Category : guitar

Open chords and DADGAD

 

DADGAD is an alternate tuning. Alternate tunings are pretty much what they sound like: an alternate way to tune the guitar. They’re a great way to come up with new ideas when standard tuning starts to get old.

 

I’m going to talk about one of the most popular ones: DADGAD.

 

Re-tuning the guitar

Here’s how you tune the guitar for DADGAD:

 

• Low E string: tune to D a whole step lower than low E; should be an octave lower than the 4^th string.
• A string: stays the same
• D string: stays the same
• G string: stays the same
• B string: tune to an A a whole step lower than B; tune to the 2^nd fret of the G string
• High E string: tune to a D a whole step lower than E; tune to the 7^th fret of G string

 

Re-tune slowly so that you don’t break strings. I’ve broken more strings tuning down than tuning up. Releasing tension can do that.

 

Strum all six strings. While you strum, play one of the following frets on the B string (which is now tuned to A):

 

• Fret 5
• Fret 7
• Fret 8
• Fret 10
• Fret 12
• Fret 14
• Fret 15
• Fret 17

 

These frets outline the D dorian scale.  You can play them as a sequence from fret 5 to 17. Or you can play them in any order you want.

 

Chords and progressions

Play each fret while strumming the other strings. Think of the result as chords by playing each one for at least four beats. This allows you to get a sense of each sound.

 

Once you have a sense of what each fret sounds like with the other five strings, create some progressions. Try strumming the 5^th fret for a bar, followed by the 10^th fret for a bar, then the 7^th fret for two bars. Repeat. This should give you some ideas for your own stuff.

 

By the way, I haven’t tried that particular pattern. I like to write patterns away from the guitar then try them out later. This means that habits that I have when the guitar is in my hands don’t control what I do. New stuff happens more regularly.

 

For those of you wondering about shapes that produce conventional chords with DADGAD, here you go. It’s good to know these if you want to go from a more conventional sound to an invented chord.

 

 

 

Too much drone?

The drone of the five unfretted strings might be too much for you after a while. Experiment with eliminating strings. Try strumming the first three strings. Or the first two. Or whatever. Find variety.

 

Using notes on other strings is good for adding variety, as well. I’ll talk about this in the next post.

 

Mixing scales

Here are some examples of how to mix minor pentatonic and dorian.

 

Endless 8th notes

I’ve used eighth notes to make the difference between minor pentatonic and dorian easier to see.

 

 

Rhythmic variation

Use the same lick and vary it rhythmically.

 

 

 Long notes

Long notes are always effective. They act as milestones for listeners simply because they last longer than the notes around them. Notice that I removed a note from the original. It wasn’t working with the rhythm I was using.

 

 

Repetition

Repeated notes are also very effective.

 

 

Next post: open chords and alternate tuning.

A bunch of notes for the blues 2

Here’s the A dorian mode. Use it on the blues in A.

 

Here’s the backing track from the last post again.

 

 

Play the A dorian scale against it. Once again, get comfortable with the scale, and write down stuff you like as you play it.

 

Notice that all of the notes of the A minor pentatonic scale are in the A dorian mode. Knowing that, you can easily move between the different moods represented by each of these scales.

 

Blues scale

Here’s the blues scale in A.

Play it against the backing track.

 

Moving between worlds

Each of the four scales I’ve been talking about in the last two posts offers a completely different melodic world. Play the backing track and play each scale, one after the other. As you move from one scale to the other, notice how the mood changes. Does this offer any ideas for composition or song-writing? Are you able to sing along with any of the things you play?

 

If you can sing along with them, do they inspire any lyrics?

 

Once you’re comfortable with each of the scales, practice going fluidly between them. For instance, play 4 or 5 notes of minor pentatonic, then 4 or 5 notes of major pentatonic. Then go to dorian and then the blues scale. Try writing a solo that uses all four scales.

A bunch of notes for the blues 1

There are four different scales you can use to solo on the blues.

 

• Minor pentatonic
• Major pentatonic
• Dorian
• Blues scale

 

A major pentatonic

You know the A minor pentatonic. Here’s the A major pentatonic scale.

 

 

Remember: take the key of the song and use that as the starting note on the sixth string. Here’s a blues in A…

 

…and here’s a backing track.

 

 

Notice how the bottom staff of the video progression is different than the progression above it. Both are commonly used.

 

Get comfortable with the A major pentatonic scale by playing it with the progression. Like you did with the A minor pentatonic scale, write down stuff you like.

 

 Roman numerals

You’re probably wondering about the symbols above some of the chords in the blues progression – I7, IV7, V7.

 

Here’s the deal with that.

 

Each chord in a key is assigned a roman numeral. There are different ways of doing this. For the blues, every chord gets an upper case roman numeral (i.e. I), not a lower case roman numeral (i.e. i)

 

(I’ve addressed roman numerals that deal with major and minor chords here.

http://davewallmusic.com/how-to-write-chord-progressions-a-pro-would-love-part-8-chord-progresson-patterns/)

 

 

The first chord gets a I; the second chord gets a II, etc.

 

 

A            B           C#           D           E            F#            G#

I            II            III            IV            V            VI            VII

 

7th chords

If the chords are 7^th chords, we put a 7 after each roman numeral.

