Author Archives: Jamorama

head in sand 300x236 Playing the blues   its as easy as 1, 4, 5

Playin’ tha blues – it aint no big thing and it aint nobodies business if i do!

To play the blues you only have to count to five. Well holy schmoley Batman! That`s one number too darn many fo` some! Right , look out people because today’s post is about as much fun as a mouthful of sand – dry, uncomfortable and nitty-gritty; but just like  your monster-in-law its a necessary evil if you want to reap the rewards!!!

The blues is built almost exclusively around I – IV – V

leadbelly Playing the blues   its as easy as 1, 4, 5

Let’s refresh what we’ve learned so far about scales and chords.
Before you learn how to form certain chords you must first learn about scales.

A scale is a series of notes that play in an ascending and descending manner. For every scale (major or minor) there are 7 notes, for example in the key of C the notes are C – D – E – F – G – A – B.

The 8th note (in this example C) goes back to the root note but an octave higher.

Each note of a scale has a corresponding number from 1 to 7. So for the key of C it will be as follows:
C = 1
D = 2
E = 3
F = 4
G = 5
A = 6
B = 7

In order to make a major triad you will play the 1st + 3rd + 5th notes of a major scale.
In our example it is C – E – G, that’s the C major chord.

Let’s have another example this time using the C minor scale:
C = 1
D = 2
Eb = 3
F = 4
G = 5
Ab = 6
Bb = 7

In order to make a minor triad you will play the 1st + 3rd + 5th notes of a minor scale. In our example it is C – Eb – G, that’s the C minor chord.

Roman Numerals

Sometimes instead of numbers Roman Numerals are used instead. We go back to our example and use a Roman Numeral for each note in the key of C:
C = I
D = ii
E = iii
F = IV
G = V
A = vi
B = vii

Those with a Roman Numeral that is capitalized (I, IV, V) represent notes from which the major chord is built. While those that have lower case numerals (ii, iii, vi) represent notes from which minor chords are built.

The I, IV and V Chord Pattern

For each key there are 3 chords that are played more than others known as “primary chords”. The I – IV – V chords are built from the 1st, 4th and 5th note of a scale.

Let’s take the key of C again as an example, looking at the illustration above, you will notice that note I on the key of C is C, note IV is F and note V is G.

Therefor the I – IV – V chord pattern for the key of C is:
C (note I) = C – E- G (1st + 3rd + 5th note of the C scale)
F (note IV) = F – A – C (1st + 3rd + 5th note of the F scale)
G (note V) = G – B – D (1st + 3rd + 5th note of the G scale)

There are many songs that have been written using the I – IV – V chord pattern, “Home on the Range” is one example. Practice playing the I – IV – V chord pattern for every major key and listen to how it sounds as this might inspire you to come up with a great melody for your song.

Here’s a handy table to guide you.

I – IV – V Chord Pattern
Major Key         – Chord Pattern
Key of C                C – F – G
Key of D               D – G – A
Key of E               E – A – B
Key of F               F – Bb – C
Key of G              G – C – D
Key of A             A – D – E
Key of B             B – E – F#
Key of Db          Db – Gb – Ab
Key of Eb          Eb – Ab – Bb
Key of Gb         Gb – Cb – Db
Key of Ab        Ab – Db – Eb
Key of Bb         Bb – Eb – F

BK mockup small1 300x122 Learn like a Real guitar Hero

Last week I had a quick look at some custom guitar hero controllers as well as the YAMAHA EZAG stringless guitar, a “guitar” that falls half way in between a stringless controller and a learning tool with l.e.d.’s  to illustrate where you place your fingers upon the neck.

Guitar Rising is a music video game where the player plays a real guitar as cued by the game’s visuals. Following rock music sequences and streaming notes, players play guitar melodies and rhythms. Beginner difficulty levels are designed for non-guitar players and hard difficulties will challenge experienced guitarists.

The great news is Guitar Rising from Game Tank allows you to play a real guitar in a game that combines the Guitar Hero format with guitar tablature. There are six lines on the screen that represent the six strings just like the neck of your guitar. The color-coordinated notes have been replaced with numbers that tell you which fret to finger.

So a number seven moving across the third line or string from the top, means you’ll play a D note on your 3rd string. Guitar players who have spent any time with standard tablature will find this to be like second nature. If you haven’t then this game will help you move away from the stringless controller format into the territory of REAL guitar playing whilst still having fun.

At this point, GameTank is still unsure whether to implement full chords and polyphony in the final game (that is playing more than one note at a time) – right now the game recognizes notes only one-at-a-time basis and neither can it recognise slides, bends, rakes, triplets, diads etcetera.

This could develop into a really useful and versatile learning tool for those of you who enjoy the Guitar hero format but want to move above and beyond the unrealistic paddle switch clicking of the guitar hero controllers.

You will need a USB interface for your guitar such as the Line 6 guitar port – click here to find out more!

So if it’s time to ditch that amateurish controller toy guitar machine then here is the suggested method, but make sure you listen to Pet Sounds first; and why not?

Cheers,

Jake Edwards

Sheep3 Relics

It’s a funny old world that’s for sure. While some of the population seems hell bent on preserving their youthful good looks, brainwashed by the shallow whimsies of Hollywood`s plastic people, or even their own vanity; the world of the guitar is steadfastly running in the opposite direction. There is currently no botox available for guitar – but Keith Richard’s dermatologist is down at Gibson and Fender charging big bucks to mess up your axe with an old flask of tea, an ashtray of fag-ends, a rusty chisel and a dirty old palm sander!

keith.preview Relics

Let’s face it,  guitar design remains predominantly trapped back in the 1950′s -and in this world change is a suspicious and malignant blight that the the guitar stoic must resist!

