vadimwit
0f9c87c1e8
Berry double-stops, unison bend, Mixolydian rail, pentatonic cascade; Flatt G-run, chicken-pickin' 3rds, pedal-steel bend, forward roll (first techniques:[] lick); skank-answer dyads, bass-doubling riddim, chromatic walk into the one drop. KB: 23 licks across 6 styles. Critic PASS (every note independently pitch-verified; conventions script-checked; empty-techniques branch verified in the validator). Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
249 lines
13 KiB
JavaScript
249 lines
13 KiB
JavaScript
// Reggae guitar pack. Shapes verified by note-spelling against: guitarwiz.app
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// (skank voicings, bubble grid), guitarworld.com (Marley rhythm lesson),
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// guitarkitchen.com (Stir It Up / Get Up Stand Up lessons), Wikipedia ("Ska
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// stroke", "One drop rhythm"), ethanhein.com (Stir It Up hook analysis).
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// Top-3-string triads — the classic skank register (above the bubble, far above the bass).
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const TOP3_MAJ = { rootStr: 1, offsets: ['x', 'x', 'x', 1, 0, 0], fingers: [0, 0, 0, 2, 1, 1] } // 3-5-R
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const TOP3_MIN = { rootStr: 1, offsets: ['x', 'x', 'x', 0, 0, 0], fingers: [0, 0, 0, 1, 1, 1] } // ♭3-5-R barre
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// Middle-string triads (strings 4-3-2) — the Wailers chop register.
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const MID_MAJ = { rootStr: 3, offsets: ['x', 'x', 0, 0, 0, 'x'], fingers: [0, 0, 1, 1, 1, 0] } // 5-R-3
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const MID_MIN = { rootStr: 3, offsets: ['x', 'x', 0, 0, -1, 'x'], fingers: [0, 0, 2, 3, 1, 0] } // 5-R-♭3
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// Top-4 partial barres — fuller chop, still no low strings.
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const TOP4_MAJ = { rootStr: 4, offsets: ['x', 'x', 0, -1, -2, -2], fingers: [0, 0, 4, 3, 1, 1] } // R-3-5-R
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const TOP4_MIN = { rootStr: 4, offsets: ['x', 'x', 0, -2, -2, -2], fingers: [0, 0, 4, 1, 1, 1] } // R-♭3-5-R
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// Quality-neutral 5th+root dyad (strings B+e) — works over major or minor.
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const DYAD_5R = { rootStr: 1, offsets: ['x', 'x', 'x', 'x', 0, 0], fingers: [0, 0, 0, 0, 1, 1] }
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export default {
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styleIntro:
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'The reggae guitarist plays one thing and plays it perfectly: the skank — a small, high, choked chord chop strictly on the offbeats. Beat 1 is sacred silence (the one drop), beat 3 belongs to the drums, the low end belongs to the bass. Strike, choke, wait.',
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comping: [
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{
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label: 'One-drop skank',
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rhythm: '. . X . | . . X . — chops on 2 and 4 only',
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description: 'The core part. Strike the chord, release fret pressure instantly (fingers stay touching, off the frets), silence until the next chop. Downstroke-dominant in reggae. Counted double-time it becomes the and-of-every-beat.',
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},
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{
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label: 'Double skank (Stir It Up)',
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rhythm: '. . D U | . . D U — down-up pair on 2 and 4',
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description: 'Each chop splits into a two-hit "chak-a": downstroke on the beat, upstroke on its and. The rockers-era intensifier — same placement, doubled motion.',
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},
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{
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label: 'Ska upstroke',
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rhythm: '. U . U . U . U — every offbeat 8th, bright and fast',
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description: 'The same offbeat principle at 120–180 BPM: upstrokes on every "and". Rocksteady is this relaxed; roots reggae is this halved. The placement never changes across the whole family — only the drums do.',
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},
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{
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label: 'The bubble (only without keys)',
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rhythm: '. . X X . . X X . . X X . . X X — the "& a" of every beat',
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description: 'Normally the organ\'s job (Jackie Mittoo): a palm-muted continuous offbeat pulse in the midrange. Cover it on guitar only when there is no keyboardist — never alongside one.',
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},
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],
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plays: {
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'reggae-stir': [
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{
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label: 'Top-3 triads (the classic skank)',
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level: 'intermediate',
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chords: [
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{ shape: TOP3_MAJ, note: 'I' },
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{ shape: TOP3_MAJ, note: 'IV — same shape up the neck' },
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{ shape: TOP3_MAJ, note: 'V — two frets above the IV' },
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],
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tips: 'One shape, three positions, chop on 2 and 4. The chop must die immediately — if a chord rings into the next beat, that\'s a rock strum, not a skank.',
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},
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{
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label: 'Middle-string set (Wailers register)',
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level: 'intermediate',
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chords: [
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{ shape: MID_MAJ, note: 'I — strings 4-3-2' },
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{ shape: MID_MAJ, note: 'IV' },
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{ shape: MID_MAJ, note: 'V' },
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],
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tips: 'A warmer chop one string set down — the Marley band register. Use it when a second guitar or keys already occupy the top strings.',
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},
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],
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'reggae-two-chord': [
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{
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label: 'Top-3 triads',
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level: 'intermediate',
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chords: [
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{ shape: TOP3_MAJ, note: 'I' },
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{ shape: TOP3_MAJ, note: 'IV — five frets up, or two down on the next string set' },
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],
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tips: 'Two chords for the whole tune means the skank IS your entire job: identical length, identical volume, every chop. Boredom is the test — pass it.',
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},
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{
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label: 'Top-4 partial barres',
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level: 'intermediate',
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chords: [
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{ shape: TOP4_MAJ, note: 'I' },
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{ shape: TOP4_MAJ, note: 'IV' },
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],
