I'm just working out a few good old turnaround cliches for myself, and thought some of you might find them useful. Three-note chords, two beats per measure, except for the Dm and Passing Note in the first, which share one beat each. No open strings. Let me know if these are of use. And if anyone wants to add more, be my guest - just a simple fret number system, such as 0023 for C major, would do.
Hi Mike. So your C chord has the notes from bass upwards: E D G# D which is out there :-)
I think you mean:
455x 767x 657x 545x
We read the numbers left to right usually. "x" = don't play this string
The main problem with this notation system is when we want to indicate frets from the 10th upwards, but for anything below that it is okay, as long as we all read the right way. I thought you were being very avant-garde for a moment! :-)
Now that I'm playing it correctly...very nice! :-) That two-bass-strings movement is fun to do.
Rob, Thanks for all of your very informative posts ! I am new to tenor banjo (one month or so), but old to music, been playing guitar (chord melody and Chet style) for 58 years, so my ears tell me what I want, but my tenor tuning chords are not up to par yet....but it is great fun learning the tenor...I almost went with guitar (chicago) tuning, but decided nope, I need to learn it as a tenor...to me the tenor tuning sounds perfect....besides its good for this 74 year old brain ! thanks again for all you do...I have been working through Eddy Davis's tutorials and am having a blast with them ! Thanks again
That's the spirit, Jim. Now, let's see what you've got:
C = 455x = ECG Em = 688x = F# D# A# - or Gb Eb Bb - as my theory teacher would say, while peering over his glasses: "Explain." :-) Surely Ebm? or Gb6? Ebm = 577x = F D A - ? Surely Dm? G7 = 545x = F B G - yes :-)
The chords sound okay, Jim, but the analysis has me scratching me head.
The A7 thing works really well, if you do it this way:
C 455x A7 767x Dm 577x G7 545x
I like that one! It's the old I VI ii V7 I
Maybe I'm not thinking straight with that first one, Jim. What is your understanding of it?
How about [C / C#dim / |Dm / G7 / ] ? Lots of variations long as you start on the C and end on the G7.
In classic jazz three basic I-V7 progressions are used - here C -> G7:
- C / C#dim / Dm / G7 (as suggested by Jim above)
- C / Cdim / Dm7 / G7
- C / A7 / D7 / G7
Do try them and do notice the differences in sound - and if you want to somehow mix them - make sure that e.g. your piano and your bass player are aware of this - otherwise the band sound will become somewhat "strange".