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Bb major chord is killing me
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Paul Magnussen
Posts: 1805
Joined: Nov. 8 2010
From: London (living in the Bay Area)
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 RE: Bb major chord is killing me (in reply to mezzo)
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quote:
IMHO, thats a bad advice Paul. The way Rombsix explain it is THE way because it makes you change into other chords "por medio" very easily which can be very important especially when yo accompany cante.
The position of the ring and small finger is a fixed position where you do so manny little things, changing chords, doing little runs etc without lifting these fingers from their position. Its a very flamenco tecnique.
I’m not saying do it all the time; clearly, if you need to move fingers up, dowen and sideways, you can’t. Just that it’s a useful technique to have in your repertoire.
quote:
I never notice a real flamenco guitarist doing Paul' suggestion.
No one was playing any kind of jazz chords until Lucía started. Someone always has to be the first. And some chords can't be played any other way than by barring with your 2nd, 3rd or 4th finger.
“We don’t do it this way here” reminds me of the story of Don Nagle, the Marine who tried to show the Isshinryu school an uppercut (I think it was), which apparently they’d never seen, when he was stationed in Okinawa in 1957. That was their response.
So he entered the All Okinawan Karate Championships as a White Belt and won it, knocking all their Black Belts flat.
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Date Nov. 23 2011 0:56:01
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Mark2
Posts: 1877
Joined: Jul. 12 2004
From: San Francisco
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RE: Bb major chord is killing me (in reply to HuBaghdadi)
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Finger the chord, and play the notes one at a time with the goal of getting every note to ring clear. When your hand starts getting tired, stop, and work on picado or another techinque, then go back to it. repeat and repeat until you get it, which you will if you keep at it.
Also, Finger the chord, then switch to the next chord, without even playing with your right hand. Get your hand used to moving between the Bb and other chords. Baby steps. I still remember when I started playing guitar over 36 years ago, and almost quit the first day I tried to play a bar chord-it was so hard.
We all had to suffer at the beginning. Come to think of it, the struggle really never ends.
quote:
ORIGINAL: HuBaghdadi
Hi,
The Bb major chord is killing me, I can't play it at all. Unclean sounds and weak index finger.
Any tips or exercises how to play this chord?
Thanks all for help and time.
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 23 2011 16:33:30
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Ricardo
Posts: 14852
Joined: Dec. 14 2004
From: Washington DC
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RE: Bb major chord is killing me (in reply to Guest)
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quote:
Tonic is irrelevant. Functionality IS NOT. Augmented chords lead to V chords in minor. Since the flamenco tonic is the V (reinterpreted as I), augmented sixth chords lead perfectly to the tonic...BUT YOU KNEW THAT TOO.
Sure, but since you are going to change tonic too, why not invent a new name for the move too? I am just saying I have no problems with a Bb7 occuring in por medio key without having to name it something else. Functionality of harmony, ultimately is about sound, there is no difference of sound by spelling the notes of a chord WRONG. Also the other aug6 they miss spell with an E natural....I don't think that is necessary either. Bb7#11 is fine even if there is no F natural, or Bb7b5 is fine too. The functional purpose that the ear draws from need not be cluttered by the practice of naming chords by aug6. It's simple Bb->A II-I if you will, where the II can be colored in different ways...or not.
I really don't like the practice they came up with much either for classical. Augmented should be reserved as a term for intervals that would be perfect vs major or minor. Otherwise we open a confusing door to name any doubly raised interval "augmented"....like Augmented 2 (think of a #9 chord) etc. Just leaves a bad taste in my mouth, but that is just me.
One more example in context of flamenco that sort of "breaks the rules". This type of voicing can and does happen a lot:
x----x-
3----2-
3----2-
3----2-
5----4-
4----3-
So we have the point of calling it aug6 and NOT simply Bb7 dominant chord, is because the G# would be a voice leading to the V chord (phyrgian tonic). But there is no actual voice leading. So the idea that you would have to notate or think G#-->G natural, kills the whole point of mozart or whoever was using these chords. You MUST have it go to A in the bass or even up higher in the voicing...other wise they would have notated the chord with Ab-->G for sure for sake of voice leading. Even the version of Bb with hinge barre you wrote going to open A7 is a problem. The middle G# MUST go up to A for it to get an "aug6" designation.
Hope you get where I am at. I am not saying you shouldn't use Aug6 to describe the function SOMETIMES, but it is simply not such a big deal in Flamenco to think it is ALWAYS gonna be a G# instead of Ab in your Bb chords as per flamenco.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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Date Nov. 26 2011 14:39:40
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OK, if you insist: chords that are more frequently found in jazz and dance-band arrangements than in other types of guitar music. 
