"Automatic" Chord Scales

Discussion in 'Tab, Tips, Theory and Technique' started by ASATKat, Feb 14, 2020.

  1. ASATKat

    ASATKat Friend of Leo's

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    Automatic means never having to lift fingers when playing chords. You play all through the chords on just three strings.
    The P, M and I talk about the left hand fingering, not right hand.

    This means it's linear or horizontal, more up and down the neck.

    C major scale, don't lift fingers
    ---------------------------------------------
    P--5---6---8--10--12---13--15--17
    M-4---5---7----9--10---12--14--16
    ---------------------------------------------
    I---3---5---7----8--10---12--14--15
    ---------------------------------------------

    C7 blues, requires finger flipping while keeping fretboard contact with at least one finger,

    C7
    ------------------------------------------
    P----5--6--8-10-11--13--15--17
    M---3--5--7--9--10--------14--15
    ---------------------------14-----------
    I-----3--5--7--8--10--13--14--15
    -----------------------------------------


    I could go on all night on ways to use this concept,,,
    But understanding of this way of playing (keeping fingers on fretboard) is out there, is the simple point I'm making. Worthy of much more exploring.
     
    Last edited: Feb 15, 2020
  2. kbold

    kbold Tele-Afflicted Silver Supporter

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    I thought P was designation for thumb (P for pollicis, which is Latin for thumb).
    A for annularis (3rd finger).

    If I'm sliding a D shape up or down the neck, I swap the index and middle fingers (I on the E string and M on the G string).
    This allows transitions between major and minor chords without having to swap fingers.
     
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  3. ASATKat

    ASATKat Friend of Leo's

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    Yea, pima, that's the classical right hand finger naming.

    The letters I used was referring to left hand fingers though. Fingers to use on the frets.
     
    Last edited: Feb 15, 2020
  4. ASATKat

    ASATKat Friend of Leo's

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    No, what I wrote out, was using the A shape exclusively, major A shapes, minor A shapes and one A7 dominant shape.
     
  5. kbold

    kbold Tele-Afflicted Silver Supporter

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    Yes ... thanks. I like it.
    I was just adding to the post by adding something I commonly do: sliding the D shape so that I can land on major and minor chords without finger swapping.
     
  6. ASATKat

    ASATKat Friend of Leo's

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    The D CAGED shape is how I use this technique on the top four strings,

    The automatic left hand fingers use the ring finger instead of the middle finger as in the last example,, it just plays better.

    these chords are all D shape,
    Key of C
    P---3--5--7--8-10--12--13--15
    R---3--5--6--8-10--12--13--15
    -----------------------------------------
    I----2--3--5--7---9--10--12--14
    -----------------------------------------
    -----------------------------------------
     
    Last edited: Feb 15, 2020
  7. ASATKat

    ASATKat Friend of Leo's

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    I need a tab example please, I'm a little confused.
     
  8. Larry F

    Larry F Doctor of Teleocity Vendor Member

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    George Van Eps has a book about this.
     
  9. kbold

    kbold Tele-Afflicted Silver Supporter

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    D major scale

    I -- 2 -- 3 -- 5 -- 7 -- 9 -- 10
    A -- 3 -- 5 -- 7 -- 8 --10 -- 10
    M --2 -- 4 -- 6 -- 7 -- 9 -- 11
    ------------------------------
    ------------------------------
    ------------------------------

    --- D - Em - F#m - G -- A -- D (The last D is a finger change)
     
  10. ASATKat

    ASATKat Friend of Leo's

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    Here are a couple of examples of me using these automatic chords.
    The chords are mixed into my solo where I use single notes as well as two note dyads.

    These are solos I did over on Twanger Central Backing Track Challenge, come on over and jam,

    This one has more examples than the other,
    Mars Was Beautiful


    This is a country flavor using Imaj7 IVmaj7 V7, the harmonized chord scales sound good in country.
    Alternating
     
    Last edited: Feb 15, 2020
  11. ASATKat

    ASATKat Friend of Leo's

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    Yea, there's lots of books on this sort of thing.

    My favorite book on this is an old out of print Bucky Pizzarelli book called The Creative Guirarist and he totally nails it. That is all the book is about. Good luck finding a copy, it's been out of print for 40 years, they go for lots of $$$.
    The book has printing errors all throughout it, but part of the fun was correcting the mistakes by using what the book teaches.
    The book is so good the printing errors are easily forgiven.

    The Creative Guitarist https://www.amazon.com/dp/B000PY8DAU/?tag=tdpri-20
     
    Last edited: Feb 15, 2020
  12. ASATKat

    ASATKat Friend of Leo's

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    This is what I thought you were talking about, good stuff.

    The difference in what we posted is that yours is an example of triads,, Root, 3rd, 5th, up and down the scale, and my examples used the Root, 3rd, and 7th), and no 5th. The main difference is I added the 7ths to the chords.
    And the 5th,,, we just don't need it, it has the least value as far as chord color (richness) is concerned.
     
    Last edited: Feb 15, 2020
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  13. ASATKat

    ASATKat Friend of Leo's

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    I use triads every bit as much as the 7th chords I wrote out. They are bold, to the point chords where 7th chords are very soft chords, 7th chords are lovers not fighters. The triad produced the power chord and that led to the mosh pit, they're fighting chords.
    All military songs use triads, definitely no maj7th chords.
     
    Last edited: Feb 15, 2020
  14. ASATKat

    ASATKat Friend of Leo's

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    Actually, you can do the same thing all the CAGED chords, just grab three strings of any shape, and just do it.

    All CAGED chords can be made to work horizontally like both our examples. =)
     
  15. AndyPanda

    AndyPanda Tele-Holic

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    Slight sidetrack here ... I started out on sax and flute and keyboards (many ages ago) and I'm just starting out learning guitar as my retirement gift to myself. Anyway my music teacher back then taught me that by leaving out the "obvious" notes in a chord, the listener will subconsciously provide those notes. They will hear the notes even though you aren't playing them and this has the effect of sucking in the listener and making him an unwitting member of the band. This concept has served me very well for the past 50 years. As a keyboardist, I've always searched for "rich" chord voicing that "imply" the chord and I've found this gives the other members of the band a lot of freedom and space. Though whenever I've had other musicians sit in with the band they get confused when they look at my hands on the keyboard to see what the chord is.
     
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