The Food Stamp Ramblers

Be sure and stop by for a visit at The Food Stamp Ramblers' website. We're having a lot of fun with the site and with the band. Give it a look-see.
http://www.thefoodstampramblers.weebly.com

Shake & Bake Breakdown by Fred Warner

http://www.youtube.com/watch?v=0qBEuUvbyTk

Banjo Videos

I've created a 5-stringer site and posted some banjo videos on it. The site is: www.thefifthstring.weebly.com Give it a look and leave a message if you'd like.

New web site up

I've created a new web site: http://www.FrederickWarner.com
Stop by and browse around. Hope you enjoy.

Common Tone Chords Analyzed

In discussing the chord progression for the tune "When The Golden Leaves Begin to Fall" as I've arranged here below and as noted above on the musical staff a few important items must be covered. Clicking on the picture should enlarge it.

1st, Notice the upper most note in each of the first five measures. See how it begins as an "A", then a "G natural" (this is the flat seven (b7) chord we've discussed), then an F sharp (which is the color tone of the Sub Dominant chord) then an F natural (which is the color tone darkened to a minor chord (minor Sub Dominant) and then the "E" note which is the fifth note in the "A" scale. So the passing tones are A G F# F & E.

Next, notice the bottom note in the first 6 measures. It remains an "A" note. Then in the last half of the 6th measure it becomes the passing tone "G#" and then in the 7th measure an F#. But the "A" note is also the darkened color tone in this F sharp minor chord.

Next, notice the movement in the 3rd measure where the C sharp and E notes resolve to the D note. Notice how the root position Tonic A7 chord resolves nicely to the 2nd inversion Sub Dominant, D, chord, and then the 2nd inversion D minore chord and back to the root position Tonic.

I inadvertently omitted the "A" notes in the B7 and B minore 7 chords, but imagine these notes are there and will resolve to the G sharp note in the measure that has the E7 chord. The G# note is the color tone of the Dominant chord and the leading tone of the A major scale. So from this, you can easily see the importance of the common note "A" in this progression. Recapping, the "A" note is found in the A chord, the A7, the D and D minore, also the F# minore, the B7 and the B minore 7. That's a lot of commonality!

Bluegrass Progression

Here's a neat chord progression I use for a Bill Monroe tune called "When The Golden Leaves Begin To Fall":

...............A..........A7............D........Dm......
I left the one that I loved in the mountains

.....A.......F#m..........B7...Bm7....E7......
And all the love we've shared

.............A...................A7................D........Cm6b5......
But at night when she'd kneel by her bedside

.......................A.........E7..........A..........

I know she called my name in her prayers

Modal-like Common Tones

One chord progression that is actually quite common in Bluegrass is the one that drops a whole tone from the Tonic chord and then to the Dominant chord. For example, in the key of "G", take the Tonic triad of G B D and drop to F A C then to the Dominant 7 chord D F# A C. Notice how the A and C notes of the Dominant 7 chord (D7) are also found in the F chord. The ear hears an abrupt change from the G chord to the F chord, but this tension resolves when the F chord resolves to the D7 chord, and when the tension of the D7 chord resolves to the G chord.
Try this in the common Bluegrass keys.

Tougher Common Tones

Notice that two tones of each chord stay the same:
C7 chord modulating to an A7 chord: C E G Bb
A C# E G
Now the A7 chord to the F# 7 chord: A C# E G
F# A# C# E
Now the F#7 chord to the Eb chord: F# A# C# E
Eb G Bb Db
Note: It is easier to think in terms of Eb rather than D#. The Bb and Db notes are enharmonically the same as the A# and C# notes.

Can you take this progression further?

More on Common Tones

So let's continue on the common tones of the F (Sub Dominant) chord in the Key of C. The notes are F A and C. But now, lets drop the F note to an E note which makes it a 2nd inversion A minor (E A C), and instead of that, let's raise the C note 1/2 step to a C# note (E A C#). This 2nd inversion A chord ends up wanting to resolve to a D Minor chord very nicely. The D Minor chord is comprised of the notes D F and A. The E note would resolve nicely 1/2 step to the F note, the A note would remain a common tone and the C# note would have a tension that would resolve nicely 1/2 step up to the D note. So this 2nd inversion A chord (not A Minor, but A) resolves nicely to a 1st inversion D Minor.

