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Playing with Rondena tuning, and curious that there is not a lot of info out there (that I have found) with regard to fretboard scale patterns which are commonly used in this tuning ...?
I can figure out the fingering for scales and chords in the tuning, but hoping some of the crafty players on the forum could maybe just whip together some fingerings for common scales, and chords which work and sound good.
Posts: 14801
Joined: Dec. 14 2004
From: Washington DC
RE: Rondena Tuning, Scale Patterns (in reply to n85ae)
The proper starting place is falsetas, not scales. But since I have some experience improvising over the form (thanks to the Rumba by Gerardo Nunez that my group plays), I can give a few pointers.
First of all, a lot of the sound comes from the full open chord of the 6,5,4 and 3rd strings open on a D chord. The notes on the B and E strings are normal so you can treat the two stings in terms of patterns, as the D lydian scale in general….that is 3 sharps. Mixing in the F# harmonic minor is important (3 # plus E #) and also D lydian dominant (C# is lowered to C natural), covers a lot of ground. So work those two strings up and down for a while over the open D chord.
Next as you get into the jungle of the middle strings, you will notice that the lowered 3rd string creates patterns that mimic G lydian patters normally seen in Taranta on strings 4–3-2-1, only they are all moved UP physically to strings 5-4-3-2. That is why you will notice some literal transposition of Taranta phrases up a set of strings.
Last, the drop D situation is similar to normal drop D stuff (D-A being a 5th means you need 4 notes on the D string before crossing to the A string), only we have the D lydian again which is G# instead of G natural you might be used to.
RE: Rondena Tuning, Scale Patterns (in reply to n85ae)
Nice topic... and great info Ricardo. How are you getting on with it Jeff? I just started learning Canta La Guitarra by Pepe Habichuela and was thinking about this stuff.
There is a nice bit in the Enrique de melchor's encuentro video where he just talks about the tuning and then plays some chords, phrases and a bit of Ramon Montoya.
That video of Kris is awesome. I remember loving it when you first posted it and nice to see it reappear.
RE: Rondena Tuning, Scale Patterns (in reply to n85ae)
I still would like a list of commonly used chords, and scale patterns in the tuning ... Despite the obvious question, the answer has been elusive, since nobody seems to want to crank out a catalog of chords. Ricardo's point is sort of correct "the correct starting point is falsetas ... BUT it assumes you are going to play strictly correct Flamenco, rather than simply playing with the tuning. So while learning falsetas is fun, you might learn 3 chords in a falseta, and you might already know them so it's not the answer I was looking for.:)
However that said as time goes by I have learned a lot more on my own. Plus it's not really too terribly difficult to figure out the obvious scale patterns. So I have made headway.
Kris helped out a lot with his video, and I had a lot of fun learning his Rondena Buleria. I need to work on staying in Compas. Since I tend to stay metronomically correct, but mess up a strum here and there and end up out of Compas
Posts: 14801
Joined: Dec. 14 2004
From: Washington DC
RE: Rondena Tuning, Scale Patterns (in reply to n85ae)
quote:
I still would like a list of commonly used chords, and scale patterns in the tuning ...
Some basic stuff here at 4:17 on. You can do a lot with the basic chord shapes shown in different positions:
The scale patterns on the first two strings are, again, normal in key of A major, F#m, C# Phrygian. A simple collective view thanks to the open tuning is that is all D lydian as normal. Now on the middle strings, if you don’t already know Taranta key pretty well (D/Bm/F# Phrygian) then you need to learn that stuff first. Because you play the exact same patterns on the middle strings (5-4-3), everywhere on the neck. Most typical go-to positions are 2nd position plus open strings, and 7th position plus open strings. Again literally same fretting patterns UP a set of strings. And drop D…most guitar players stick to 3note per string patterns to avoid confusion so the 6th string notes typically are avoided except as bass notes under a barre, or when playing scales in the open position (where you only need frets 2,4, and 6).
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