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spideyguy

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Posts: 35
Reply with quote  #1 
Hey everyone

Ive been thinking of purchasing a 7 string and I was curious as to what are some good practices to utilize a 7 string guitar? I know George Van Eps in a good starting point but what other practices or books work well?

Thank!
PaulV

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Posts: 1,751
Reply with quote  #2 
I believe that Lenny Breau had his 7-string designed with the extra string on top, with a high A string.  This allowed him to play higher melodic lines with more "meat" in his simultaneous comping on the lower strings.
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Sammo

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Posts: 46
Reply with quote  #3 
I have a really nice Gagnon 7 seven string archtop. I am not a great player by any means but I still can entertain myself and this is only my experience, but I was really lost with that extra string at first. And I mean really lost. I think I had easier time to adopt 5 string banjo (which I still have) or tenor saxophone (which I had on loan for a summer long time ago). I sure was not having 16.6667% more fun than with 6 string guitar. I then figured that I visualized guitar from bottom strings to high strings and that kind of threw me off. I then tried to visualize the guitar other way around. It then helped me to play it as six string guitar and ignore the fattest string altogether. Then I tried to utilize the seventh string little by little more in my playing. Fun emerged!       

I still find it difficult to find nice balance of warm tone with top strings and definition on lowest string. I read that Ron Echete stringed his guitar with flat wound set on top 6 strings and round wound on low A. Maybe I should try that. And Jimmy Bruno had nicest tone on that duo record he did with Joe Beck.

John Pizzarelli has instructional DVD that deals with 7th string here:
http://www.amazon.com/John-Pizzarelli-Exploring-Jazz-Guitar/dp/B002CIM8JY

Also Jimmy Bruno's first DVD "No Nonsense Jazz Guitar" has segment on 7:th string if I remember correctly.

Hope this helps and good luck!!
Sampo
TLerch

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Posts: 251
Reply with quote  #4 
Hi all,
One thing that hasn't really been mentioned here (or I missed it) is that since the conventional tuning amongst jazz type players for 7 string is the low A, probably the best and quickest way to get going on the 7 string is to take all of your 5th string root fingerings and move the lowest note to the 7th string. Not too difficult physically or mentally (probably the reason for the tuning in the first place) This allows most players to get immediate results. The next thing to try is to do the same thing even when the 5th string note isn't the root, in other words do this with inversions as well.
Another immediate results trick is to play 5th string root chords, move the root to the low A as stated above then alternate between that root and the 5th of the chord which lives at the same fret on the low E string try it with a bossa beat.
In my experience, getting the low A into the picture is relatively easy but integrating it musically and sonically so that it doesnt stick out like a sour thumb is another thing all together. One TG note, I once took my 7 string to a lesson with Ted and we talked about it and he played it a bit. His take on it was that it would be more work a first but better in the long run to tune the low string to B. It sounds more integrated sonically and the logic of the fingerboard continues onto the low string.  He thought the low A is an expedient that had it's limits. Then he laughed and said the GVE didn't seem to have any limitations with it! Have fun with your 7 sting adventure.
All the best, 
Tim
Patlotch2

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Posts: 11
Reply with quote  #5 
TimLerch : "His take on it was that it would be more work a first but better in the long run to tune the low string to B. It sounds more integrated sonically and the logic of the fingerboard continues onto the low string.  He thought the low A is an expedient that had it's limits. Then he laughed and said the GVE didn't seem to have any limitations with it! Have fun with your 7 sting adventure."

Ted is obviously right!


(please excuse my bad English. In French below)

I played on a 7 string hollow body with a big A. The interest of the same note as the same freight as the 5th string is certain, but very quickly limited for walking bass with a fifth and then fourths, and the counterpoint in general with the straight between A and E. OK, it's good for bossa-nova and bass 1-5 in two, but as soon as you want real bass lines it's illegible in terms of intervals. I now use the 8 strings and I tune in fourths (see below)

The problem is to have a minimum of exceptions of intervals between strings, so a maximum of fourths outside of G3/B2. This facilitates chords of the same pattern on the adjacent strings 7654 and 6543 (V2 or drop2), etc.

Now I use the 8 strings solidbody*, and it's even more necessary to minimize different chord schemes, V2 (8765, 7654, 6543 same fingering) V4 (drop3), and double octave set and Voicing changes between melody and bass: V1 V6, V2 V7 (8x654, 7x543 same fingering)

* see topic https://forums.tedgreene.com/post/7-8-strings-solidbody-for-jazz-five-fingers-right-hand-counterpoint-vsystem-10389857?pid=1310381086

All the vision in intervals, especially for the counterpoint style Van Eps or Jimmy Wyble becomes very complicated with the Tuning in A of the 7th string

*

the 8 strings guitar, tuning one tone belove, EADGCFAD presents in the bass-range of an upright and the same fingering known for scales, intervals, etc.

the interest of the Solidbody is the same as the Telecaster 6 strings, essentially the sustain necessary to play in counterpoint, insufficient on a hollowbody

I use flatwound 12 16 24 32 42 52 Roundwound 72 80. There is a 7-string set D'Addario Flatwound 13-56, but to my knowledge no brand makes 80 flatwound for guitar

all that and much more here:
http://patlotch.forumactif.com/t188-7-et-8-cordes-guitares-et-basses-impro-composition-investigations

Thank you for your interest


*

Ted a évidemment raison !

J'ai joué sur une 7 cordes hollow body avec un gros A. L'intérêt de la même note même fret que la 5e corde est certain, mais très vite limité pour les walking bass avec une quinte et ensuite des quartes, et le contrepoint en général avec la quinte entre A et E. OK, c'est bien pour la bossa-nova et les basses 1-5 in two, mais dès qu'on veut des vraies lignes de basses c'est illisible. J'utilise maintenant la 8 cordes et j'accorde en quartes (voir plus bas)

Le problème est d'avoir un minimum d'exceptions d'intervalles entre cordes, donc un maximum de quartes en dehors de G3/B2. Cela facilite des accords de même schéma sur les cordes adjacentes 7654 et 6543 (V2 or drop2), etc.

Maintenant j'utilise la 8 cordes solidbody, et c'est encore plus nécessaire de minimiser les schémas d'accords différents, V2 (8765, 7654, 6543 same fingering) V4 (drop3), et les changements de sets et de Voicing de double octave entre la mélodie et la basse : V1 <-> V6, V2 <-> V7 (8x654, 7x543 same fingering)

Toute la vision en intervalles, notamment pour le contrepoint style Van Eps ou Jimmy Wyble devient très compliquée avec l'accordage en A de la 7e corde

*

la 8 cordes, tuning one tone belove, EADGCFAD présente dans le grave la tessiture de la (double)basse avec les doigtés connus pour les gammes, intervalles, etc.

l'intérêt de la Solidbody est le même que la Telecaster 6 cordes, essentiellement le sustain nécessaire au jeu en contrepoint, insuffisant sur une hollowbody

j'utilise flatwound 12 16 24 32 42 52 Roundwound 72 80. Il existe un jeu 7 cordes D'Addario Flatwound, mais à ma connaissance aucune marque ne fait de 80 en flatwound pour guitare

tout ça et bien d'autre ici :

http://patlotch.forumactif.com/t188-7-et-8-cordes-guitares-et-basses-impro-composition-investigations


merci pour votre intérêt

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Patlotch
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