~ Doc's chop shop ~

'the chop shop ... a place we all love to go to get more chops, for what fun is there from just understanding the music and not having any cool licks to play ...'
 

In a nutshell: I started attending formal music college as a freshman in a long long ago windy January winter, meaning according to some traditional class schedulings, I was a semester late, so three months behind in my classes. Despite this late arrival I was immediately assigned to attend the weekly SUNY Plattsburgh College music department's 'chop shop' and play music with Dr. Miller. Thus, the title of this page's discussion in honor of Doc as most of the ideas presented here originated from these sessions and all whom attended over the course of my attending this formal music school.

+ - & x ...

spell the chord
ballad /one for Mitch
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google ~ Joey Fender
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Wave diminished octave arpeggio lick / pattern
open E up the neck
r-35 ... 9 b7 8 nitunisia
patterns
motion to Four / 1st inversion
shapes
passing 7th
lines
JBGoode
Muddy lick

if ya can't play it correctly slow ... :( chances are ... :)

tritone sub
learn a tune
half diminished
play the melody
the triplet in the line
the bridge
start points in the line
the fourth
Joe Pass
the hemi demi semi quavers
octaves / tribute to Wes

Doc's ii / V / I lick

 

~ 3 licks in 5 spots? hammer on blues 3rd / muddy walkdown all the way / major and minor triads / St Steven lick licks in 5 spots makes 15 ideas ~

~ blues elevator ~

~ speed picking ~

~ Kova / Ace / Ken

at Mammoth music ~

~ one chord to the next ~

~ evolution of power chords ~

~ getting it under the light ~

~ swing ~

picking hand ideas
blues chords / inversions
fret hand ideas / shakes
major triads or V7 on all diatonic and chromatic in between
count it off / take it out
triads / inversions
pairing scale shapes with easiest modes or colors for example blues
turnarounds
psssing 7th in minor
2 5 vamps
move one blues lick around

'... get new stuff under our fingers ...

e
b
h
h
chomping
comping

Essentials teaching method. If necessary, the following teaching topics are a beginning way for teachers to use this book as one of their method books with their learners. For not all students learn the same ways, and there's also times when we just want to try something new. And once in motion we tend to stay in motion. Following the links here in listed order should get some learning motion going.

In a nutshell: I only get one page to do this so here goes. I satrted college in a January which means I was a semester late basically. Or three months behind in my classes. Once a week we all of us in the music got to go to the chop shop located at SUNY Plattsburgh and play our music with Dr. Miller. So most of the ideas presented here come from Doc, who really had it all together for all of us.

Dr. Miller
pull of swing

In a nutshell: Finding our own 'inner time and rhythm within', by using the 2 and 4 core portal of our Americana musics, is a way into American musical time.For once you feel it, then you got it and with practice it'll become second nature for you; to be able to find a rhythm and start things off or to find the 2 and 4 grooves the band is laying down and join right in.

2 and 4
pull of swing

Patterns. To try and dispel the possible bad vibes about guitar players playing set patterns, it turns out the even the most cliche of licks in all of Americana follow distinctive patterns. And by finding these patterns on different string sets, the whole fingerboard opens up. Rote learn the pitch letter names on the stings and we're good to go.

half step
music notation

2 and 4 on the radio. Finding the 2 and 4 beats of 4/4 time is the basis of all things rhythm here in Essentials. Master 2 and 4 first then on to the rhythms which follow. The video here is the same one used throughout. Example 1.

audio

2 and 4. Finding the 2 and 4 beats of 4/4 time is the basis of all things rhythm here in Essentials. Master 2 and 4 first then on to the rhythms which follow. The video here is the same one used throughout. Example 1.

audio
A couple of key things for rhythm guitar.

One; start with a thin light pick. Just makes things easier. Wayback some of us used thin cardboard folded over. Didn't last long, like one song depending, but it had the right flexibility to make strumming easier. Once you got it going you'll find the picks you like.

video

the big four. Start with a light pick. Just makes things easier. Wayback some of us used thin cardboard folded over. Didn't last long, like one song depending, but it had the right flexibility to make strumming easier. Once you got it going you'll find the picks you like.

video

Two; the gallop. Start with a light pick. Just makes things easier. Wayback some of us used thin cardboard folded over. Didn't last long, like one song depending, but it had the right flexibility to make strumming easier. Once you got it going you'll find the picks you like.

video

Learning licks. An old trick to learning licks is to master the rhythm first. This one comes us to us from Chicago I think. Example 1

.

