Glad this came up. At the symposium this year there was a class called chord subsitutions. I f*&$ing missed it. Would love to hear thoughts on it. I was in a class and Tony Williamson played "It's Mighty Dark" and the Dawg played nowhere near G, C or D from what I could tell and it sounded amazing... But thats why I don't have 60 some recordings either, or one for that matter.
On Oct 10, 12:03 am, Linda <[EMAIL PROTECTED]> wrote: > Hi all, I have troubles finding the right chords to use for a given > tune. So I start this thread for the selfish reason to see what > other folks might know or do re chord selection. I think most folks > do know about the 12/bar blues, the three chord trick, etc. > > I gather, but am not sure, that if a tune is modal, it may be the > chord rules will or could be changed for different effect?? Maybe in > the old days there were some standard rules for this? > > Some of you may understand or have something to share about what you > do, how you do it or the theory behind your chord/double stop > selections, and usage. > > Deep, you seem to understand a lot of scales, maybe you have something > to add? I gather dulcimer players come up against the modal issues, > too. > > My current question is, to find chords that work for a tune in Dorian > Mode, would it be based mainly around a two note drone rather than a > three note chord, perhaps say, I & III, for two of the chords and > perhaps I & V for the third chord or some other scheme? --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Taterbugmando" group. To post to this group, send email to [email protected] To unsubscribe from this group, send email to [EMAIL PROTECTED] For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en -~----------~----~----~----~------~----~------~--~---
