Lesson 11
Notes to Lesson 11
Mickey doesn't give a write up to Lesson 11. Lesson 11 comprises 4 exercises in the key of C. Except for the 1st part, each exercise has a standard chord module plus two modules, one based on Group A chords and one based on Group B chords. Part 1 also does that, but starts with Group B chords and then repeats the example using Group A in the same module.
Once we start creating our own arrangements, we'll borrow from both groups as logical choices. Mickey wants us to listen to how the chord groups sound against the standard.
Mickey has shown us that we build interest in a tune with chord substitutions. Lesson 11 is showing us that we can build additional interest by playing the same type of chord but from a different group... almost a "2 for the price of 1" offer.
When we arrange a tune, to keep the interest, we vary things.TablEdit makes it so simple to write an arrangement with three or four or any number of passes by allowing us to stack modules. We then can copy from Module 1 to 2 or 2 to 3, etc. and we can vary that next module while noting what we had done before. Then it's a simple "cut and paste" from the added modules to the module that will be our arrangement.
Due to the physical limitations of our guitars, some with cutaways, some with necks attached at the 12th fret and some attached at the 14th fret, we realistically can't play all keys in both groups without moving some of the forms either up or down 12 frets. If we're trying to give a nice chromatic descent, going from 1st position to open position and then jumping to the 11th position breaks the mood of that progression. Therefore, I think it's more realistic to decide what keys use what groups the best for the individual player. From here on to the end of the course, I'll give as many theoretical possibilities as Mickey provides, but it's up to you to decide where your cut off is. For me, it's somewhere around the 11th fret.
With all that swimming in your head, let's return to Lesson 11. Note with 3 MIDI modules I have the standard chord module in the middle, and the new ones to each side. First listen to the entire TEF. Then try just muting the Standard module. If the subs are universal, then they all ought to sound musical. Note when a G13b5b9 and a G7#5b9 are played together as subs for a G7. There are a few more, but I'll leave them up to you to find.
Oh, by the way, just so you don't believe Mickey hung us out to dry in this lesson, he discusses Lesson 11 in his notes for Lesson 12.
Just keep it FUN!