Or try this: Take the root position C chord, C E and G and raise the C note 1/2 step to C#. This makes a chord comprised of the notes C# E and G. This is a 1st inversion A7 chord. This resolves very nicely to the D Minor chord. This can also resolve nicely to the D chord (D F# and A) because the 7 note which is a G will resolve nicely to the F#. So C# E G resolves to D F#.

Common Tones

One of the many reasons why music flows so smoothly together is the use of common tones. Take for example the following: Pick the Key of C. The Tonic chord is comprised of the notes C E and G. Two of these notes also belong to the minor third triad in the key of C. They are the notes E and G. The minor third in its root position is E G B. This forms an E Minor chord. Dropping the C note down to a B note while leaving the E and G note still being played creates a 2nd inversion E Minor chord, B E G.
Another chord formed from the Tonic C E G, is the relative minor chord in the Key of C, called the A Minor chord. This is comprised of the notes A C and E. So from a C chord in its Tonic root position C E G, raising the G note to an A note creates a 1st inversion A Minor chord.
Take the Sub Dominant chord in the Key of C, the F chord, comprised of the notes F A and C. What could we do with this chord? How about going to an A minor? To do this, we would simply drop the F note to an E note. This would create a 2nd inversion A Minor chord: E A C.
I'll post more of these beautiful chords later. In the meantime, experiment.

The Five of Five Chord

In Nashville, many pickers call this chord the "2" chord and write it as a large Roman Numeral 2. But really, it's the five of five chord in music theory circles.
Most often times it appears in a tune either after the Tonic chord or after the Dominant chord. For example: in the key of "G", play a G chord (Tonic)and follow that with a C chord (Sub Dominant) then back to the G chord, then up to the A chord (Five of Five)and then to the D chord (Dominant, also called the "Five" chord). You can then resolve this by Playing these chords: G chord, C chord, G chord, D chord and finally, G chord.
Another way the Five of Five is used is: in the key of "G", play a G chord (Tonic)and follow that with a C chord (Sub Dominant) then back to the G chord, then to the D chord (Dominant, also called the "Five" chord)and then to the A chord (Five of Five) and back to the D chord. You can then resolve this by Playing these chords: G chord, C chord, G chord, D chord and finally, G chord.
The Five of Five chord works this way: The color tone of the Five of Five has a tension that resolves nicely to the base note of the Five chord. For example: think in the key of "G" again, the color tone of the Five of Five is a C# note which resolves nicely to the "D" note in the D chord. Or, it could resolve nicely, creating a little tension (which can later be resolved to the color tone of the Tonic), by going to the flatted seventh note of the Dominant chord (D chord in this example) which would be the "C" note. (This "C" note would eventually resolve to the "B" note which is the color tone of the G chord).

Another well used chord progression is from the Tonic to the Sub Dominant to the Five of Five to the Dominant and back to the Tonic.
Yet another neat chord pattern is to go from the Tonic to the Five of Five of Five ( think of this one as a relative minor chord made major by raising the color tone) then to the Five of Five then the Five and return to the Tonic. For Example in the key of "G": G; E (not minor, but major); A; D; G.

Now find and resolve the Five of Five chords for these keys: D; A; F; C

Circle of Fourths

Practicing a circle of fourths is great for ear-training and for remembering flatted sevenths. On your bluegrass stringed instrument of choice, sound out a C7 chord like this: C E G Bb. Notice the tension in the Bb note and how it wants to resolve to the A note which is the color tone of the Four chord: F A C. Now form an F7 chord: F A C Eb and notice how the Eb wants to resolve to the D note which is the color tone of the Bb chord. Here are the chords in the circle of fourths:
C E G Bb; F A C Eb; Bb D F Ab; Eb G Bb Db; Ab C Eb Gb; Db F Ab Cb (enharmonically the same as a "B" note); Now switch to sharps instead of flats to make it easier: F# A# C# E; B D# F# A; E G# B D; A C# E G; D F# A C; G B D F; and now you're back to the C chord.
Try this exercise over and over until it becomes second nature to hear these tensions and resolutions.

