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Thread: my ukulele progress

  1. #441
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    I forgot to mention I have my Dunlop crybaby pedal, but I forgot to get a power supply. Once that arrives, I have to figure out how to use it in terms of my wife. She is rather dense or unobservant when it comes to my music, but I think she'd have to notice the wah wah. Of course I am not going to use it like a funk bassist. I'll be using it more of just a modulation used in conjunction with some fuzz. Maybe she won't notice. I was just reading a post about someone not being able to rock out. I would suggest getting a few accessories (with the spouse's approval) to rock out. Even "Three Blind Mice" rocks with a 75 watt amp and flanger. But I received the impression that electronics were precluded from the conversation.

  2. #442
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    I'm finally getting the first six bars to my liking. Here's what I'm doing right now.

    1. 9988
    2. 7767 | 6767
    3. 5555 | 4535
    4. 3333 | 2313 going to 2310
    5. 1211
    6. 1111 | 3334

    I like the descending movement of that. I haven't listen to Charlie Parker, so I don't know how he makes it sound in the recording. For the second half of the progression I would like to see if I can make it ascend again.

  3. #443
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    I have been working more on the bird blues.

    I'm starting to get some phrasing. The latter half of the progression often has split bars: half go with a G-rooted m7 and half go with a C rooted dominant. So it is possible to get a rhythm going. I of course have taken a few liberties. The tenth bar calls for a V7 chord. However that's a bit boring. So I squeezed a I chord in there. I selected a Fadd9#5 and it sounds pretty good.

    In bar eleven, there is a VI chord and it is often altered, so I just made it a D13--that's nice and altered and sets up the final 2-5-1 turnaround.

  4. #444
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    I just re-read the previous post and I don't remember doing any of that. I'm going to have to read that stuff again and try to re-create what I was doing. In the meanwhile, I was working on something entirely different. I was working on the underlying chords for the first few chords. The first chord is a Fmaj7 and the fingerpicking is a no-brainer. With that chord the obvious accompaniment is the major pentatonic or the Lydian mode. The second chord is an Em7b5 and I read that someone no less than Bud Powell used the Lokrian13 scale with that chord. So who am I to argue? Luckily the Lokrian13 is something I had been working on since it is the second mode of the Harmonic Minor.

    so, true to form, I've been playing unmetered doggerel. I play the chords and then improvise without regard for musicality. Eventually, I will land upon a phrase that I like and I'll then make it metronome-friendly.

  5. #445
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    I've been thinking about how things are getting away from simplicity. People driving around in their tinted windowed coffin-like cars instead of having their windows down. And I heard people saying that it was too hot to eat on patios (the only way we're currently allowed to attend restaurants/pubs. I am perfectly comfortable if I'm in shade and it is 100. And I have never had air-conditioning. All I need is a swamp cooler when things get really hot. I've been wondering if I could apply this to music. I'm still thinking.

    I'm also thinking of guitarists. Why are they so prescriptive? Of course, this is an inductive fallacy and many aren't, but the ones I've run across lately are very dogmatic and very much thinkers within the box. I'm not going to name names, but around here I've run across some guitarists turned ukulele players and they are very snotty. They seem to think that the guitar is the standard and ukuleles are a derivative therefrom. I don't really have time for them and there attitude. I have too much to do.

    Speaking of which, I was trying to codify what I've been doing with my Bird blues. Here's what I'm doing

    01. IΔ7 (FΔ7)(EΔ7) Lydian
    02a. VIIø (Eø) (D#ø) Lokrian13
    02b. III7 (A7b9) (G#7b9) Dominant Diminished
    03a. vi7 (Dm7) (C#m7) Dorian
    03b. II7 (G7) (F#7) Mixolydian
    04a. v7 (Cm7) (Bm7) Dorian
    04b. I7 (F7) (E7) Phrygian Dominant
    05. IV7 (Bb7) (A7) Mixolydian
    06a. iv7 (Bbm7) (Am7) Dorian
    06b. bVII7 (Eb7) (Am7) Mixolydian
    07a. iii7 (Am7) (G#m7) Dorian
    07b. VI7 (D7) (C#7) Mixolydian
    08a. biii (Abm7) (Gm7) Dorian
    08b. bVI7 (Db7) (C7) Mixolydian
    09. ii7 (Gm7) (F#m7) Dorian
    10. V7 (C7) (B7) Phrygian Dominant
    11a. iii7 (Am7) (G#m7) Dorian
    11b. VI7 (D13) (C#13) Lydian Dominant
    12a. ii7 (Gm7) (F#m7) Dorian
    12b. V7 (C7) (B7) Phrygian Dominant


    Just to explain that: The chords in parentheses are the chord in F and the chord in E (my preferred key). The scale to the right is what I use to play over the chord.

