano seat and seating position allows optimum performance plus avoids injury further down the line.
So after spending countless hours reading reviews I decided to order one and take this seriously. My two cushions and foldable chair is hurting my lower back so F@&K that.
I found an affordable but reputable seat and lower back ache gone. Playing position improved. Happy as a lark.
Doesn’t your bum deserve better?
So here is the chromatic scale in C
So after countless hours of study. I decided to take a methodical approach and go back to basics and start from fresh. As triads are the building blocks of chords and more advanced voicings. Discovering my E13#9/F Bebop tuning has been a challenge but is rewarding after I discover little gems for practice like this.
I have been meticulously cataloging and creating my E13#9/F Book to help me along this lonely road. With Universal thoughts on my mind – i.e. one tuning that has all I need.
So here is a snippet with Notation and TAB to give you a glimpse as to what is to come.
Triads – Major Chord Scale