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Jayesskerr

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Reply with quote  #1 
Okay, so this is geared towards a 10 string Chapman Stick player tuned to RMR (Raised Matched Reciprocal). The geometry may not line up with your particular tuning however, the approach is one that works... Here is one of the things I will do to get extra familiar with a new chord...

1) Figure out a chord. I prefer to NOT see them as separate chords on either side of the instrument but rather as one overall connected shape. 
2) Learn to play it instinctively. (coordinating both hands to arrive at where they are supposed to can be a challenge...)
3) Add more chords thereby forcing you to change location/positioning. 3 chords is great, and in this case the fingerings are all the same, I gave you Eminor, you gotta find Dmin and Emin)
4) Work out every possible combination of these chord changes and get so that the transitions are instantaneous and for the most part flawless - indeed the transition/act of shifting is more important than the chord itself at this point.
5) Work them out in all 12 keys, a cycle of 4ths/5ths pattern is great for me...

Have fun - - I hope this helps!(More to come)

Rail-board_A Minor.jpeg 


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Jayesskerr

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Reply with quote  #2 
And on this topic, I put together a simple melody based on Amin-Dmin-Emin.
It's fun to play, and I think it sounds cool. Check it out, and let me know what you think of it. As I develop it a bit more I hope that I can make it sound a bit less "cliche Chapman Stick" and make it a bit "bigger".

Enjoy!
melody no 1.jpg 



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rcneville

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Reply with quote  #3 
Will try it! Thanks! This kind of thing is very useful. I appreciate practice suggestions like this.
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Jayesskerr

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Reply with quote  #4 
Awesome! I hope it helps a bit; I know that I personally really struggled with getting any kind of momentum going with tapping - and I practiced/still practice like the devil. Strategy is key. Please let me know how you make out, either here or on Stickist.

I think really nailing down "a key" is critical, and in particular a chord spanning "both sides" of the instrument. For instance, practicing Amin Dmin and Emin as just chord stabs focusing on the transition (changing chords) is probably better for my playing than getting the chord and holding it there... 

Next step would be Cmaj Fmaj and Gmaj and then the next step after that would be to practice transitions between every possible 2 chord change between all 6 chords, Am Dm Em and Cmaj Fmaj Gmaj

And the last step is B Diminished triad - practice going back and forth between it and every other chord. 

Once comfortable with this, rinse/repeat in all 12 keys. (if the foundation is laid down in Cmaj/Amin every other key will be a breeze...)

Good luck, keep us posted!

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rcneville

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Reply with quote  #5 
Thanks again for this. I tried working this for a while today. Couple of quick notes:

1. Unless I misunderstand, your treble side diagram has a typo. Should be minor but shows major?

2. Cool idea to visualize the two chords as one big shape. Is there a rule for relating the two chords? When I move to D or E minor, I don’t perceive a similar shape because I need to move strings. I wonder if your are seeing some pattern I can’t yet understand.

3. I like your A minor exercise but it’s too hard for me to copy at at speed. Any chance of either slower or (lot of work) transcription? Maybe you could just explain what your left hand is doing.

Cheers, Robert
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Jayesskerr

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Reply with quote  #6 
OOO, Nice catch! Thank you for letting me know - it has been revised.

Now for the other two chords, (Dmin and Emin) Simply move back a string, and the exact same geometry is Emin. Move towards the headstock 2 frets and you have Dmin. Depending on your tuning, you will have a different "space" between the bass and melody side (represented by that yellow arrow) It's the symmetry that makes Emmett's tunings so ingenious - 1 fingering equals every minor chord kind of thing... obviously there are others, but these will get a person by!

Now as for what I am playing in the left hand for that melody I posted, it's basic - I think they call it "the stick arpeggio". Literally play the lowest note of the triad, then the next highest, and then the last note, then come back to the previous one. Like this;

--------7-------------
-----------7---7-----
-------------8--------
----------------------
----------------------


Rail-board_dmin-emin.jpeg 


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rcneville

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Reply with quote  #7 
Thanks for the detailed reply. I have the exercise figured out: your description of it was spot on, though it comes out in G minor on my MR Railboard., of course. That basic minor back and forth sounds deceptively exotic when the tune notes are not simple chord tones. Now have to learn to play it :-)

Regarding the chord changes: I have known those basic shapes for quite a while, but have never thought of doing them simultaneously with both hands. Am I right that this what you recommend? Just straightforward blocks, both hands at the same time?

Robert
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Jayesskerr

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Reply with quote  #8 
Cool, I'm glad it helped! I will put together a few more this weekend, lol hopefully they help!

And yes, quick chord stabs with both hands focusing on the change, as opposed to just sitting on one chord after you've "found" it makes all the difference I found. Really helped my tactile reference out a lot... (And sorry, I used my 12 string diagrams for these - future railboard things will have 10 string chord diagrams)

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