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Post by andyhowell on Apr 13, 2017 16:34:11 GMT
OK, so I heard you. No musical theory of DADGAD — you want to learn some tunes!
I'm going to produce a small number of these simple tutorials. This first one features a medley of She Moved Through The Fair and In The Pines.
These two tunes work well in DADGAD, using those scales we can't talk about! These are basic tunes — the idea is for you to move on and develop or change the base arrangements. These are not really arrangements but starting points. There is nothing complicated about the technique here. Traditional tunes are great for finger style but they are often basic tunes, hence stringing of a number together. There's not much in common here as one is Irish/scots and the other from the USA. But they both use the same scale and the same notes, indeed, more or less in the same order!
I play the tunes through once — in this section the fret board is partially obscured by mics but the tutorial proper is more open and easier to follow. Must thing about camera angles a bit more next time!
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Post by vikingblues on Apr 13, 2017 18:21:38 GMT
Great job Andy - I think that might show the DADGAD trail in a way that will be positive for many of your "readers". That quarter of an hour flew by. Food for thought and also a fine example of how being simple in DADGAD can produce something very musical. Mark
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Post by lavaman on Apr 13, 2017 22:04:17 GMT
Great video Andy. Really inspired me to try the devils' music (ie folk) in DADGAD. You've cleaned that lovely Lucas guitar; I'll have to watch the video wearing sunglasses next time.
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Martin
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Post by Martin on Apr 14, 2017 10:30:02 GMT
Great video, Andy. Thanks very much for posting
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Post by ourmaninthenorth on Apr 14, 2017 11:23:03 GMT
Triffic... Thanks Andy.
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Post by andyhowell on Apr 14, 2017 11:28:45 GMT
Great job Andy - I think that might show the DADGAD trail in a way that will be positive for many of your "readers". That quarter of an hour flew by. Food for thought and also a fine example of how being simple in DADGAD can produce something very musical. Mark There's one more to come Mark. This will be a medley of two tunes I wrote. The idea of this is to look at some of the pitfalls of arranging in DADGAD. I will have an introduction, one video with the tunes, one video for each of the two tunes! You might have too wait a week or so though SaveSave
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Post by Phil Taylor on Apr 14, 2017 13:04:35 GMT
I have to say I find Andy's videos very informative, engaging and extremely enjoyable to watch - keep them coming andyhowell Phil
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Post by robmc on Apr 14, 2017 17:51:34 GMT
Hi Andy, thanks for the video, I have not tried DADGAD at all, (it seems a bit of a mystery), this looks like an accessible way in, to have a play instead of pondering the reasons why!
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Post by andyhowell on Apr 15, 2017 8:59:53 GMT
Hi Andy, thanks for the video, I have not tried DADGAD at all, (it seems a bit of a mystery), this looks like an accessible way in, to have a play instead of pondering the reasons why! Yeah, that is how I cracked it. Though I had bene playing in alternate tunings for many years DADGAD always seemed a bit scary for some reason. I found myself alone over one New Year and finally decided to crack it — must have played with it for hours and hours. Now I find it an incredibly flexible tuning and I use it as much for blues stuff as for celtic stuff. In the final couple of videos I'll look at one of the first tunes (doodles really) that I wrote in DADGAD which starts off in very familiar first position Dropped D shapes before verging off into the unknown. One thing you have to watch in DADGAD is a tendency to spend too much time on the high strings. Martin Carthy always reckons this is what he switched to his C tunings as it allowed him to more naturally play across the whole of the string set, creating a greater depth to the sound. The basic trick is to not get too stuck at the top of the fretboard — play on the 5/7/9 frets on the first, second and third strings and that will give you confidence with the scale.
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Post by robmc on Apr 15, 2017 12:09:55 GMT
Hi Andy, thanks for the tips, yeah I saw Martin Carthy play a month or so ago, how you can see someone like him for £10 is incredible really, he juts walked on with two guitars and got started. He had his Martin tuned his way for the majority of the songs and then a larger Fylde in a different tuning that he used for two or three songs. He would make the best London black-cab driver ever, how he retains all of the melodies, tempos and words in his head is something else. I noticed that the thing that he had to concentrate most on was the tempo from one song to the next but really after that it looked like he was almost soloing up and down the fretboard rather than playing chord shapes.
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Post by andyhowell on Apr 15, 2017 14:33:34 GMT
Hi Andy, thanks for the tips, yeah I saw Martin Carthy play a month or so ago, how you can see someone like him for £10 is incredible really, he juts walked on with two guitars and got started. He had his Martin tuned his way for the majority of the songs and then a larger Fylde in a different tuning that he used for two or three songs. He would make the best London black-cab driver ever, how he retains all of the melodies, tempos and words in his head is something else. I noticed that the thing that he had to concentrate most on was the tempo from one song to the next but really after that it looked like he was almost soloing up and down the fretboard rather than playing chord shapes. He will be playing chords of a kind but not barre chords — one of the big bonuses of using these tunings — they will be runs though. Carthy is something of an encyclopaedia of song. You're right, he must know thousands.
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