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Thread: my ukulele progress

  1. #541
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    I have a few things to report on "Under the Rainbow" which is the name of the song blueprint I am currently working on. The name was inspired by the recent thread devoted to good ukulele songs. Of course "Somewhere Over the Rainbow" was brought up and I think my song is the obverse of that. It isn't otherworldly; it is earthy, lugubrious, and exotic.

    First of all those unused B minor chords. They both sound the same to me, so I use my preferred shape, X675. It sounds a little out of place with the previous two open chords, but that's a good thing. It shows that a transition is under way. I am going from jangly open chords to a tighter triad to single notes. Another thing that is nice is that when I slide from the Am add9 to the Bm on the A string, there is no slide sound.

    This is obviously going to work. I focused on the B at the 7th fret and consciously made decisions to either go down to the B on the fourth fret (and the E on the fourth fret to resolve it all) or up the B of the 11th (and the E on the 10th).

    The key to it all is actually the C on the 8th fret. If, on one hand, you don't hit that C you're playing the pentatonics (although I still am under-utilizing the major pentatonic). Obviously that all sounds great. But if you float back to the B and then hit the C, then--bam--you're suddenly in flavor country. That C is very pronounced since it is in neither of the pentatonic systems. Maybe I'll try to map out some of the paths I took tomorrow. Right now it seems a bit daunting to remember all that stuff.

  2. #542
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    I recently commented on a thread that my ukulele routine hasn't altered with the pandemic, and that's true. But I have modified my behavior in another way. I adhere to a morning grooming routine. This is something that I learnt when I was a PhD student: you need a routine or you tend to just walk around the house in your pajamas doing nothing 'til dinner time.

    Anyway, to give my day some structure and to get going in the morning, I get up and hone my razor while I soak my shaving brush in some hot water. Then I load my brush with some shaving soap...

    [shaving soap excursus: I used to only use hard soap because I wanted to shave historically. I like being able to read about people breathing on the steel of their razors and watch the fog form and dissipate like so many youthful dreams. And I like being able to do that myself. I am branching out a bit. I bought some new shaving cream with tallow. I really like the tallow and if that means I have to use a cream, then so be it. I recently read a fussy account of how to use blossoming to achieve a very thick lather. I appreciate the author's youthful enthusiasm but it is misspent ingenuity. The last thing I want is a thick whipped lather obscuring the lineaments of my face when using a straight razor. Tallow-based shaving cream offers a little bit of lather with no fuss and that's all I want. I just ordered from Scotland a hard soap made with lanolin. I am hoping it will be like the tallow soaps.]

    ... after I shave, I apply some beard oil to my mustaches. I make my own with jojoba, cedar, sandalwood, and lavander oils. The ingredients probably cost $100, but it must surely save me many hundreds of dollars. Lastly, I apply some soft wax to the inner parts of my mustaches and some hard wax to the tips.

    That's my little routine that motivates to get up and going. Then, smelling of sandalwood soap, oil, and cologne, I can proceed to my other tasks.

    The snow is going to hinder my reading schedule, but with boots and gloves I will manage.

    The ukulele agenda will not be affected by anything. Right now my mind is centered on the major pentatonic shapes because they are not natural to me. Let me re-phrase that. The major pentatonic is merely the minor pentatonic done in the key of the relative major. So the shapes are the same; they just have different names.

    For example, I am focusing on the dominant and leading tone shapes (for the sake of convenience, I am using the names of the linear shapes. There are re-entrant shapes within the linear shapes, but I am ignoring them right now. To clarify it in my mind, then, the dominant shape of the E major pentatonic is the same shape as the leading tone shape of the minor pentatonic. And the leading tone shape of the E major pentatonic is the same as tonic shape of the minor pentatonic. That much is clear but what am I going to do with them. With the dominant shape, not too much because the B is at the top of the shape. So it would be a struggle to transition to other shapes from it. It is a struggle that I will undertake eventually and it might actually be the best thing to do as it would completely obscure the walls between the shapes. However right now the leading tone shape seems a bit easier to deal with.

    For example, in the leading tone shape, the notes on the E string are B and C#. All I need to do is hit the C instead of the C# and I would be instantly transported into the land of the harmonic minor. Then the nearby E and F# of the A string would either be notes belonging to the major pentatonic shape or the F# Lokrian 13. So I have a lot of lattitude there. I'll see where that takes me.