Flats and sharps as key signatures

As we've learned, a key signature with one sharp (F#) is the key of G. We know that the F# is the leading tone which raises 1/2 step to the tonic note. In the G Scale remember the notes G A B C D E F# leading into G. So if the key of G has 1 sharp and the key of D has 2 sharps (D E F# G A B C# leading into D) we see there's a pattern to this.
An easy way to remember sharps is this little saying: Fat Cows Go Down An Easy Bank.
An easy way to remember flats is: Be Earnest And Don't Get Cold Feet.

So when you run into a key signature with 5 sharps, you can say Fat Cows Go Down An (and stopping right there at 5 words of our saying, you'll know the A# is leading 1/2 step to the tonic, which is B, therefore 5 sharps is the key of B.

With flats, it's a slightly different formula. Say your music has 3 flats. The saying is: Be Earnest And (right here at the 3rd flat, you "stop and drop". So Bb Eb and Ab, you simply go back to the previous flat for the proper key signature.
1 flat = F; 2 flats is Bb; 3 flats is Eb; 4 flats is Ab; 5 flats is Db; 6 flats is Gb and 7 flats is Cb. Also notice how they climb by fourths. F to Bb is a fourth; Bb to Eb is a fourth and so on. Sharps climb by fifths.

G Scale and a Bluegrass Lick

Take a look at the G scale ascending and descending. Notice the rhythm is an 1/8 followed by six 1/16's in each of the first 2 measures. I kept this same rhythm going in measures 4 & 5. Notice the time signature is 2/4 and the center of the # sharp is on the "F" line which designates the F is always played as a sharp. The first measure starts on a "G" note; the second measure starts on a "G" note an octave higher; and the third measure starts on a "G" note.

Notice the musical staff. This one has a treble clef placed on it. The “curly-cue” of the clef encircles the “G” line and so it is called the “G clef”. Look at the lowest line of this staff. This lowest line is the “E” note. It is followed by spaces and lines above it. The next line above this “E”, we have learned is a “G”. To learn the lines in succession, think of this saying “Every Good Boy Does Fine”. Now to learn the spaces, start at the space directly below the “E” line and memorize this saying: “Do Find All Cows Eating Grass. The “D” is the space below the “E” line and the “G” space (at the top of the staff) is the space above the “F” line. So if we identify the lines and spaces in succession starting at the lower “D” space, we’ll have D E F# (because of the Key we’re in) G A B C D E F# G.

The 2/4 Time Signature

Now let’s discuss rhythm a bit. In Bluegrass, for the most part, there are a couple of time signatures: 2/4 and 6/8. There are others, obviously, but for now let’s stick to these two.

Starting with 2/4, we’ll take the measure apart and learn the mathematics behind it.

A “2/4 time” means there are two beats per measure (the 2/_ part of the fraction) and each beat (of the two beats) is equivalent to a ¼ (one-quarter_/4) note. There are two ¼ notes in a measure, thus 2/4.
A quarter-note lasts for one beat and is counted: “1”. A full measure consisting only of quarter-notes would count this way:”1 2”. Eighth-notes occur twice as fast as quarter-notes, thus, a full measure of 1/8 notes would be counted: “1 & 2 &”. Notice that in 2/4 time, there are two quarter-notes or four eighth-notes or their equivalent in each measure. There can also be eight sixteenth-notes. A vocalist may be singing one “half-note” which lasts for two beats while the banjoist is playing eight sixteenth-notes and the fiddler sawing out four eighth-notes. There are endless combinations to the rhythms available. How many thirty-second notes are possible in a 2/4 measure?

If you’re tapping your foot to the time, “1” would occur on the down beat (this is when your foot touches the floor, on the accent,) and “and” would occur on the upbeat; “2” would occur on the down beat and “and” would occur on the upbeat, and so forth throughout the tune.