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tips: 'The fuller chop for when the band is sparse — still nothing below the D string. Half-press the barre (Marley style) and the chop turns almost fully percussive.',
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},
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],
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'reggae-minor-vamp': [
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{
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label: 'Top-3 triads',
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level: 'intermediate',
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chords: [
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{ shape: TOP3_MIN, note: 'i — one-finger barre' },
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{ shape: TOP3_MAJ, note: '♭VII — a passing breath, two frets down' },
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],
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tips: 'Treat the ♭VII as ornament, not destination — Get Up Stand Up is functionally one chord, and the groove is the message. The intro hook (♭7→root on the G string) doubles the bass.',
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},
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{
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label: 'Middle-string set',
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level: 'intermediate',
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chords: [
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{ shape: MID_MIN, note: 'i' },
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{ shape: MID_MAJ, note: '♭VII' },
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],
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tips: 'Lower, darker chop for the heavier roots feel. Keep the choke brutal at slow tempos — space is the instrument at 75 BPM.',
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},
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],
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'reggae-nwnc': [
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{
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label: 'Top-3 triads with the bass walk',
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level: 'intermediate',
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chords: [
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{ shape: TOP3_MAJ, note: 'I' },
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{ shape: TOP3_MAJ, note: 'V — the bass plays its 3rd underneath; your triad doesn\'t change' },
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{ shape: TOP3_MIN, note: 'vi' },
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{ shape: TOP3_MAJ, note: 'IV' },
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],
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tips: 'The V⁶\'s descending bass (root→7th of the scale→6th) is the bassist\'s line — your job is to NOT double it. Stay high, stay small, let the walk happen below you.',
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},
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{
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label: 'Neutral 5+R dyads',
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level: 'intermediate',
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chords: [
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{ shape: DYAD_5R, omit3: true, note: 'I' },
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{ shape: DYAD_5R, omit3: true, note: 'V' },
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{ shape: DYAD_5R, omit3: true, note: 'vi — same dyad; the bass supplies the minor' },
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{ shape: DYAD_5R, omit3: true, note: 'IV' },
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],
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tips: 'Two strings, no 3rd — quality-neutral, so one dyad shape skanks the whole progression while bass and vocals colour it. The most transparent part you can play behind a singer.',
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},
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],
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'reggae-rocksteady': [
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{
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label: 'Top-3 triads, doo-wop sweetness',
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level: 'intermediate',
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chords: [
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{ shape: TOP3_MAJ, note: 'I' },
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{ shape: TOP3_MIN, note: 'ii' },
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{ shape: TOP3_MIN, note: 'iii — two frets up' },
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{ shape: TOP3_MIN, note: 'ii' },
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],
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tips: 'A diatonic staircase: the minor barre walks up two frets and back while the I anchors. Rocksteady tempo (~86 BPM) sits between ska\'s sprint and roots\' crawl — relax the chop accordingly.',
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},
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{
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label: 'Top-4 partial barres',
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level: 'intermediate',
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chords: [
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{ shape: TOP4_MAJ, note: 'I' },
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{ shape: TOP4_MIN, note: 'ii' },
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{ shape: TOP4_MIN, note: 'iii' },
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{ shape: TOP4_MIN, note: 'ii' },
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],
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tips: 'The soul-ballad version of the skank — slightly fuller, still bass-free. Good under a falsetto lead vocal where top-3 triads would crowd the singer\'s register.',
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},
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],
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},
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improv: {
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scales: [
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{ over: 'major vamps', scale: 'major', why: 'Major pentatonic fills in the gaps AFTER vocal lines — call and response, never over the singer.' },
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{ over: 'i–♭VII vamps', scale: 'minor', why: 'Minor pentatonic answer phrases; the ♭7 doubles as the ♭VII chord\'s root — the free note of roots reggae.' },
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{ over: 'any vamp (riddim role)', scale: 'minor', why: 'The classic second-guitar job is doubling the bass melody in unison, palm-muted for a dull attack — locked exactly, not approximately.' },
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],
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targetNotes:
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'Reggae lead is economy: short pentatonic answers in vocal gaps, high picked arpeggios of the current chord with 16th-note pickups, or unison bass-doubling. If you\'re not sure whether to play — don\'t. Beat 1 stays empty even for the soloist\'s instincts.',
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licks: [
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{
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over: 'reggae-stir',
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description: 'The Stir It Up hook (reconstruction from Ethan Hein\'s published note-by-note analysis, not a record transcription): an ornamented rise A→C♯→D over the I, then arpeggios of the IV and V with 16th-note pickups carrying the swing.',
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tab: ' A (I) D (IV) E (V)\ne|--------------------|----2----5---|----4----7----\nB|---------2----3-----|--3----------|--5-----------\nG|----2---------------|-------------|--------------\n A C# D D F# A E G# B',
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source: 'ethanhein.com "Musical simples: Stir It Up"; Bob Marley & The Wailers (1973)',
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},
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],
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},
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// Structured licks (SCHEMA.md "Licks", task P-24). Written in a home key each
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// (noted per lick) but key-agnostic in spirit — chordContext names the station.