 

 

A7            B7           C#7          D7            E7            F#7            G#7

I7            II7            III7            IV7            V7            VI7            VII7

 

 

In a conventional 12-bar blues like the one we’re talking about here, only the I7, IV7, and V7 are used. That’s how you get A7, D7, and E7 for a blues in A.

 

This helps if you want to use the I, IV, and V chords in another key. The key of C, for instance.

 

 

C7            D7            E7              F7             G7             A7             B7

I7            II7            III7            IV7            V7            VI7            VII7

 

 

So the chords for a blues in C would be C7, F7, and G7. And the scales you could use would be C minor pentatonic or C major pentatonic.

 

To be perfectly clear, use C7 instead of A7 in the progression above. Then use F7 instead of D7. And use G7 instead of E7.

 

We’ll look at the dorian mode and the blues scale in the next post.

 

 

Improvisation if you’ve never done it

Improvisation is like conversation. We have a general idea of what we want to say, but nobody thinks about what words they’re going to use before they say them. When we improvise on an instrument, we don’t know exactly what notes we’re going to play before we play them.

But if you’ve never improvised before, how do you start? How do you know what notes to play?

Improvising on a chord progression

First, you need a scale. Then you need to know that that scale will sound good on a given chord progression. We make it sound good by using it in the key that the chord progression is in.

This is easy if you know what key the song is in. If it’s in A minor, you use the A minor pentatonic scale. Simply start the scale on A on the sixth string. Here’s the scale again. Just in case…

If the song is in C minor, start the scale on C on the sixth string. In B minor, start on B, etc.

Ninety percent of the time, the first chord of the song will tell you the key.  You can figure our what the first chord is by listening to the recording. This can be difficult. If it is, search “song-name chords” online.

Make a progression

Here are the chords in the key of C major:

Cmaj            Dmin            Emin            Fmaj            Gmaj            Amin            Bdim

To get the chords in the key of A minor, simply start the sequence on the A minor chord:

Amin            Bdim            Cmaj            Dmin            Emin            Fmaj            Gmaj

In A minor, you can use E major instead of E minor, and G# diminished instead of G major.

Make a three-chord progression in the key of A minor. Choose any three chords and organize them into an 8-bar progression. Now loop the progression.

If you don’t have something to loop your progression with, download the free recording platform Audacity. It’s a great idea to learn how to use software like this, if you don’t already know how. Hours of fun.

http://audacity.sourceforge.net/download/

Or you could use a jam track:

Using jam tracks online is a nice way of practicing scales in different styles. Check out the youtube page for other videos in A minor.

Improvise

All you need to do for now is play the A minor pentatonic scale over whatever progression you’re using. Don’t worry about being a genius. Just play the scale. Make sure you go slow enough that you aren’t making mistakes. You’ll hear stuff you like as you play. Repeat that stuff.

I’ll have concrete ideas for improvising in later posts. For now, just get comfortable playing the scale. When you play something you like, find a way to remember it. Write it down, record it…

Soloing

This blog is intended to relate playing the guitar to composition, and vice versa. Learning to solo can lead to learning scales and trying to play them as fast as possible. That doesn’t apply here.

But learning about creating riffs and melodies does. Scales are good for this.

(It doesn’t mean that you can’t use what I say here to play solos. It’s just not my focus.)

Technique

Learning tapping, sweeping, and legato techniques for their own sake is fine. Learning one of these techniques, and having it inspire some writing is better. That seems more interesting to me than simply learning technique so you can play a more impressive solo. I’ll look at these techniques in later posts for their compositional value.

First steps

The first thing you need is a scale. The minor pentatonic is probably the most common scale in popular music. Here are two ways of looking at the A minor pentatonic scale:

Notes…

 

…and a diagram. The numbers indicate what fingers to use.

 

 

So what do you do with this?

Try this. Play a recording of a song you like. Get your guitar and play along with it using the A minor pentatonic scale. If you’re lucky, the scale will be in the same key as the song and it will sound fine. But you’ll probably have to move the scale shape to different spots on the neck until it sounds good.

This just means that you start the scale on a different fret than the 5th fret. By the time the song ends, you’ll most likely have found the right scale. If not, start the song from the beginning and keep going. Be patient.

Phrasing

Once you have the right scale, start the song again. Play only when the singer is singing. This gives you a feel for something called phrasing.

Phrasing is a personal way of playing a series of notes. It’s called phrasing because it’s related to the phrase lengths we use when we speak. When we play like we speak, it sounds and feels natural.

Playing like you speak

Playing like you speak means to play phrases that are no longer than the length of your breath. It means to pause like you would at the end of a sentence. It means not playing way too many notes. Playing along with the singer gives you a sense of the natural length for a single phrase.

Think of the solo as a story. Stories are built from sentences and phrases. A good story doesn’t have run-on sentences because they annoy people. So keep your phrases concise. Don’t play anything longer than a natural sentence length.

Breathing

Take a breath. Now breathe out while playing the minor pentatonic scale. That’s a good measure for how long a phrase should be. This is a rule of thumb, not a hard and fast rule. Some phrases might be a bit longer, some a bit shorter.

As you do this work, be aware of the compositional implications. Getting a feel for optimum phrase-lengths in a solo transfers to writing good melody. Focusing on scales as a tool for writing melody transfers to playing good solos. Think compositionally and your playing will be better.