  3. #543
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    I thought I would take advantage of the unwonted, although not unwanted, presence of both flour and gravy in my home. They just don't fit into my lifestyle. I am normally a protein and vegetables kind of guy. So I made Toad in the Hole. It was really simple. You just make yorkies, but add sausage. I used two andouilles which I criss-crossed in a square pan. It was okay. I mean, what's not to like. But I don't really feel a need to repeat it. However, if I had to do it over again, I think I would cut up the sausage. I get the impression that traditionalists would shudder at this, but I think it would be a lot more convenient than having to cut the sausages when they are ensconced in yorkshire pudding.

    I unfortunately overslept my window for ukulele playing. I took a nap at four in the afternoon and didn't wake up until nearly midnight. So I only had time to practice those major pentatonics for a bit and try to connect them to the harmonic minor modes that occupy the same area on the fret board. I only had time to do the most rudimentary schemes like ascending with the pentatonic and descending with the Lokrian 13. When I have more leisure, I'll try to mix it up a bit more to make it more musical.

  4. #544
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    I watched a really insightful video on the circle of fifths. Most of the time, people are trying to dumb down or make less intimidating the circle of fifths. But I saw one that actually, as the title says, takes a deeper dive. Here it is https://www.youtube.com/watch?v=tEq14C60wDI

    It was novel by tetrasecting the circle into the tonic, tritone, relative major, relative minor and each of their respective perfect fours and fifths.

  5. #545
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    I've had to do a lot of stuff relating to my work and couldn't put in the time necessary to make any musical progress.

    I'm still fiddling around with pentatonic and minor harmonic shapes that surround the B on the 7th fret. The strings are settling down finally. I didn't have to re-tune today but that's because all the strings had stretched into a D# tuning instead of an E and I just let them remain where they were.

    The one novel thing that struck my ear was the movement from E minor to G# augmented. For some reason I really like the sound. And speaking of sound, why do guitar players, and hence ukulele players, speak of tone instead of sound. It always sounds a bit cultish and buzz-wordy to me. Is it because electric guitars have tone knobs and not timbre knobs?

  6. #546
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    I haven't been doing much of note lately. Just plodding along. Perhaps the one innovation to my playing has been using arpeggios to link my shapes.

    Let me map out one instance.

    I was just grooving with the F# Lokrian 13, especially the B and C notes. At the top of the Lokrian 13 shape is obviously a F#. Once I attain that F#, then I can use the D# dim7 arpeggio to descend to the A on the second fret. Or I could take only as far as the D# on the 3rd fret.

    My goal at this point is to get back up to the B on the seventh fret. There are a few melodic ways of getting there. I could use my harmonic minor modes to get there, or my pentatonics. I suppose I could even use the D# dim7 arpeggio to go up to the C on the 8th fret and then slide back to the B.

    Anyway, these are just some potentialities which sometimes I take, and sometimes I don't.

  7. #547
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    There seems to be a bit of a common feeling running around the ukulele world. I haven't been very productive lately and the threads around here have been a bit frivolous. There was one about the weight and balance of a soprano. Really? Are we going to fuss about something that weighs less than a tin of tobacco? Another thread was assigning moral judgments to chord inversions.

    These topics are silly and I assume my progress appears equally nugatory when viewed from someone else's vantage point. So I am motivated not to seem absurd.

    So I am moving forward. I went to random.org and randomized a number and received 3. So I am going to work on my third interval as a pivot point betwixt my shapes. The third interval in the harmonic minor is the flatted third, or the G in my case. Okay, so let's plan out our attack. Where are my G's at: G0, G12, C7, C19, E3, E15, A10. That is interesting. The G's are all on marked frets. Obviously it is just a coincidence based on my key, but it is noteworthy.

    As with my B, my G is obscure in the middle of the fret board. I'll be focusing on the 7th fret. I'm going to have to sit down and figure some things out.


    Okay. I was just looking at my music book and a few things popped out to me. I'll be using the same pentatonic shapes (the dominant and the leading tone) for the G. The G at the 7th fret is at the bottom of the linear Super Lokrian/re-entrant Ionian #5, so the easy transitions are the Lydian #2/Lokrian 13 in which the G is at the top. At first, I was thinking this was going to suck with the ionian and lydian vibes. However, upon further reflection. it seems that there is a lot of room for hybridization of the most boring modes and the most dissonant modes.

    And the G on the 10th fret will bring me back to old friends such as the Dorian #11 and Phrygian Dominant. Yet it will be different because I'll be focusing on the G whereas in the past I usually just flew past it.