Hey ya ya ya ya ya yaya old Indian chant. Example 1.

lick

Learning licks. An old trick to learning licks is to master the rhythm first. This one comes us to us from Chicago I think. Example 1

.

Hey ya ya ya ya ya yaya old Indian chant. Example 2.

lick

Learning licks. An old trick to learning licks is to master the rhythm first. This one comes us to us from Chicago I think. Example 3

.

Hey ya ya ya ya ya yaya old Indian chant. Example 1.

lick

Learning licks. An old trick to learning licks is to master the rhythm first. This one comes us to us from Chicago I think. Example 4

.

Hey ya ya ya ya ya yaya old Indian chant. Example 1.

lick

Learning licks. An old trick to learning licks is to master the rhythm first. This one comes us to us from Chicago I think. Example 5

.

Hey ya ya ya ya ya yaya old Indian chant. Example 1.

lick

Rhythm guitar. Man if you want to drive the band, get some of the chords and rhythm guitar working. Potentially right under our fingers and with today's gear, even the fewest of pitches set the house to rockin' from the garage to arena. Well, the arena gigs need bigger PA's of course and maybe some lights :)

video

Here's some help. According to the lovely recording strains of the 'Count Basie Orchestra', quarter notes swing the hardest, so that's where this discussion starts with the ancient quarter notes. This first idea surely goes all the way back in our collective memories.

Hey ya ya ya ya ya yaya old Indian chant. Example 1.

Carl

Octaves.

: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

half step
music notation

Comping.

: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

half step
music notation

Chomping.

: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

half step
music notation

YESTERDAY.

. According to the lovely recording strains of the 'Count Basie Orchestra, quarter notes swing the hardest, so that's where this discussion starts with the ancient quarter notes. This first idea surely goes all the way back in our collective memories. Example 1.

Carl

Saints.

: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

half step
music notation

8th's.

: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

half step
music notation

Gallop / an 8th note triplet.

: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

half step
music notation
numerical scale degrees
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
two octave C major scale
C
D
E
F
G
A
B
C
D
E
F
G
A
B
C
arpeggio degrees
1
.
3
.
5
.
7
.
9
.
11
.
.
.
15
C major arpeggio
C
.
E
.
G
.
B
.
D
.
F
.
.
.
C

'A half step above our tonic pitch.'

Theory names: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

half step
music notation

 

In a nutshell. The diminished color just seems to be able to find its way into every knook of the American chromatic. Each of the styles has probably at least one spot where we might hear something of this doubly even or tripley minor stack'o pitches.

Into the wayback to the mid 30's to Charlie Christian and his "Air Mail Special", the bridge of which is but also chromatic ...?

can be something diffcan be lots of unique things to lots of different players. .

the American chromatic
the wayback machine

In today's music, while it's near impossible to hear any difference in pitches or tunings, the duality of our pitches enables the blue melodic magic weave over stable, closely tuned chord pitches. Just how central this relationship might be is more about one's own art directions but surely lives at the stylistic heart of Americana guitar. The bend-able string / pitch ability over precisely tuned chords is the basis of our guitar arts.

blue notes
a wide array of chords

The explosive potenetial of the diminished color. As tempos accelerated in bop andits post incarnates, the diminished colors becomes the great accelerator of American jazz. Thanks to its symmetrically sequenced DNA of minor 3rds, two solid theories emerge.

First, simply that the diminished color can slip between two of any diatonic motions at the drop of a hat. Surely some are more awkward, but jazz cats often dig on the challenge of finding the balance and proper presentation based on style, tempo and feel.

The second theory helps creates the various double Two / Five motions. Based mostly on the b9 in V7b9, the fully diminshed 7th chord in this dominant's V7 trnsion encourages chord motion moved around by the minor third interval. We can find this motion in three very lovely jazz classics.

