7 string tuning for djent and djazz?

Discussion in 'Jazz, Acoustic, Classical & Fingerstyle' started by TylerEstes, Feb 23, 2014.

  1. Pascal-Darrell

    Pascal-Darrell SS.org Regular

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    Drop A is fine. Don´t know why it shouldn't work with a 25.5 scale, there must be another problem.

    And about the low A, a few Jazz players who used 7 string guitars used this tuning.
    Quite handy for walking bass lines and extended chordvoicings ;)
     
  2. JSanta

    JSanta SS.org Regular

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    On my Eastman 7 string, my low A is a .074 (25 inch scale). My teacher uses a .080 for his low A. As far as I'm aware, all of the jazz guys using a 7 string are in "drop A" for many of the reasons already mentioned. I play a 12-52 set of flats for the other 6 strings, as does my teacher.

    For what it's worth, Howard told me a few months back that George had upwards of a .100 for his low A when he was still alive.
     
  3. MartinMTL

    MartinMTL SS.org Regular

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    using 9 chords does not make your music jazz.
     
  4. TylerEstes

    TylerEstes Sheeeeeeeit

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    Thanks guys. I started learning the shapes/chords for jazz and it worked great after I sorted out the tuning issue. The sound was a tad darker than what I was going for, though. Was still really fun, though. Will probably tune higher next time. But I have a surgery coming up and I needed to take up GC on their offer to give me a refund for my amp and I had to put my guitar up for sale, so no more djazz for now. After months of looking forward to start playing again, I was able to play for a week :lol::lol::lol::lol:
     
  5. Cabinet

    Cabinet :O

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    In jazz, you are going to be more focussed on what you are playing than what your tuning is as far as comping with chords goes.
     
  6. TrafficLi9HT

    TrafficLi9HT SS.org Regular

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    There's a Jazz guitarist called John Pizzarelli who plays seven string Jazz guitars. He plays in Drop A.
     
  7. TonyFlyingSquirrel

    TonyFlyingSquirrel Cherokee Warrior

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    I saw an acoustic player using a 7 string for djazz & he was playing CEADGBE, said it helped him line of the lower string for doing bass lines along with chords.
     
  8. InfinityCollision

    InfinityCollision SS.org Regular

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    Huh, didn't know that. Wonder what he used later on when he started playing in drop G.

    Most do play in drop A, yeah. There are occasional exceptions; Tom Lippincott still tunes B1-A4 on his 8 as far as I know.
     
  9. Daken1134

    Daken1134 SS.org Regular

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    here... DJAZZ
     
  10. Svava

    Svava Djento ergo sum

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    If you listen to a lot of the things Tosin does during solo's- implying chord changes that aren't in the supporting harmony, use of approach tones/quick sections out of the tonality.... much syncopation....

    There's a lot of technique in there that is more jazz like than metal like.

    The drummer is doing a lot of improv during the live performances....

    You're right- using 9 chords does not make your music jazz, but using a distorted tone doesn't make your music not jazz. I would say that animals as leaders is one of the most jazzy if not the most jazzy prog metal outfit- though yes it clearly is not straight jazz.

    But if we take "djazz" to imply a combination of "djent" and "jazz", AAL is "Djazz" :p
     
  11. JustMac

    JustMac ss not-so-regular

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    That's really interesting actually, but Id definitely struggle as the relationship E to C is a #5. You'd prob get used to that though, plus with stretchy fingers you could be sticking 6ths or 7ths in the bass which woul be awesome. Cool idea!
     
  12. SnowfaLL

    SnowfaLL SS.org Regular

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    Jazz in its basic "description" is music that requires "Syncopation" and "Improvising".. I don't know if Tosin improvises most of his album solos or if they are carefully constructed note by note.. but if they are improvised live, then it would be considered jazz.

    I hate when people say "I play jazz, like AAL" though.. lol but this new "Djazz" word is fitting, and should be used when describing similar type bands.
     
  13. Svava

    Svava Djento ergo sum

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    C to E is a Major 3rd. (In the key of C E is the Major 3rd)

    In the key of E C is sharp, so E to C natural would be a minor 6th... B# would technically be what you'd call the #5 even though it's the same note. But I think in this case it makes more sense to look at the E as a third above the C rather than the alternative. I agree with you though that if it went E-C it would confuse me a little as to why he was doing it. I can understand it though since it's below the E.

    Unless I'm missing something.

    But it looks to me like he just enjoys having the bar available to put a low 3rd under whatever he's doing.

    If he plays in major a lot I suppose that would make it easy to slap whatever he's doing into first inversion.

    Also the string after the E is the A which is the major 6th, and C is the 3rd of the A Chord so if he's playing a minor chord on the A string and barres down to the C string on the same fret he would be able to drop that into first inversion as well, unless I am thinking of all of this massively wrong.

    I apologize if I'm wrong xD
     
  14. celticelk

    celticelk Enflamed with prayer

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    It's not just the solos - usually in jazz the *entire band* is improvising when the solos are happening. That's why "comping" is an art: you're learning to improvise an accompaniment that doesn't step on your soloist's choices. I'm reluctant to label AAL as jazz on that basis, even if Tosin is improvising his solos in performance (which I doubt - this is a guy who to all appearances never improvises even when he's testing gear on camera).
     
  15. Svava

    Svava Djento ergo sum

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    That's true. Even when we asked him during the clinic 2 weeks ago how much improv goes down he said it's pretty much just the drummer who does improv during their songs.


    It's not true jazz, but I do think "djazz" could be an applicable term.

    The rigidity of the parts inherent to metal/djent music and the harmorhythmically complexity of jazz, but without the improv.
     

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