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 Hawaiian Slack Key Guitar / Hawaiian Music
 Two forms of D7 in Taro Patch I don't hear often
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Fran Guidry
Ha`aha`a

USA
1464 Posts

Posted - 06/10/2018 :  08:43:08 AM  Show Profile  Visit Fran Guidry's Homepage  Reply with Quote
Many slack key teachers start off showing harmonized scales, patterns on two strings ascending/descending through the scale with a melody note and a harmony note. In taropatch the outers are on the first and third string, inners on the second and third.

The scales are also called the "open and closed positions," I think Ozzie uses this terminology but I don't have my book handy.

There are quite a few YouTube videos that demonstrate the idea, here's one: https://youtu.be/WfEk0HH9zGA?t=259

Uncle Harry Koizumi has a lot of slack key tutorial videos on YT, this one demonstrates the "outers" harmonized scale: https://youtu.be/JO4TCqeEQeI?t=241

And here's Harry teaching taropatch chords: https://www.youtube.com/watch?v=COJahNuLRU8

One more look at the outers harmonized scale: https://youtu.be/g2f3vYfTlHs?t=138

I didn't see the "inners" demonstrated but perhaps you can figure out the harmonization of the 2nd and 3rd strings, using two notes on the same fret or one fret apart (clear as mud, eh?)

Fran




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12toneman
Akahai

USA
73 Posts

Posted - 07/06/2018 :  3:03:42 PM  Show Profile  Reply with Quote
Sorry for the delay in my reply to your post, Duke. Thanks for the free lesson, those variations are great-- I've been getting them under my fingers. I think you meant third fret here:

quote:
Originally posted by sirduke58
2nd Variation: Fretting the D7 as noted above, drop your middle finger down to the first string/third fret (keep your index & ring at the same place. Again you can pluck all the strings except the 5th. You'll have cool "add ons with your pinky at the 5th fret/1st & 2nd strings. From there you can slide up to the 5/7--7/9--9/10--11/12 parallel 6ths with you Low D bass.





The first chord I mentioned in my OP looked unfamiliar when I first saw Led using it. But it can be derived from a very common taro patch version of D7 by using the same process that you mention in your post-- moving the note from 1st string to the 4th to create a new voicing.

See the below example-- move the note from the 1st string of this common version of D7 to the not so common but very interesting voicing:


When I noticed this, I started to experiment with the other 3-note chords (on the first 3 strings) that I commonly use, and tried moving the note from the 1st string to the the 4th and got a few cool chords that I had never thought of.
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sirduke58
`Olu`olu

USA
981 Posts

Posted - 07/07/2018 :  08:02:43 AM  Show Profile  Reply with Quote
Actually I did mean the 4th fret. In your original post the 2nd variation picture is the one I based Ozzie's variation. The fretting on that variation starts on the 2nd fret. So your index is fretting 2nd fret/5th string, middle is 3rd fret/4th string, ring 4th fret/3rd string, pinky is 5th fret/2nd string.

Ozzie omits fretting the 2nd fret/5th string. So your index frets 3rd fret/2nd string, middle is 4th fret/4th fret & ring is 5th fret/2nd string. Be sure to skip plucking the 5th string as with most D7 shapes. From the shape I described above, drop your middle finger from the 4th string/4th fret to the 1st string/4th fret. Now your pinky is free to embellish the chord at the 5th fret 1st & 2nd string. From there you can also go seamlessly into the parallel 6ths & walk all the way up to the 11/12 closed position on the 1st & 3rd string using the D chord alternating bass.
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12toneman
Akahai

USA
73 Posts

Posted - 07/07/2018 :  08:43:22 AM  Show Profile  Reply with Quote
Ah, yes yes yes...4th fret. Thanks again.

Do you have anything to recommend in the way of a non-clashing G chord?
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sirduke58
`Olu`olu

USA
981 Posts

Posted - 07/08/2018 :  6:28:37 PM  Show Profile  Reply with Quote
Ozzie told me that proper slack key etiquette calls for playing in a different position from whoever has the lead or pa'ani. Say the lead is playing in the first position G then the accompaniment should play rhythm in the 2nd or 3rd position of that chord. If the lead is playing in the 2nd position then you accompany in the 1st or 3rd position of that chord, etc. Reason being that you don't want to muddy the water for the lead. You want the listener to be able to hear the lead without having to try & filter out what the accompaniment is playing.
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