Older style country music (and other forms as well -- roots rock included) tends to include primarily triad based chord structure. When you hear a major chord, someone is playing the tonic, the third and the fifth. The same is true for a minor except that the third is flatted 1/2 step. Even one more note, like a Ma7, Dom7, or mi7, is considered by many to be an 'off chord'.
Popular musicians (Stevie Wonder and Bruce Hornsby come to mind) often use polychords and highly altered or substituted chords that aren't nearly as easy to identify. I believe this may be the dilemma that Leroy's talking about. A lot of add 9 and suspensions are often used -- not necessarily 'jazz chords', but certainly NOT pure major or minor chords either. Some chords DON'T HAVE A THIRD. It's hard to classify as major or minor without one. Some chords are so highly altered or embellished that the root is not obvious, much less the third.
'Modern country' tunes share some of those stylistic elements and voicings. I sincerely believe that's one of the main reasons why some of us crusty old f*rts have a hard time coming to grips with the newer styles.
I don't have a silver bullet here, but one solution is the same as the one we used when we first learned 'A Way to Survive'. Listen to the songs and isolate what the steel player is playing. Exposure to a bunch of different tunes and progressions will enable you to HEAR those chords and changes. Don't expect all the old standard licks to fit -- learn some new ideas that can be used with this 'Brave New World' of 'country'
music.
. . . or else just go off to the VFW or Moose Lodge and play the old songs for the other old f*rts.
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Larry Bell - email:
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1969 Emmons S-12 6x6, 1971 Emmons D-10 9x9, 1971 Dobro
