Ah, you misunderstand the reason for the N1-1, King. I'm not eliminating a duplicate note - I'm eliminating a duplicate rest.
If you count rests as possibilities just like notes, you have to recognize that there's no difference between two consecutive eighth rests and a single quarter rest. So it's not like the notes, where two consecutive C notes is different from one pair of tied C notes.
Yeah, your number is larger - but just because of the extra frets. 19 is the minimum, so some of your possible measures wouldn't be playable on any of my classical guitars.
Guitar teacher offering lessons in Plainfield IL
Doh .. I did 4 measures you did 2 ... ignore me, I'm an idiot :)
"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." -- HST
I tested this method on a slow blues progression in A major ( A ,D[IV] and E[V] chords).
A totally new sound compared to the Am pentatonic scale I normally use for improvisation.
A more jazzy sound. And the step up/down to/from the V chord is really nice.
A very good tip, thanks Wes.
A method I learned years ago is called target notes. You "target" certain notes that give a chord it's distinctive sound or flavor.
For instance:
E Major Chord= E, G#, and B (the 1st, 3rd, and 5th tones)
E Minor Chord= E, G, and B (the 1st, flatted 3rd, and 5th tones)
So what you do is make sure to hit the distinctive note. If you are playing over an E Major chord, make sure to play the G# note. It is especially good to start or end a phrase on this note. But you can put it anywhere.
If you are playing over an E Minor chord, you want to include the G note in your phrase.
So, determine that distinctive target note. For a Major chord it is the 3rd tone. For a Minor chord it is the flatted 3rd tone. For a 7th chord it is the flatted 7th tone. For a 9th chord it is the 9th tone.
If you were playing over an E Minor 7th chord, it is good to include both the G note (flatted 3rd) and the D note (flatted 7th).
Believe it or not, when you solo like this you can actually hear the chord progression, even if there is no rhythm guitar. The distinctive target notes will make the listener hear the chords.
This method really works and will add tremendous color to your solos. Try it. :D
Tanglewood TW28STE (Shadow P7 EQ) acoustic
Yamaha RGX 320FZ electric guitar/Egnater Tweaker 15 amp.
Yamaha RBX 270 bass/Laney DB 150 amp.
http://www.soundclick.com/kalleinsweden
2 backing tracks to test on is Soul Blues in G (3.25 mb) and Slow Blues in G (5.17 mb) found on http://www.jam.1gb.ru/mpjam_blues.html
Tanglewood TW28STE (Shadow P7 EQ) acoustic
Yamaha RGX 320FZ electric guitar/Egnater Tweaker 15 amp.
Yamaha RBX 270 bass/Laney DB 150 amp.
http://www.soundclick.com/kalleinsweden
2 backing tracks to test on is Soul Blues in G (3.25 mb) and Slow Blues in G (5.17 mb) found on http://www.jam.1gb.ru/mpjam_blues.html
Tanglewood TW28STE (Shadow P7 EQ) acoustic
Yamaha RGX 320FZ electric guitar/Egnater Tweaker 15 amp.
Yamaha RBX 270 bass/Laney DB 150 amp.
http://www.soundclick.com/kalleinsweden
