Advanced Jamming with A Pillar of Sound

A 16 tone scale of 2 octaves to accompany any music.

Soloists can also climb with this pillar for additional structure.
This is a system designed to engage one in musical intercourse.

The base of my pillar has two neutral tones, typically A and E. This makes A bc d Ef g the basic
code for 2 strings.
[NOTE: Capitol letters show the base for the pillar; while the underline indexes the ½ steps in the
scale.]
The second octave has a 'blues' signature of an added F#. This technology moves blues
techniques into harmony, thus eliminating the absolute identities of a previous designer. You, the
engineer are playing sounds you are familiar with and enjoy, with artists that are tied to their structure
that their typically long fingers (for example) easily have mastered.

Interestingly there is no concern for keys because fingering creates ratios of tones. With the
very neutral base of the pillar, one uses index fret positions for concerns of flats or sharps.
Instead of strumming, one uses a monolithic technique for melody, contra melody, and
harmony, thus using dyads and triads to add drama. Although chord structure is weakened with this
technique, the simpler note harmony blends with more experienced players. Perfect for jamming while
using ingenuity to sound good.

Starting with the Baritone Uke: My system divides my instrument into two dyad sets one octave
apart. Low AE is for the baritone 2 strings, and AE becomes the upper toned tenor section. The low A
string comes from a classical guitar set, and the E is the G string slack tuned low. Obviously the next A
is a slack tuned B string. This setup seems to replicate the human voice that centers upon frequency
ratios rather then perfect pitch. In application; if the playing ratios come out flat sounding, put a capo
on the first fret and play the scale you are familiar with. If sharp? Put a capo on the second fret and go
for it. The 3d fret below the nut (or capo if used) is my “blind man's” index to set up tones above and
below this reference.

In my system 3ds, 5ths, and 6ths are my friends. Shifting a 3d or 6th for the index of my scale
simply means that my fingering code remains the same, although my pitch has changed without any
conflict to a basic key. This is much like opera music where baritone, tenor, and soprano harmonize
together, while technically singing in different keys, with tones that harmonize the basic key of the
vocal program. This attitude of changing positions like a violinist, simplifies jamming because one can
follow ambient pitch by neck positions, without changing fingering patterns. A simple way to prove
this fact is to take a piece you are familiar with in the key of C. Put a capo on the 3d fret of your
instrument and play away with the same fingering, and it will sound correct, even though you are now
in the key of D#. If someone will play with you in the key of C while you're playing the same thing in
the key of D# it will sound great because it is parallel harmony (Beatle magic).

Synthesized Chords: A E dyad can pass for a chord, but has a bit of a minor sound. Toss in a C
note (2nd string 3d fret) and you have a viable C chord. For a G chord we press the first string down to
the 3d fret. Moving to the 5th fret, the first string will yield an A dyad that will have a 6 string sound by
reverberation i.e. because of the other AEA strings. The second string will yield a D chord sound. Once
you see this universe open, you can use ingenuity to embellish the heck out of it. By now you should
realize I am not a musician, but an engineer that has a love of music who is seeking the simplest way to
utilize my sense of frequency deviation to create a music system that allows me to jam with others -
strong enough to have me fit into small bands that play everything from Greek to Dixieland. My
synthesized chords have another attribute that I love. Because of the strong dyad center they tend to be
easily herded by pitch, meaning this system allows an accompanist to bass-line my “cheat” chord's with
music's average pitch as an index; the same as a bass guitarist doing bass runs. This works great when
supporting a piece I am unfamiliar with; by using 3 or 4 grand bar dyads to fill in for the multitude of
structured chords written for the original piece of music.

Neutral tones for the pillar base: A and E is a good choice because of their commonness in the
stew of music. C and G is another good choice because of commonness to keys; whereas, D and A
would fit CW. Basically this technique gives the student the ability to craft his instrument for the trends
and applications he is seeking; allowing his ears to lead the way to parroting other musicians...by “ear.”

Slack tuning for operational speed: A and E is already a slack tuned C and G. Obviously there
can be more selections for the pillar base, limited only by the imagination of the artist.

If you are still with me at this point, we will start with a bit of surgery onto a steel string guitar
to utilize my Pillar of Sound. You have to fully realize by now my truth; that I am not a musician as
defined by academia, but instead (I repeat) an engineer that wants to make acceptable music in a simple
manner. This strongly puts me into the classification of a “jammer.”

2 scales for 3 positions of each frame: 2 frames Tenor (2 strings), and Baritone (2
strings).

Position One the nut: Hexatonic, ABCEFG

Position Three 3d fret: Pentatonic, ACDEG This is the index position i.e. center reference.

Position Five 5th fret: Pentatonic (stretched) DEABC Soprano support.

Tip: Getting used to the 3d position with live music (phonic pentatonic) sets the stage to add the
other positions. Scales for the low strings are the same as tenor 2 strings. Once comfy, one can then add
blues notes, slurs, slides, hammering to enhance basic scales.

Messing with a Guitar

Starting with the 6 string guitar we have E A D G B E typical tuning. The E string is to become
the bass string for 'one string' bass runs. The A string is removed, and not replaced. The A string will
then replace the D string so as to have 3 instruments basically on one neck; with 5 strings to be played.
Typical tuning is E space A E A E. Now the instrument is played like the Baritone Uke as above while
having the ability to also support a bass section when dramatically needed. New jazz sounds, and
extremely fast fingering for short fingers become apparent after getting used to this aberration. 'One
more' finger chords that one can use to finesse pleasing chord families like augmented, minor, 6th 7th 9th
or diminished. Just do a bit of research, add the needed note to the basic dyad, and one can mimic the
original artist with sound that is very close to original. Bear in mind that sheet music is really a form of
choreography that is attempting to accurately reproduce the recording artist, or author. Jamming on the
other hand is a 'wild child' situation where one is allowed to embellish/distort the written choreography
and add individualism by personal expression. Please note that all my musical effort is to be a joiner,
and not a “prima donna,” while having fun doing it...much like satisfactory sex! Individual artists
hopefully can be stimulated to develop their own techniques, and/or improve upon mine, or other more
established artists.

Asymmetrical Tuning: Baritone Uke (AE, AE)

It appears to me the piano tuners of old (before computers) had the right ideas. Every tuner that
interpreted a tuning fork, was never totally accurate, and the more respected ones added a bit of
character to their new (dummy) protege. This is also the same technology that Lowrey Organ utilized
when they were attached to Hallicrafter.

Once the pillar of sound was established, I wanted to have fun with it:
Using the low string for zero reference, I tuned the next string (E) slightly high (about an 1/8th
tone off) and the 3d string (A) slightly low along with the 4th string (E). The result is a bit of vibrato
with a frequency determined by the error tuning. Plucking two strings an octave apart will generate the
heterodyne zero beat that can be finessed by the musician for his playing style. This techniques helps
the droll sounds of using dyads and triads that work in groups of real musicians. Also, it will bridge the
gap between accompaniment and soloing.