What Are You Working On Right Now?

[Ed DeGenaro]

Yeah, it's actually the same here. But I always keep confusing myself because I find the naming to be very illogical. I mean, when you deal with these voicings, the most important part would be the top note - and calling it a different inversion because of the lowest not always seemed illogical to me. But as said, it's my fault.

I used to name it the same way until it confused the hell out of a piano player I worked with.

So my hack for drop 2 was soprano voice gets bass a third below.
As in the one you have as root position it has the 7 on top (soprano) and the 5 on the bottom (bass)
That was until Ted Greene hipped me to his V system

 

[Sascha Franck]

To me, that, while plausible, still doesn't make it more accessible. I mean, I know how things work since ages already, and yet, for my "inner self" C-E-G-B and G-C-E-B are almost the same voicing and simply don't justfiy calling the latter 2nd inversion (because IMO the character is determined by the top note rather than the lowest note). No understanding of the theoretical background will ever help me out of that dilemma.

 

[Ed DeGenaro]

To me, that, while plausible, still doesn't make it more accessible. I mean, I know how things work since ages already, and yet, for my "inner self" C-E-G-B and G-C-E-B are almost the same voicing and simply don't justfiy calling the latter 2nd inversion (because IMO the character is determined by the top note rather than the lowest note). No understanding of the theoretical background will ever help me out of that dilemma.

Hence me saying I remember them by melody note on top and the bottom is a10 (3rd) below

 

[Sascha Franck]

Hence me saying I remember them by melody note on top and the bottom is a10 (3rd) below

That's not the issue I'm having. I'm having an issue to actually *name* the inversions. And while it's not even an issue, it's just something not accessible for my poor little brain.

 

[Ed DeGenaro]

That's not the issue I'm having. I'm having an issue to actually *name* the inversions. And while it's not even an issue, it's just something not accessible for my poor little brain.

And for that I gladly live with view from the lowest note

 

[Ed DeGenaro]

That's not the issue I'm having. I'm having an issue to actually *name* the inversions. And while it's not even an issue, it's just something not accessible for my poor little brain.

I heard you play and find this hard to believe

 

[Sascha Franck]

I heard you play and find this hard to believe

Totally different thing, really. It's how I "see" or rather "feel" chords vs. how they're organized in classical terminology. And especially as far as typical drop 2 voicings are concerned, *the* key element is the top note, so that's what I'd like to be the center of "how to explain/detect" inversions, too.
And fwiw, all of that doesn't get in the way of my playing anyway. It just does get in the way of me being able to explain things sort of intuitively.

 

[ᛗᛜᛜᚺDᛜᎶ Ꮤᛨᚳᚴ]

If anyone is interested, putting "tab" stuff in one of these posts is best done in the "code" wrapper. It uses a fixed width font so the numbers don't get misaligned and are therefore easier to read ;~))

A-7

E----5------8----
B----5--5---8---8
G----5--5---9---9
D----5--5---7---7
A----------------
E-------5-------8

 

[Ed DeGenaro]

Totally different thing, really. It's how I "see" or rather "feel" chords vs. how they're organized in classical terminology. And especially as far as typical drop 2 voicings are concerned, *the* key element is the top note, so that's what I'd like to be the center of "how to explain/detect" inversions, too.
And fwiw, all of that doesn't get in the way of my playing anyway. It just does get in the way of me being able to explain things sort of intuitively.

Well dude you have the 7th on top means you have the 5th on bottom, it's second inversion done.

 

[Sascha Franck]

Well dude you have the 7th on top means you have the 5th on bottom, it's second inversion done.

I know that. But in case it's not drop 2 but closed voicing, it's root position. That's not logical for my brain.

 

[TwistedTape]

I am working on my pedalboard....same as always!

 

[Ed DeGenaro]

I know that. But in case it's not drop 2 but closed voicing, it's root position. That's not logical for my brain.

You want logic go the other way around.

Let's use C△7 root position.
And for the purpose of this let's use the term for any voicing

Closed voicing 7th on top
Drop 2 3rd on top
Drop 3 5th on top
Drop 2/4 7th on top

 

[Sascha Franck]

You want logic go the other way around.

No, I don't. It's my brain's guts working that way automatically.

Fwiw, all that stuff would work just as well upside down (using the top note as a reference for inversion namings), and if the "naming system" was invented by jazz (or anything else but classical) musicians, it'd possibly even be upside down.

 

[Ed DeGenaro]

No, I don't. It's my brain's guts working that way automatically.

Fwiw, all that stuff would work just as well upside down (using the top note as a reference for inversion namings), and if the "naming system" was invented by jazz (or anything else but classical) musicians, it'd possibly even be upside down.

Well don't they do it in Gernany anyways?
The drop2 you all root position is Septlage, no?

 

[Sascha Franck]

The drop2 you all root position is Septlage, no?

Gotta admit that I have forgotten pretty much all classical nomenclature (should theoretically know it from studying...).

 

[norminal]

Can someone tell me how YOU play this? I've heard this lick used a billion times, but never added it to my repertoire. I'm embarrassed to say that I can't seem to figure out the most efficient fingering (the bendy part):

 

[TSJMajesty]

Can someone tell me how YOU play this? I've heard this lick used a billion times, but never added it to my repertoire. I'm embarrassed to say that I can't seem to figure out the most efficient fingering (the bendy part):

What SONG is it?

 

[norminal]

What SONG is it?

Rooster by Andy Wood. It’s ALL over his new album. But it’s just your run of the mill blues lick.

 

[norminal]

Sounds like he’s bending up a full-step on the 17th fret of the B string then bending down from a full-step on the 16the fret of the G string.

 

[Sascha Franck]

But it’s just your run of the mill blues lick.

Nah, it's quite tricky IMO. 7th bent to octave while prebending the 4th to the 5th and then doing a release bend from 5th to 4th, the tricky thing being that these are on adjacent strings (say G and B), so the bent upper string is getting in the way of the prebend on the lower string. Performing this with all notes coming out clean is quite something. Maybe I'll get into it a bit tomorrow.