Monthly Archives: October 2009
I have been using a home-made pedal board for a long time. When I first started, I was using short (3″-6″) right-angled cables by different manufacturers. They did okay but they were always too thick to allow the pedals to sit closer to each other.
I switched to George L’s a few years ago. For a time, they worked great. The cables are thin. They conduct well. And the plugs are very small especially the right angled ones. But after a while, the cable started failing (on stage sometimes!). I think there’s a flaw in the design of the angled ones. The way they work is the you push the cable in then bend it 90 degrees. Then a screw is used to keep the cable in. The screw would push against the cable. In some of the ones that failed, the screw had rubbed away some of the rubber.
I recently switched some of the George L’s with Planet Waves Solderless ones. They seem to be working well but time will tell if they’ll have problems too. But at least the plugs are designed a bit smarter. The cable is pushed in but not bent. The 90 degree angle is built into the plug (I guess there could be a cable that’s bending there but at least it’s not exposed or rubbed against with a piece of metal… I hope). Once the cable is pushed into the plug, a set screw is used from the side to hold the cable in place. This should be less ware and tare on the the cable.
The draw back, though, is that the planet waves cables and plugs are a bit bigger so now I’m not able to fit as many pedals on the board again. But they’re still a bit better than other cables.
E Phrygian : E F G A B C D E
F Lydian : F G A B C D E F
G Mixolydian : G A B C D E F G
A Aeolian (minor): A B C D E F G A
B Locrian : B C D E F G A B
Dorian : W H W W W H W
Phrygian : H W W W H W W
Lydian : W W W H W W H
Mixolydian : W W H W W H W
Aeolian (minor): W H W W H W W
Locrian : H W W H W W W
Now if we apply these patterns to the same root we can see the differences between the modes (which is really the important thing to remember):
C Ionian (major) : C D E F G A B C
C Dorian : C D Eb F G A Bb C
C Phrygian : C Db Eb F G Ab Bb C
C Lydian : C D E F# G A B C
C Mixolydian : C D E F G A Bb C
C Aeolian (minor): C D Eb F G Ab Bb C
C Locrian : C Db Eb F Gb Ab Bb C
In some upcoming posts, we’ll start looking at what scale patterns might look like on the fretboard of the guitar.
In Part 5, we looked at building triads from the major scale. This resulted in: (just looking at 2, 3, 4, 5 and 6)
Now, let’s turn them up-side-down and see what their major/minor counterparts might sound like.
Let’s try using the key of G. So the “normal” chords would have been:
Here’s a progression that tries to use all of them. First, we’ll use all the “normal” chords. Then we’ll play another sequence that will use some of the “abnormal” ones. Here, some 7th chords will be used. But the major and minor 3rds will still be “flipped”.
|C |Cm |G
Unfortunate, this example doesn’t use the 5-minor. But we’ll get to that in the next example…
Another set of chords that are “out of key” are the diminished-6 and diminished-7 chords (aka “6-flat” and “7-flat”). This is not the same as 6 dim or 7 dim. But rather, take the 6-note and 7-note of the scale and make them flat. For instance:
E major scale: E F# G# A B C# D# E
So instead of C# and D#, use C and D. Particularly, use their major chords. Try this progression:
As you play with these chords more, you’ll start to hear their distinctive sound and you’ll be able to identify them more quickly when you hear them in songs. You may notice that certain genres tend to use a certain chord a lot. For instance, the 4-minor (as a “turnaround”) in 50s and 60s pop/rock, the 6-flat in (early) grunch, or the 2-major in (what I call “old school”) country.
This is part 6.7.2 which is a continuation on the discussion on “7”. The reason why this is in a separate post is because, quite frankly, I forgot. And this is also a continuation on triads where we talked about how the diminished chord is what you’d get if you built the triad starting with the 7-note on the scale.
In this case, we’re looking at the 2 diminished chords: Half-Diminished and Diminished.
This might be confusing at first. But once you “do the math”, you’ll see quickly that there isn’t much to remember. Also, (in my experience) these chords are not very common (and for that reason, I’m not too familiar with them :-). But I love using them because they add such wonderful, (usually) unexpected texture. Hopefully the progressions below will give you a flavor.
In my search for other material on these chords on the web, it seems like “diminished” is often also referred to as “diminished 7” (“dim7”). But I was not able to find a slick way of pointing to the half-diminished chord except for “min7 b5”.
For the purpose of this post, I’ll be using “dim7” and “min7 b5”.
First, let’s look at the shapes. Here are 2 ways of holding each. For each of these, make a note of where the root note is (hint: either the A or D-string).
Eb dim7 = Eb(1) Gb(b3) A (b5) C (bb7)
What if we started with Gb?
Notice that Gb dim7 has the same notes as Eb dim7! How about for A?
A (major) = A (1) C#(3) E (5)
A dim7 = A (1) C (b3) Eb(b5) Gb(bb7)
Since there are only 12 notes (C C# D D# E F G G# A A# B) and this chord uses 4, there can only be 3 different diminished 7th chords!
Now, let’s try using these in progressions along with other chords that we’ve already looked at in past posts.
The changes between these chords are small but their uses and sound are very different. Below, I’ll try to give a few examples of how you might them being used…
When we look at the notes that make up these chord it becomes more apparent why this “works”:
In essence, we’ve give the F (IV) some characteristic of the C (I) by using the E (the 3-note) in both chords. You can take this a step further by adding the 6-chord (vi). In this case, this would be Am:
|C |Fmaj7 |Am |Fmaj7 | (repeat)
Another way to look at this is that the E note (the 3-note) is used as a pedal note.
Recall that the minor 7 is a whole step from the root note. When this is used with the 2-chord (ii7), then the “7” is the same as the root note of the 1-chord (I). For example:
So what if we substituted the 6-chord with its 7 (vi7)?
Em7 (vi7) – E G B D
<— standard shape
Now, let’s add this to another example we looked at before: (http://ckyoungmusic.blogspot.com/2009/08/guitar-lesson-basics-part-2-g-c.html)
But instead of using the standard shape shown above. Try this one instead: