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And yes, plenty of double stops etc. I go through phases of listening to old East African (and Zimbabwean) guitar music, and I just love it (especially a guy called Remmy Ongala, who gave me a guitar lesson backstage once, many years ago!). It's actually very similar to Rockabilly and country so, as mentioned, lots of thirds and sixths. I know how to layer instruments and get them weaving in and out of each other etc., it's just the lead phrasing I could do with brushing on
It also sounds great with flatwound strings, which I have on my Jazzmaster
Techniques: Use your fingers. With a pick you can never get simultaneous notes in a double stop.
If you don’t know Van Morrison’s “Brown Eyed Girl” then that’s a good place to start.
Chris Corcoran is a current U.K. guitarist who smashes that swing/ blues style and there are a series of lessons he did for Guitarist on YouTube. Probably not brilliant without the tab ( that was in the magazines) but as an oversight worth a watch.
This is exactly the type of thing I want to understand, especially how to use the mixolidian mode (I already use my fingers).
This is how I'd usually approach a I-IV-V type progression:
I'll simply play the corresponding major scale. For example, if its C, F, G, I'll play in Cmajor. I'll also stray in and out of Am and add the odd passing note (and flattened 5th etc.), but I wouldn't know where to start with the mixolidian mode.
I guess I understand that Am is the aeolian mode (Am being the relative minor of C), and so (kind of) know how to apply that (although usually as a minor pentatonic, very occasionally). I also know that the mixolidian mode corresponds with the V chord, but have no idea how to 'apply' it.
Also, if it's a I-IV-V progression, would it work to play the corresponding mode for the IV chord?
And what about major pentatonic? How on earth do people incorporate those? :-s
Thanks again:)
So, if I play over a I-IV-V type progression in C (C, F, G) would I play in and out of C major (ionian), and G mixolidian (with the occasional A minor type stuff)...or would I play C mixolidian?
C mixolydian is C D E F G A Bb C. It could sound quite nice over the C major chord and probably also over the F major chord but the Bb will sound "interesting" (clash horribly) against the B natural in the G major chord...
You asked before about how you would apply the mixolydian - it's pretty straightforward. You just change the emphasis over the different chords. So when playing C ionian the "home" note is C and the other most important notes are E, G, and B (3rd, 5th and major 7th). The other notes in the scale (D, F, A) would tend yo be used more as passing notes. When you switch to G mixolydian you treat G as the home, with the other most important notes being B, D, and F. So here the passing notes become A, C, and E.
Same collection of eight notes for both scales, but you change which ones are being emphasised.
Whichever you choose, the critical thing for the V chord - that it has a flattened 7th - will automatically be sorted for you, because C major and C mixolydian both have an F. That also means that both options are conducive to moving to the IV chord, which is F. So the choice is yours.
If it were me, I’d probably use C major and noodle around using CDEFGABC throughout - UNLESS the chord changes were slow and I wanted to make a big thing about the move to the IV chord. In which case I’d play C mixolydian, because then the I-IV progression from C chord to F chord sounds like a proper V-I perfect cadence, which is nice. Then when I get to the V chord I’d make sure I’d switch and play a major V chord (with a B not a Bb, as @Unclepsychosis has said).
So in summary, you can do either. If the changes are too quick for you just noodle in C major.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.