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// Every pitch hand-verified: s6=E s5=A s4=D s3=G s2=B s1=e (+fret, mod 12).
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licks: [
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{
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// In A minor (i–♭VII = Am–G): the skank chords answered as a fill —
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// the i's ♭3+5 pair (C+E), the ♭VII's 3+5 pair (B+D) two frets down,
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// back home, root on top. Strictly in the vocal gaps.
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id: 'reggae-skank-answer',
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name: 'Skank-answer double-stop fill',
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level: 'foundation',
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chordContext: 'answer fill over the i–♭VII vamp, in the vocal gaps',
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techniques: ['double-stop', 'vibrato'],
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source: 'call-and-response fills in the Wailers style — Guitar World\'s Bob Marley rhythm-guitar lesson',
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tab: [
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{ string: 3, fret: 5 }, // C — the i's ♭3
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{ string: 2, fret: 5, technique: 'double-stop' }, // E — the i's 5: the minor pair
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{ string: 3, fret: 4 }, // B — the ♭VII's 3, two frets down
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{ string: 2, fret: 3, technique: 'double-stop' }, // D — the ♭VII's 5: the pair moves with the chord
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{ string: 3, fret: 5 }, // C — back home
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{ string: 2, fret: 5, technique: 'double-stop' }, // E
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{ string: 1, fret: 5, technique: 'vibrato' }, // A — the root caps the answer
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],
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},
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{
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// In A minor, low register, palm-muted throughout: a minor-pentatonic
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// line doubling the bassline in unison — the Lynn Taitt second-guitar
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// job. Dull attack, locked exactly with the bass, never approximately.
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id: 'reggae-bass-double',
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name: 'Muted bass-doubling riddim line',
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level: 'foundation',
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chordContext: 'over the i — unison with the bassline',
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techniques: ['ghost-note'],
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source: 'the rocksteady bass-doubling role in Lynn Taitt\'s muted picking style — Wikipedia "Rocksteady"; Brian Keyo\'s Taitt tribute (tallawah.com)',
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tab: [
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{ string: 6, fret: 5 }, // A — root, palm-muted like everything here
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{ string: 6, fret: 5, technique: 'ghost-note' }, // muted pluck — the fluttering Taitt attack
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{ string: 6, fret: 8 }, // C — ♭3
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{ string: 5, fret: 5 }, // D — 4
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{ string: 5, fret: 7 }, // E — 5
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{ string: 5, fret: 5 }, // D — 4
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{ string: 6, fret: 8 }, // C — ♭3
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{ string: 6, fret: 5 }, // A — home; keep the attack dull to the end
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],
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},
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{
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// In A: chromatic walk-up 6–♭7–7 into the root, timed so the root lands
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// with the drum's drop (beat 3 of the one drop — beat 1 stays sacred and
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// silent), answered by the 3+5 chop up top on the offbeat.
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id: 'reggae-walkup-drop',
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name: 'Chromatic walk into the one drop',
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level: 'intermediate',
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chordContext: 'pickup into the I — the root lands on the drop (beat 3)',
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techniques: ['chromatic-approach', 'double-stop'],
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source: 'in the style of rocksteady/early-reggae walk-ups (the Lynn Taitt-era bass-and-guitar lines — Wikipedia "Rocksteady", "One drop rhythm")',
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tab: [
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{ string: 6, fret: 2 }, // F♯ — the 6
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{ string: 6, fret: 3, technique: 'chromatic-approach' }, // G — ♭7, passing
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{ string: 6, fret: 4, technique: 'chromatic-approach' }, // G♯ — 7, passing
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{ string: 6, fret: 5 }, // A — root, landing WITH the drop
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{ string: 3, fret: 6 }, // C♯ — the 3: jump up for the answer chop
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{ string: 2, fret: 5, technique: 'double-stop' }, // E — the 5: the skank answers on the offbeat
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],
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},
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],
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}
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