"Satin Doll." The essential wedding gig lovesong, this Strayhorn / Ellington / Mercer 1953 classic number is really built around the Two / Five motion. There's seven different pairings in the song. Bar's five and six of the eight bar A section have what we're looking for here; a double Two / Five a half step apart. Sort of like this. Example 1.

Two / Five
'A' section
half step motions

Strollin'. The idea of a 'silent architecture of music' refers to the structural nuts and bolts of the pitches we use to create our American musical sounds. Part art, part science and surely part magic of nature, understanding this architectural theory helps us project and filter any idea through a wider range of options. Knowing the basis empowers us to sort things out as each new pitch comes along. The idea is to build an intellectual theory structure within, so as the new ideas come along we have a framework to store, organize and recall our ideas.

"Moment'sNotice.". The idea of a 'silent architecture of music' refers to the structural nuts and bolts of the pitches we use to create our American musical sounds. Part art, part science and surely part magic of nature, understanding this architectural theory helps us project and filter any idea through a wider range of options. Knowing the basis empowers us to sort things out as each new pitch comes along. The idea is to build an intellectual theory structure within, so as the new ideas come along we have a framework to store, organize and recall our ideas.

Along the way of this discover process we need to explore some of the history and by necessity, the basics of natural sound, i.e., acoustics, and how we are thought to physically hear sound. This is our first topic of a few where music and math will meet. We combine these to create the precursor for understanding why we tune our instruments of today the way we do and what we gain by tuning the pitches in this manner.

And even though our story includes thousands of years of creative output, creating the rich and varied collection of music we enjoy today, this silent architectural structuring of our pitches has yet to vary very far from its origins. Founded on earthly natural sounds and as we'll soon see, its scientifically measurable acoustical properties, we've simply tweaked our tuning of this core a time or two over the millenia to arrive at today's pitch resource for the modern guitarist.

As guitarists. Turns out all we need to begin this discovery is of course built right into our instruments. We're simply going to use the pitches created by the guitar's natural string harmonics to recreate one way of how our pitches come to us. From the historical view of this, the whole theory tamale revolves around the two pitch octave interval, which lives on today in so many of our cherished American melodies.

string harmonics video

Our story begins at the blacksmith's shop. One source of our present day organization of music comes to us as part of a package deal often described under the broad heading of Western Civilization. We can trace this thread back through European history to the Romans and even further back through to the Greeks, whose philosopher Pythagoras and his people, dating from around 530 B.C.E. or so, laid the foundations for many of our present day ways of taking care of business.

"The key to the future of the world is finding the optimistic stories and letting them be known."

Pete Seeger

Grout, Donald Jay. A History of Western Music, p. 10. W.W.Norton and Company Inc. New York, 1960.

 

Aebersold, James and Slone, Ken. Charlie Parker Omnibook. New York: Atlantic Music Corp., 1978. I know this is a troubling stand to take but I felt I had to and as jazz player, I based it on Charlie Parker's compositions in the Omnibook. Find a copy, count the number of tunes, then compare the number of major key to minor key songs. Any real book of popular American song, by a mix of composers, will follow along similar lines in this regard.regard.

So why a perfect 11th? Simply in that this is the same pitch above our root as the perfect fourth, just now moved up an octave. Again we bump into the idea that with the colortones, the music theory of the natural diatonic 11th is usually more about chords than melody. Thus, having an 11th usually implies that we also have some sort of 9th in our chord. And having a 9th implies we've a 7th in the chord as well. 'The finger bone's connected to the hand bone, the hand bone's connected to the wrist bone' ... all in a perfectly closed loop. Ex. 1.

color tones
chords
melody
loops of pitches
numerical scale degrees
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
two octave C major scale
C
D
E
F
G
A
B
C
D
E
F
G
A
B
C
arpeggio degrees
1
.
3
.
5
.
7
.
9
.
11
.
.
.
15
C major arpeggio
C
.
E
.
G
.
B
.
D
.
F
.
.
.
C

'A half step above our tonic pitch.'

Theory names: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

half step
music notation