Allman Brothers "Stormy Monday"

[jbd3]

Originally Posted by gennation

There been a lot of great advice already. I have some things I think will help too.

With most Blues, the sound these guys/the greats get (for lead anyways) is the use of the Major Pentatonic scale mixed with the Blues Scale from the same Root/Tonic note. So if you are playing in G you'd use a mix of the G Major Pentatonic and G Blues scales together for the G7 chord, the C Maj Pent and C Blues for C7, etc...

You can get a ton of explanation and examples of how great blues players mix the Maj Pent/Blues scales here: http://lessons.mikedodge.com/lessons...AvdPentTOC.htm (READ the introduction as I'm sure some of it will hit home for you)

Stormy Monday also contains a more "sophisticated" turnaround to where you go from playing straight I-IV-V Blues to more of jazzy/linear section for the turnaround.

To cop the turnaround what I always did was I'd learn as many chord form variations of is as I could, then I'd use those variations to create lines that are more directional in that they either move in the same direction as the chords, are in contrast to the chord movement, or are in parallel with the chord movements I learned. Believe me, a little work on this can go a long way.

I have a write up on some of the ideas you can use you dig into these chord movements in the tune and the turnaround: http://mikedodge.freeforums.org/stor...ought-t67.html It will break out a bunch of chord forms from triads to extended forms as well as combining multiple forms, right up to applying the forms from single position to linear directions. By doing this you'll not only strengthen your knowledge of the fretboard but you'l also find many "money notes" that show you exactly what's changing throughout the changes.

This is awesome. Thanks!

Part of the reason I wanted to learn this tune is that I haven't played a lot of stuff outside of a 12 bar, quick change I-IV-V, and I'd like to start tackling some of those great songs that don't fit that template... "Key To The Highway," "Ask Me No Questions," etc. Plus I like when blues players can sneak a little jazz in, and I'm trying to expand my vocabulary a little bit.

I think a proper musician would learn theory, and then apply it to songs. I'm not very smart, so it seems the only way I can improve is to learn songs, then extrapolate theory from that. I know that's backwards, but it just seems to be what works for me.

I also thought this tune might be a good way to start to learn what I think is called chord-tone soloing. Which I know isn't necessarily rocket science but is a little intimidating when theory isn't your forte.

This song is also a good way to learn different chord voicings, as you said. For me, and maybe a lot of other guys on here, I'm not so good at sitting down with a chord book and running through it. But when I know a song pretty well, and I can hear the way the voicings sound in my head, it's much easier to learn and remember the chord... Like that very first chord Duane plays in the beginning, in the intro--whenever I learn one of those chords, it's a little a-ha moment, and it becomes part of my vocabulary.

Anyway, thanks a lot for taking the time to put this down on paper. Er, computer. There's a lot to digest here.

[jbd3]

Originally Posted by gennation

There been a lot of great advice already. I have some things I think will help too.

With most Blues, the sound these guys/the greats get (for lead anyways) is the use of the Major Pentatonic scale mixed with the Blues Scale from the same Root/Tonic note. So if you are playing in G you'd use a mix of the G Major Pentatonic and G Blues scales together for the G7 chord, the C Maj Pent and C Blues for C7, etc...

You can get a ton of explanation and examples of how great blues players mix the Maj Pent/Blues scales here: http://lessons.mikedodge.com/lessons...AvdPentTOC.htm (READ the introduction as I'm sure some of it will hit home for you)

Stormy Monday also contains a more "sophisticated" turnaround to where you go from playing straight I-IV-V Blues to more of jazzy/linear section for the turnaround.

To cop the turnaround what I always did was I'd learn as many chord form variations of is as I could, then I'd use those variations to create lines that are more directional in that they either move in the same direction as the chords, are in contrast to the chord movement, or are in parallel with the chord movements I learned. Believe me, a little work on this can go a long way.

I have a write up on some of the ideas you can use you dig into these chord movements in the tune and the turnaround: http://mikedodge.freeforums.org/stor...ought-t67.html It will break out a bunch of chord forms from triads to extended forms as well as combining multiple forms, right up to applying the forms from single position to linear directions. By doing this you'll not only strengthen your knowledge of the fretboard but you'l also find many "money notes" that show you exactly what's changing throughout the changes.

PS: the term "money notes" is perfect. And really applies well to this song. Every once in a while I'll be playing this tune, and I'll hit that note, and for four seconds, I feel like Robben Ford!

