Fellow Chordies: Since I'm a bit of a book hound I'll suggest this one which addresses Celtic music which often uses the dorian mode
http://www.melbay.com/product.asp?ProductID=97205BCD&category=&Heading=&catID=&head1=&head2=&sub=&sub1=&author=&mode=&q=&r=&s=&next= It's really a good book and it's content can definitely be applied to old-time music. There's a chapter in there on fifteen different ways to back-up a melody. Very insightful. The book spells out all the modes and the applicable chord choices BUT it's written in a user friendly manner. For example: dorian chord choices: i ii III IV v viidim bVII (lower case letters mean minor) In D dorian these chords: Dmin Emin Fmaj Gmaj Amin Bdim Cmaj You're not gonna run across many dimished chords in fiddle music though. One of the great things about fiddle music to me is that usually the melody remains constants (with maybe slight variations) but the back- up instrument can take the role of improviser. I like the "old-time" tension that can be created by playing major chords while the melody is minor. That would be one type of substitution :) A very common substitution is the relative minor. Let's say the you are in the key of D; you can play instead of the D chord a Bmin. Try the substituiton on the second go around. Check out some early Solas recordings with guitarist John Doyle; he did some great chord substituitons and harmony in their brand of Celtic music Also using chords without the third can be really cool. They are neither minor nor major. Like on a mando (high string on top) 3 5 0 0 Instead of the typical: 3 2 0 0 There's all sorts of jazz chord substituitions but they really don't sound right in old-time/Celtic/bluegrass music to me. Perry. On Oct 10, 11:35 am, Mando Chef <[EMAIL PROTECTED]> wrote: > 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 -~----------~----~----~----~------~----~------~--~---