    The thing I'm finding about the G is that starts of the G A B sequence that is found throughout the fret board. That grouping is in many of the shapes. It is kind of like the straight-man. It is a big five-fret spread with its notes at whole tone intervals. It sounds rather stolid, especially when juxtaposed with the rest of the shape that has a lot more half-step intervals. So, becoming cognizant of the GAB is firming up my knowledge quite a bit.

    This evening I will pursue this as well as a brown stock made with lamb shanks. I have them thawed and I will char the heck out of them. I guess I'll have to de-glaze with vinegar or lemon juice; I don't have anything else right now.
    Last edited by ripock; 02-28-2021 at 10:12 AM.

  8. #548
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    I'm still working on getting acquainted with the G and the GAB sequence. I'm still trying to latch on to its liabilities and advantages. I'm also getting able to recognize it visually. I kind of know where it is shape-wise. For example I know it is the third string in a phrygian dominant scale, but I don't really know where it is. And that is important because I need to know it so I can jump from shape to shape. It will come in time. Right now I can just glance at my fretboard and I can see the B's. The G's will come.

    I've hit the big time in my wok skills. I can now fry eggs without them sticking. That's actually harder than it sounds. So I used the eggs in my stir fry.

    1. fry the eggs and prepare all the ingredients.
    2. In ghee and olive oil, saute garlic, shallot, and ginger (ginger is my secret ingredient)
    3. add carbs (rice and slices of corn tortilla)
    4. add protein (eggs and curried chicken)
    5. add vegetable mix (napa cabbage, portabella mushrooms, and fiesta corn)
    6. add garnishes (green onions, green chilis, red chilis)

  9. #549
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    I received some replacement crystals for my humidifer. I need to dry out the humidifer and get the crystals out of there so that I can replace them. I am talking about my Kamaka's humidifier.

    Since I had my Kamaka out, I decided to play with it a little bit. I did notice that some patterns (viz., the Cotten picking pattern) sound better in re-entrant tuning. However, not having a usable G string is rather crippling to my style.

    I did what I could with the re-entrant G Ionian #5 and moving higher up to the A Dorian #11 and the B Phrygian Dominant. For some reason I just wasn't in the mood to go lower on the fret board.

    To end up the session I played a little progression: Em, G#+, B7, D, Cm7b5, ?

    I put the question mark because I wasn't consistently finding a sound I wanted. D#dim7 sounds too much like Cm7b5. F#m7 didn't seem to work (the pitch was too high). So I was just musically floundering.

    And I made it all a little more interesting by playing it all ponticello. That added thump was something to hear.

    As short as that description is, it actually takes a while to complete. Mostly because I can get lost and entranced in a progression and play it.

    And when I am grooving with a progression, I often do some thinking. And I was thinking about today about the intervallic relationships of notes and how it affects matters. Specifically how it impacts the musical spectrum of light. I obviously like the darker end of the spectrum, as evidenced by my progression that is patently in Aiolian (except for that chromatic D). I like the Aiolian because it is sufficiently dark and yet it is possible to go a little darker with the Phrygian or the Lokrian when the need arises.
    Last edited by ripock; 03-03-2021 at 07:39 PM.

  10. #550
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    Apparently I am not on the same page as other people. I want a unique ukulele as evidenced by Yorkie's London plane tone wood and laburnum fret board. Others don't agree. They want something tried and true. So I left them to their staid choices. No need communing with folks like that. I came over here to do my thing.

    Today I was connecting the re-entrant G Ionian #5, located at the 7th fret, with the linear G Ionian #5, located at the open fret.

    The main tool for this was the D# dim7 arpeggio.

    Here's the road map to what I was doing:

    1. play around with the G Ionian #5
    2. at some point, land on the F# on the 9th fret of the A string.
    3. from there, I was descend the fret board using the D# dim7 arpeggio 'til I ended on the A @ the 2nd fret.
    4. that A is the second note in the linear G Ionian #5
    5. ascend the fretboard using that G @ the 3rd fret as part of the B Phrygian Dominant.
    6. When I get to the F# at the top of that shape, then it is only a half step to the G and I'm back where I started.

    So I grooved on that for quite a while as I awaited my supper. I pressure cooked some corned beef in brown lamb stock for a little over an hour. I don't especially like corned beef but it was ubiquitous at the market because of the proximity of St. Patrick's Day. So it was a wise pecuniary decision to grab four pounds of it.

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