[gennation]

Originally Posted by jbd3

PS: the term "money notes" is perfect. And really applies well to this song. Every once in a while I'll be playing this tune, and I'll hit that note, and for four seconds, I feel like Robben Ford!

Nothing like a Robben Ford moment

Glad/hope they could be of some help.

I have no idea how much theory those guys knew but I bet they learned/transcribed a lot of music growing up. Personally, I always thought those guys must have listened to a lot Miles Davis (Kind of Blue, Milestone, etc...) era albums. They always sounded like the Miles Davis late 60's/early 70's rock to me. They always had a really slick sounding blues vibe to their music.

[jbd3]

That first solo is Duane, right?

I'm starting to learn it. He does a lot of toggling between major & minor, and between that 8th position box, and 3rd position--it's really fun charting out those position changes, because they sound so good.

The way the solo builds is just exceptional. And his phrasing is brilliant--he can do so much with the beat, like it's made out of silly putty!

Not bad for a--what was he?--25 year old? Now that is humbling.

The rhythmic interplay between Betts and Allman is wonderful. Two guitar players and a keyboard player, and nobody steps on anybody's toes. The whole song is an exercise in "less is more."

[Swain]

Yeah, there is just so much great stuff to mine in that tune. Not to mention the entire album(s).

That interplay is truly something, I agree.

Keep at it!

[telest]

The Duane solo for me was one of the hardest pieces I have ever learned. I actually just relearned it after years of playing kinda right. Not so hard to pick up the notes he's playing, but the feel, his expression, very difficult to play without sounding generic. As far as the progression goes, catch the G#Maj7 sub at the end of the decending minor part. Bar 10 or there about?

Steve

[jbd3]

Originally Posted by telest

The Duane solo for me was one of the hardest pieces I have ever learned. I actually just relearned it after years of playing kinda right. Not so hard to pick up the notes he's playing, but the feel, his expression, very difficult to play without sounding generic. As far as the progression goes, catch the G#Maj7 sub at the end of the decending minor part. Bar 10 or there about?

Steve

Yeah, that G# will catch you out if you're not careful!

Duane was a freaking genius, no two ways about it. It's not too hard to figure out the notes, but to wring the emotion out of them that he does... Such touch and tone, oh my goodness. So clear and articulate, and every note is perfect. I feel like knowing the notes he plays in that solo is like thinking you can build a house yourself, just because you've been inside a house before. The execution is what's so amazing. The note choices are all perfect of course, but it's the delivery that gives me the chills!

[Rod]

I've been playing that song for as long as the Allman bros have and it's all about feel. And if it's going real good at the end i nod to my drummer to double time it and the take the solo over the top.
play from your heart not your fingers

[fr8_trane]

With all due respect to Duane and Dicky just check out any version with Warren Haynes and/or Derek trucks. Each guy is a walking blues encyclopedia with impeccable taste and phrasing.

[newb3fan]

I have done some lesson videos of this tune on another site. Here is the link to one. There are three parts: the chords, solo 1 part 1 &. 2.

http://vanderbilly.com/Guitar-Lesson...-1,8884,1.html

Hope this helps you some. Let me know what you think when you get a chance. Have fun.

[9fingers]

Originally Posted by newb3fan

I have done some lesson videos of this tune on another site. Here is the link to one. There are three parts: the chords, solo 1 part 1 &. 2.

http://vanderbilly.com/Guitar-Lesson...-1,8884,1.html

Hope this helps you some. Let me know what you think when you get a chance. Have fun.

Cool, thanks. Do you have a link to the chords lesson for this tune?

[newb3fan]

Here you go.

http://www.vanderbilly.com/vmdvwefvg...0b_wmv_nml.mp4

[jbd3]

Originally Posted by Rod

I've been playing that song for as long as the Allman bros have and it's all about feel. And if it's going real good at the end i nod to my drummer to double time it and the take the solo over the top.
play from your heart not your fingers

If you've got a good youtube link, pass it on!

[telest]

Originally Posted by fr8_trane

With all due respect to Duane and Dicky just check out any version with Warren Haynes and/or Derek trucks. Each guy is a walking blues encyclopedia with impeccable taste and phrasing.

No argument at all on this.

Steve

[9fingers]

Originally Posted by newb3fan

Here you go.

http://www.vanderbilly.com/vmdvwefvg...0b_wmv_nml.mp4

Gracias!!