Tap these rhythms out:
/ * ^ * ^ / = 1/8 note, followed by 1/8 rest also equivalent to an 1/8 beat (on upbeat), 1/8 note, followed by another 1/8 rest (nothing sounds at this mark ^)

/ * * * * / = 1/8 note on down beat, 1/8 note on upbeat, 1/8 note on down beat, 1/8 note on up beat

/ **** * * / = two 1/16 notes on down beat and two 1/16 on up, followed by 1/8 on down and 1/8 on up

/ **** **** / = two 1/16 on down and 2 1/16 on up followed by two 1/16 on down and 2 1/16 on up

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The Flatted Seventh Chords

The 7th chord has a tension that requires resolution. On a tonic, root position, major triad, we learned that the bottom interval was a major third which was made from two whole-steps and the top of the triad was a minor third comprised of a half-step and a whole-step. If we add another minor third (we’ll end up with 4 notes) to the top of this - in other words a half-step and a whole-step - we’ll have a chord that consists of a major third interval followed by a minor third interval and followed by another minor third interval. This is the flatted-seventh chord, commonly referred to as a 7th. So a G7 chord is made using these notes:

G7: G B D F (notice the F is not an F#). The F# is the actual 7th pitch in the G scale, so to form a major G7 chord we would have to use the F# note. Flatting this 7th note “minors” it. This F# is rarely used in bluegrass in a 7th chord, as the more “bluesy” flatted seventh note, F, is preferred.

Often times the tonic chord will add the flatted seventh note creating tension just before a chord change to the subdominant. In the key of G, sound G B D F and notice the tension the F creates wanting to resolve to the color tone of the 4th chord (subdominant). Now form a D7 chord (dominant 7 in the key of G) comprised of the notes D F# A and C. Notice how this C note wants to resolve to the color tone note B in the tonic triad G B D. Switch keys for a moment, and in the Key of C, form a G7 chord and sound these notes and listen to the tension: G B D F. Notice how the F note wants to resolve to the E note which is the color tone of the C chord.

Now play some 7th chords in their inversions starting with root, 1st, 2nd, and 3rd:
G: G B D F, B D F G, D G B F, F G B D
C: C E G Bb, E G Bb C, G C E Bb, Bb C E G
D: D F# A C, F# A C D, A C D F#, C D F# A

Try others.

2nd Inversion Chords

The next inversion is the 2nd inversion. This chord is built on the 5th scalar note of each root position triad. For example: a G scale (GABCDEF#G) has as its’ 5th tone the D note. Starting on this D, you build a triad above it by using the next G and then the B above that. D G B. Notice how the “color” tone ends up on top.
Other 2nd inversion chords are:
C: G C E
D: A D F#

Now try working with sounding the root position, 1st inversion and then 2nd inversion notes in succession:

G: G B D B D G D G B
C: C E G E G C G C E
D: D F# A F# A D A D F#

Practice with all the bluegrass chords.

A 5-string banjo is a great example of chord inversions. When it is tuned in normal G tuning, the open 4th, 3rd and 2nd strings sound a 2nd inversion triad; when the 3rd, 2nd and 1st strings are sounded, they make up a root position triad; when the 2nd, 1st and 5th strings are sounded, they sound a 1st inversion triad.
Interestingly, a resophonic guitar tuned in normal G position has two root position tonic triads, one above the other, used as its’ tuning. G B D G B D. Mandolins, fiddles, and basses are not tuned in chords, generally. Although there are many examples from Bill Monroe tuning his mandolin in an open chord; and history is full of interesting chordal tunings for fiddles.

The 1st Inversion Triad

Now let’s have a little fun with chord inversions.

We’ve learned earlier about “root” position chords, i.e. chords built on the tonic note.
Now let’s learn about inverting the chord position. For example, a G chord in root position is G B D. Now let’s invert the chord to its’ 1st position: B D G. In this voicing, the B note is on the bottom, the middle note is now a D note and the octave G is sounded for the third note of the triad. We now observe the “color” tone is at the bottom. Let’s build a few 1st inversion triads.

C: E G C
D: F# A D
E: G# B E
F: A C F
A: C# E A
Bb: D F Bb

Now sound the notes from a root position followed by the 1st inversion:
G: G B D B D G
A: A C# E C# E A
Play with this until you can easily perform this in the “bluegrass keys”.

Interesting Musical Links

My 5-string banjo pickin' hangout is here: http://www.banjohangout.org/my/wbalsam1/
My fiddle hangout is here: http://www.fiddlehangout.com/myhangout/home.asp?id=401
My resophonic guitar hangout: http://www.resohangout.com/myhangout/home.asp?id=3199
My flatpickin hangout: http://www.flatpickerhangout.com/myhangout/home.asp?id=3538

Lots of music and music lessons available on these sites and their links. Enjoy!