  6. #446
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    I think I have quite a bit to chew on in terms of jazz with the Bird Blues, the Rhythm Changes, and a bunch of jazzy blues progressions that I culled from an old jazz book that I bought. I'm definitely going to keep on with those studies. I am confident that eventually the principles learnt will impact my style. I don't think I'll ever be considered a jazzman but I will certainly retain a lot of it in my own work.

  7. #447
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    I have sufficiently paid my respects to the ukulele gods by playing the re-entrant tuning. It was with a sense of relief that I pulled my Low G back out and slid that walnut neck into my hand. I did notice something. The ukulele is much more resonant when notes are higher on the fret board. For example the E on the 4th fret and the E on the 10th fret are the same note, E4, but the 10th fret version re-echoes much more.

    Anyway, back to "Blues for Alice"--I finally remembered what i was doing in bar eleven. I had substituted an Fadd9#5 for the more traditional Am7. The progression ends with two ii-V progressions separated by a bar of other stuff. It was the other stuff I was trying to fix. I just didn't like the sound of the Am7. First of all, I tend to not play the 0000 version of it; I don't care for open strings. If I play my preferred shape, it is too similar to the C7 that precedes it. So I need to do something. Looking at the situation, A minor is the iii of the key. The iii is the secondary relative minor used as a substitution for the I. So I could just straight-up use the I chord, the F, but make it tastier--viz., an Fadd9#5. Alternatively I could use Eb, the tritone substitution of A.

  8. #448
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    I'm still having some problems with that C7. I suppose it is natural because it is arguably the most important chord being the dominant chord of the progression. I find that which C7 I use affects how well I like the chord that follows. It all depends on what vibe I'm looking for. The Fadd9#5 and the Ebm7 (maybe I should add a b9) have a different feel and a different pitch. So it all depends on what I'm wanting for that particular iteration of the progression. I was hoping to codify it but I now see that that is impossible and indeed unwanted since once it is set in stone it is dead.

  9. #449
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    I stumbled across a turnaround that I like for my "Blues for Alice."

    Okay, so following a run of altering dom7's and minor 7's, we get to the dominant chord of the progression, the C7. This signals the end of the progression and the need for resolution. Instead of getting that, we receive a stutter step moving away from the dominant chord and then going back to it and, then, finally doing the expected thing and resolve. Here's what I'm doing with it:

    bar 10: C7
    bar 11a: Eb13 (Eb being my tritone substituion of A which is Charlie Parker's substitution for F)
    bar 11b: D13
    bar 12a: Gm7
    bar 12b: C7

    Gm7 to C7 is a no-brainer; that is just the ii-V movement that anticipates the I chord, F. Bar 11 just walks down the fretboard in triplets from the third to the first fret. That combines a traditional blues technique with a more jazzy progressive choice of chords. Going from dom13 chords to a m7 is a bit of a stretch, literally, but it is what I'm going with right now.

  10. #450
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    I've been in a holding-pattern in terms of the ukulele. I've been working a lot of overtime. I'm not complaining when so many people are out of work. And I'm slated to start teaching three college classes in ten days. I haven't even started on those curricula. So things are starting to get a bit hairy. How did I rise to meet the challenge. I went, of course, and got some beer! I bought two parcels from my favorite pub, one from another I admire, and even bought a single sour red ale from a local albeit artisan brewer. That is meant to last me over the three day weekend. So don't worry; I'm not about to turn dipsomaniacal.

    My short term intention is to continue with my Bird blues and get it tighter, but my heart is starting to pine for my harmonic minor modes. It will only be a matter of time before that re-asserts itself. I think I will probably be updating this journal with notes on phrasing in the "Blues for Alice" because that seems to be where I'm tending.

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