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Appel Direct

PostPosted: Fri Apr 25, 2003 5:24 pm
by djangology
Appel Direct is a very basic song as far as chords are concerned. It only needs two chords to play. I think it is 32 bars of C6 followed by 16 bars of C#6, and finishing with 16 bars of C6 again?

In any case, the head of the song is based on that C6 arpeggio that begins on the 4th and 5th frets of strings 1-4 and then the 6th and 7th fret of the 5th string and finally ending on the C with the 7th and 8th frets of the 6th string.

At this point in time, all that I can manage is the basic head and I am wondering what other people would recommend for scales or arpeggios during improvisation on the rest of the song? I have tried a few things but it just doesn't sound quite right. The only hint that I have is the guy that is playing it in the Samois 2002 video. Does anyone have any hints on how he does it that they are willing to share?

PostPosted: Sat Apr 26, 2003 10:15 pm
by Thrip
Try these scales:

Cmajor, C mixolydian, A minor pentatonic, G melodic minor.

PostPosted: Sat Apr 26, 2003 10:44 pm
by justjack
Thrip,
Any particular rules, theory-wise, for these? I've lately been into the melodic minor, especially, and am wondering if you've got any double-secret shortcuts.
(Example: I keep seeing a suggestion to play the mel minor a half-step up from any given dominant; e.g., B melodic minor over Bb7, to get an altered scale sound. Any insights?)

PostPosted: Sat Apr 26, 2003 11:23 pm
by Thrip
justjack wrote:Any particular rules, theory-wise, for these? I've lately been into the melodic minor, especially, and am wondering if you've got any double-secret shortcuts.


The reason why a G melodic minor works over C major in this context is ...er.... the scale of G melodic minor contains the 1, 3 and 5 of the chord of C. The only "problem" note is the b7, but that just gives it a dominant sound which is pleasantly "blue" against the major seven in the C. Personally I never play a major seven chord in this tune, just a basic C or C6, so it doesn't really matter.

justjack wrote:(Example: I keep seeing a suggestion to play the mel minor a half-step up from any given dominant; e.g., B melodic minor over Bb7, to get an altered scale sound. Any insights?)


That is a great sound, and one I find myself using all the time, probably to the point of tedium. It works especially well over 7+ chords:

|----------|----------|----------|----------|
|----------|----------|----x-----|----------|
|----------|----------|----x-----|----------|
|----------|----x-----|----------|----------|
|----------|----------|----------|----------|
|----------|----x-----|----------|----------|

Note the similarity with this chord, and a minor 6 chord:

|----------|----------|----------|----------|
|----------|----------|----x-----|----------|
|----------|----------|----x-----|----------|
|----------|----x-----|----------|----------|
|----------|----------|----------|----------|
|----------|----------|----x-----|----------|

This means that any nice melodic minor things that you play over a minor 6, will work over the dom 7+ chord a half step below, and sound pretty groovy. (and vice versa).

PostPosted: Sun Apr 27, 2003 7:02 am
by justjack
Always good to get the goods; thanks for the minor 6th connection.
As for:
"The reason why a G melodic minor works over C major in this context is ...er.... the scale of G melodic minor contains the 1, 3 and 5 of the chord of C."
...I'll be sure to read a bit more closely before I reply. Thanks!

PostPosted: Wed Apr 30, 2003 6:51 pm
by djangology
thanks for the great answer!

does anyone know if a Tabledit, Powertab, or MiDI, PDF, or any sort of other transcription to the lead part of this song was ever made?

PostPosted: Thu May 01, 2003 4:37 pm
by Zoot
For those of you who want to hear this cracking tune (which certain blinkered members of my group refuse to play because it's too out there) can here this tune and get a tab of the head by doing a Search of the site (not the forum) for Appel Direct

PostPosted: Thu May 01, 2003 5:07 pm
by djangology
i already have the tab for the head, but i was wondering if the rest of the song, as Django played it, was ever tabbed out....

PostPosted: Thu May 08, 2003 6:29 pm
by Marcus
I've always played it C7 and C#7 instead of C6. The opening noted that Grappelli plays during the first part of the head sounds like Bb to me. Is the choice of C6 for the chord based on the actual chords palyed by Django et. al. or based on the 6 in the head? I think the moment Django plays the 6 in the head gives a nice little bit of tension with the 7 Stephan is playing.

Am I way off on this one or does anyone concur?

PostPosted: Thu May 08, 2003 8:10 pm
by djangology
thats interesting because in the tune Dark Eyes, i usually use the "7" as a substitution and i'll therefore use either a Bb6/9 or a Bb7 ... so I agree that C7 would work... but switching back and forth depending on your mood is probably the best...