Malody overlap notes3/26/2023 ![]() (There is a very awkward video of me playing right after I started playing again on my YouTube page, should keep me honest. ![]() Going to get over whatever is keeping me from posting videos so I don’t have to explain. That said (this kind of amends what I said in my earlier post–at work on a Mac, I see a way to edit, as well as style fonts, but not on my home PC), I do actually use the natural 3rd (99% of the time sliding into it from b3 on ascending lines), the 6th and 9th (C#, F# and B), all of them mostly when ascending, but maybe it sounds like where I put them is more in passing than integral. Now, I know it’s subjective, and whatever works works, but do you think it would be useful to separate this kind of note into a different category? In a way, I already have, so my question might be, is this an obstacle to real understanding–AND, I’m wondering but not necessarily asking, if this is connected to why I favor the minor over the major. pattern that are “neutral sounding” relative to the A, like the D (5th string, 5th fret 3rd string, 7th fret 1st string, 10th fret), but aren’t at all “blue sounding.” There are others but I think this is the strongest one. As of now, it’s my longstanding observation that there are some notes in the blue/minor pent. I’ll wait to comment more (maybe you’ll mention it later in the class or maybe I’ll figure it out along the way, if it needs to be figured out). ![]()
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