Yahoo Tuning Groups Ultimate Backup tuning Graham Breed's pump on the Blackjack guitar (was: Sabat-Garibaldi's Dinarra)

--- In tuning@y..., "Paul Erlich" <paul@s...> wrote:
> --- In tuning@y..., "Dave Keenan" <D.KEENAN@U...> wrote:
> > [To play Graham Breed's progression]
> > Only the four middle strings are used,
> > so each voice gets a string.
>
> So presumably your fretting hand stays in pretty much the same
> position the whole time? Awesome.
>
> > Let me know if you want the tablature.
> >
> That might be cool if Monz were to include it on his Blackjack
> webpage. Given this development, I might actually be in favor of
> people just using 21 frets per octave, at least for a while (the
> other 10 could always be added in later).

And we are well aware that some limitations can be good for creativity.
They can avoid the problem of freezing due to excessive choice ("Where do I
start?").

I've given the tablature below for Graham's pump, starting from the same
chord as in the existing sound file and Monz's web page,
http://www.ixpres.com/interval/monzo/blackjack/blackjack.htm
but I prefer to start and end the sequence on what is currently the fourth
chord; starting with the second fingering option and ending with the third
(these are the same root-position (4:5:6:7) voicing but on different strings).

Where I've given several options for fingering the same chord, the first is
for the voicing I mentioned before, a simple 2-voice rotation of Monz's
voicing. The second and third give a voicing where common notes between
sucessive chords remain in the same voice, i.e. they don't jump octaves and
they don't jump voices. But in this case they cannot remain on the same 4
strings throughout.

This pump is also available in another key in Blackjack (one secor lower).
This is quite playable on the Blackjack guitar too, though I won't bore you
with the tablature unless someone asks for it. Note the term "secor"
(lowercase s) after its discoverer George Secor, which we have until
recently been calling the "miracle generator", a 116.7c minor second.

G<sm7 8sm7
_ _ _ _ _
| | | | | |
|_|_|_|_@_| 2fr
|_|_|_|_|_|
| | | | | |
|_|_|_@_|_|
|_|_|_|_|_|
| | | | | |
|_|_|_|_|_|
|_@_@_|_|_|

E>sm7 6sm7
_ _ _ _ _
| | | | | |
|_|_|_@_|_| 4fr
|_|_|_|_@_|
| | | | | |
|_|_|_|_|_|
|_|_@_|_|_|
| | | | | |
|_@_|_|_|_|

Dsm7 4sm7
_ _ _o_ _ _ _ _o_ _o _ _ _ _ _
|_|_|_|_@_| |_|_|_|_@_| | | | | | |
| | | | | | | | | | | | |_|_|_|_@_| 6fr
|_|_|_|_|_| |_|_|_|_|_| |_|_@_@_|_|
|_|_@_|_|_| |_|_@_|_|_| | | | | | |
| | | | | | | | | | | | |_|_|_|_|_|
|_@_|_|_|_| |_|_|_|_|_| |_@_|_|_|_|
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|

C<sm7 2sm7
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _
| | | | | | |_|_|_|_|_@ |_|_|_|_@_| 7fr
|_|_|_|_@_| 2fr | | | | | | | | | | | |
|_|_@_@_|_| |_|_|_|_@_| |_|_|_@_|_|
| | | | | | |_|_@_@_|_| |_@_|_|_|_|
|_|_|_|_|_| | | | | | | |_|_@_|_|_|
|_@_|_|_|_| |_|_|_|_|_|

A>mdim7 0mdim7
_ _ _ _ _
|_|_|_|_|_@
| | | | | |
|_|_|_|_@_|
|_|_|_|_|_|
| | | | | |
|_|_@_@_|_|
|_|_|_|_|_|

F]sm7 7sm7
_ _ _ _o_
|_|_|_|_|_@
| | | | | |
|_|_|_@_|_|
|_|_|_|_|_|
| | | | | |
|_|_@_|_|_|
|_|_|_|_|_|

B[mdim7
_ _ _ _ _
| | | | | |
|_|_|_|_@_| 4fr
|_|_|_|_|_|
| | | | | |
|_|_@_@_|_|
|_@_|_|_|_|

Regards,
-- Dave Keenan
Brisbane, Australia
http://dkeenan.com

--- In tuning@y..., David C Keenan <D.KEENAN@U...> wrote:

> Where I've given several options for fingering the same chord, the
first is
> for the voicing I mentioned before, a simple 2-voice rotation of
Monz's
> voicing. The second and third give a voicing where common notes
between
> sucessive chords remain in the same voice, i.e. they don't jump
octaves and
> they don't jump voices. But in this case they cannot remain on the
same 4
> strings throughout.

It doesn't look like it remains on the same 4 strings in _either_
case . . . is there an error?

> Note the term "secor"
> (lowercase s) after its discoverer George Secor, which we have until
> recently been calling the "miracle generator", a 116.7c minor >
second.

Nice.

Graham Breed's pump on the Blackjack guitar (was: Sabat-Garibaldi's Dinarra)

🔗David C Keenan <D.KEENAN@UQ.NET.AU>

🔗Paul Erlich <paul@stretch-music.com>

🔗jpehrson@rcn.com

🔗Dave Keenan <D.KEENAN@UQ.NET.AU>