We’ve had a look at modern materials here, but accepted wisdom holds that concepts such as old, vintage, traditional and classic are the foundations upon which tone, sound and greatness are built.

Indeed, the Fender custom sheep, sorry shop, have taken it upon themselves to introduce the Road Worn(tm) series – guitars that come pre-loved, pre-stressed or what have you!

You can of course do it yourself, but in reality there is no substitute for time tested, genuine, cut your teeth, on the ciricuit wear and tear.

Some fellers on ebay have been pre-loving their guitars and putting them up for sale but the results are often a little over cooked. One guy even dragged his Strat’  body behind his  I-roc – man he must just hate guitars.

These, on the other hand, are in fact rather tastefully replete with all the realistic accoutrements of a life spent gigging out on the road.

Gibson have also released a series of worn and aged pseudo-vintage guitars but at some seriously high price levels – you’ve got to ask yourself is it worth it when you could just wait 20 years, become a great player, save the money and gain your wear and tear the real and the hard way.

The interesting thing about the world of guitar is the way in which the old and the new harmonise, where difference and innovation fuse with tradition.

Cheers,

Jake Edwards

strat Relics

gibson 300x121 Relics
Bloomfield Les Paul approx $14,100
gibson2 300x121 Relics

Gibson citation custom approx $33,000

gibson3 300x121 Relics

Gibson Jeff Beck `54 oxblood approx $8,200

Almost everybody uses the pentatonic minor blues box. It’s a fundamental building block for alot of  blues rock guitar and a really very highly versatile scale that will allow you to play licks, phrases and motifs across the neck.

BUT it’s definitely a scale with a dark and minor character: moody, doleful and chock full of midnight moonshine. What happens though if you manage to shake off those blues shackles and even crack a wry old grin into your sleeve every now and then?

Happy Blues Beginning with the major pentatonic

Happy Blues by Jen Jacobs @ www.type1diabetesart.com

Happy Blues
Jen J.
www.type1diabetesart.com

Well you must be feeling the good vibrations so it’s time to play a little happiness into your life!

So to complement the minor, today we are going to have a look at a simple Major Pentatonic Box and this has a much more uplifting “major” character. If this sounds a little like GREEK to you then “DONT PANIC!” because it’s all about creating a mood, it’s all about discovering the way different sounds and intervals (the gaps between notes in terms of both pitch and space) create, enhance or combine to communicate emotion.

IF you enjoy the inimitable sound of B.B. King then this post is also just what the doctor prescribed!

majorpent1 copy1 Beginning with the major pentatonic

Remember that you can of course combine elements of both the minor and major pentatonic scales so experiment away and see how much fun you can have changing the mood!

This is a great scale shape to start exploring that major feel, but do remember there are a whole host of related shapes:

If you have a look at the GUITAR LICKERS website then you’ll see that the scale I’ve illustrated above is just one of five others that you can begin to learn and experiment with. Each shape is slideable and will help you create exciting and interesting tone colour moods when soloing and improvising.

DONT FORGET THAT CRUCIAL VIBRATO!!

In the videos below have a close look at B.B. King’s vibrato technique – he predominantly uses his first or index finger to create a fast, fluttering vibrato through very rotational, almost circular and fast left hand movement. Idiosyncratic but also awesome and inspiring in its uniquity!   COOL!!

In a world of increasing homogeneity and gratuitous eulogising of the mediocre by the media simply for what appears to be the sake of having something to talk about, it’s a rare  sight to behold aberrations to the normal especially in the form of unique and uncompromising talent.

 Paul Ubana Jones Fingerpicking

When the marketing machine itself seems to become more a part of the product it promotes than the product itself, when the inherent qualitites of individuality have been crushed under the weight of commercialism and when all the corners have been knocked off, rounded down and filed into a useless dust by the “machine” then what is there left of real, intrinsic value?

Luckily some artists are born with a respect for their art and instrument and a no holds barred approach to quality control,

When it comes to modern acoustic fingerstyle guitar Paul Ubana Jones is one of the highly regarded champions, perhaps even a pioneer, of a unique and highly expressive, soulful approach to acoustic guitar that he effortlessly combines with song.

Paul fuses a bold approach to tunings, percussive harmonics, and melody with a highly fluid picking technique and soulful intensity to deliver a wonderful mixture of an almost funky, Hendrixy and blues-rock approach to the bass end of the groove with European flavoured folk and progressive classical motifs, leads, lines, hybrid arpeggios, blues picking styles and more. It`s a very modern and expressive mix of technique, soul and talent.

Born in London and playing guitar by the age of 11, Paul graduated from a London music college, where he studied guitar and cello, and began to forge the solo acoustic style that he has stuck to and developed over the years.

In the late eighties Paul and his family moved to New Zealand, which is still their permanent home. He has continued to perform internationally, to growing acclaim. Concert performances include opening for the likes of Bob Dylan, Patti Smith, Taj Mahal, Keb Mo’, Tuck and Patti, and Crowded House.

wp New Zealand 1680x1050 Paul Ubana Jones Fingerpicking

Understandably Paul’s “off the hook” skills aren’t something that’ll come to you overnight, unless you’re friends with the devil, but, to compliment the awesome Blind Blake style fingerpicking lesson from Jim Bruce, Paul’s approach to fusion expands upon an already eloquent vocabulary.

So, here is Paul discussing one of his clawhammer thumb picking patterns.

Whilst this may be out of your playing depth technically Paul describes some helpful techniques in approaching fingerpicking such as focusing upon a relaxed hand and extracting and concentrating upon the the rhythm of the left hand – it`s well worth spending some time in trying to apply Paul’s advice to your own picking practice regime.

Cheers,

Jake Edwards