F#-7b5 to B7
I just can't find a nice move on the mandolin with some good voice leading. On guitar this cadence lays out beautifully in several positions.
Any suggestions?
F#-7b5 to B7
I just can't find a nice move on the mandolin with some good voice leading. On guitar this cadence lays out beautifully in several positions.
Any suggestions?
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Jim's Rule of Thumb for figuring out 7th chords:
for example, Gmaj7: G B D F# G B D F#
In a two-octave arpeggio: play a note, skip a note, play a note, skip two notes, play a note, skip a note, play a note. Works for any inversion.
So, in this case, F#m7b5: A C E F# A C E F#
and B7: A B D# F# A B D# F#
mando scales
technical exercises for rock blues & fusion mandolinists
mp4 backing tracks & free downloadable pdfs
jimbevan.com
In practical use, there are two exceptions to my Rule:
1. The third inversion of min75b's are awkward enough that I never bother with them.
2. I don't like the sound of the 7th being lower than the root in the maj7's, so I swap those notes.
So, my inversions for Gmaj7, for example, go:
G D B F#
B G D F# (instead of B F# D G)
D G F# B
G B F# D (instead of F# B G D)
mando scales
technical exercises for rock blues & fusion mandolinists
mp4 backing tracks & free downloadable pdfs
jimbevan.com
That's perfect. Thanks!
Last edited by Perry; Mar-09-2022 at 11:45am. Reason: trying to delete this
for the f# halfdim I would use the notes c-e-a or c-e-b, followed, perhaps, by b-d#-a (in spite of the open a) but a lot depends on what comes after the ii-V and how the chords are used: rhythmically, percussively or held, for instance.
I like that. It's often how I roll, myself.
That's sort of how I ended up with this fingering for F#m: 6402 To make that F#m7: 6400* To make that F#mb5: 5400
Does that sound right? If so, then for B7 try 4102. Too much open string sound? Well ... see what you can do from there.
But if you want to stick with the open string sound, your choices for the resolve to Em are limited. 0223 and 0220 are easiest.
So all together: 5400 4102 0220 See if that works. I'll wager closed position chords will work better, as they often do in jazz/swing, but you never know till you try.
* © 1983 - But I give you permission
But that's just my opinion. I could be wrong. - Dennis Miller
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I like 5400 4102 0223 more. It provides counterpoint with descending notes on the bottom string and ascending notes on the top string.
But that's just my opinion. I could be wrong. - Dennis Miller
Furthering Mandolin Consciousness
Finders Keepers, my duo with the astoundingly talented and versatile Patti Rothberg. Our EP is finally done, and available! PM me, while they last!
minor ii-V-i's are often sounded with alterations (b5,#5,b9,#9) added to the dominant chord. This yields a cadence that sounds more minor, jazzlike, and chromatic..also suggests a different set of melodic possibilities to the soloist
for Em let's see I might go 5-7-9 on the low strings (F#mb5, no b7 but that's ok) the 8-7-9-8 (B7b9) or 8-7-10 (B7#5 a/k/a Baugmented) landing on Em or Em9
4-5-7 or 7-5-7(Em7) or 7-5-9 (Em9)
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