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Discussion in 'Tab, Tips, Theory and Technique' started by Texicaster, Apr 28, 2019.
About that Stone Cold Hottie with the Naughty body on the front row
"Don't drop my pick!"
Hola Tex. You may want to check out some of Guthrie Trapps new videos on you YouTube. he has been doing a lot by himself and there are also some ones with Papastache. He is really breaking down what he is doing and how he is going about being melodic. For him it is all about playing the changes using triads and then connecting them with scales. It is a very simple yet highly effective approach. Buena suerte!
Ahh, let see,,,was it Mow the Lawn
lol, got that done yesterday..was trying to size up what we are taking with us in the move
Hopefully I'm not thinking at all, and all my hours of practice noodling should just take over and I can hear the sounds I have in my guts coming out of my amp.
But if I'm thinking anything it's PLAY FEWER NOTES AND LEAVE SOME SPACES.
Will the singer start singing early and step all over my sustaining note and give me no time to pull back the volume on the guitar or step (turn off) the boost/overdrive.
I'm singing the melodies and rhythms that are spontaneously coming into my mind at that moment. Scatting, basically. Though rather than with my voice, I'm using the instrument as the vehicle for delivery. Trying to be free of mental constraints so that I can deliver this with passion and depth of feeling, without holding back.
At least this is the goal. It is to be totally soulful about what I'm playing, and to enter the creative zone where this happens spontaneously. If I'm thinking about anything else than the actual sound itself, then my thoughts are getting in the way. And of course this is the struggle. As the mind/ego has a way of interjecting itself.
To play soulfully is to sing the notes you are playing from the depth of your soul. It is to consume your entire being with the sounds, completely. If the mind is thinking about anything else than the sound itself, it's watering this down and becoming a cerebral exercise. Which is the antithesis of soulful playing.
This is why truly the best exercise any soloist can do is to just spend time every day improvising where while singing what we are playing, eyes closed. Because when we sing the notes, it demands our attention, and thereby takes it away from other thoughts that are incessantly getting in the way.
It's amazing how the fingers can magically find the notes we hear when we focus entirely on the sounds themselves. It's manifestation.
This is all a meditation of sorts, and a spiritual portal, if you will.
Oh IDK? Things I guess. Oh look a squirrel!
1... who invented liquid soap, and why?...
2...wait, why is everyone suddenly leaving?...
3...WHO WRITES A SONG IN E FLAT!!...
4...I hope nobody from work walks in and snaps a “gurn pic”..
5.. Ouch! sorry guys,.. crap! not again, hey, they say if you mess up, repeat it and it will appear you meant to do it, ..nope, that just sounded bad, twice... when is it going to be the sax players turn?...
6... I wonder if I look like the fat, middle aged guy version of the that bass player from Haim..?
I just kind of zone out and let the fingers take me where my ears want them to go. Sometimes I'll walk up next to one of my bandmates and try to get in sync so we're filling each other's spaces. Played with a good keyboard player just yesterday and we did some cool give and take back and forth for a bit.
"I wish I could play the guitar."
That lick sucked
End it with a Freddie King lick to cover that up
WTF bass player why you start improvising now
Eeek is there 2 to go or 1 to go
Drummer give me a clue
It was 1 to go quick couple bends and back to the verse
Not too much.
I just try to "feel."
Number one for me is that I try to learn the melodies of all the songs we play, and either use the melodies as a basis or partial basis for my solos, or at least keep that running in the background.
I’m also aware of the chord changes of course, because it’s within or around those chord scales that the notes I’m hearing in my head are usually found.
Aspirationally, I try to play a phrase and respond to it in the next phrase.
And the other things that Brookdale Bill said, but he does it a lot better than I do.
"Wow, that chicky has a nice butt, whoa there, Gene Kelly, don't trip over my monitor again, geez when is security gonna throw his drunk ass out, dammit the drummer's too loud and he's speeding up again, hey, they're showing "The Fugitive" on the tv by the bar, wish they'd put on the closed-captioning, uh-oh, the singer's got that "what are the damn words?" look, better signal the bass player to take it around again, crap I am NOT looking forward to this loadout tonight . . ."
Tempo...timbre...volume...and reminding myself to slow down or not over play.
I am tempted to say " oh yeah .Oh Yeah, just there, that's right, yeah, there, that's the one, oh, one more, yeah, now bend it up ohhh wow .,.."
But that'd read like a tab for Je T'aime ..
In reality I'm panicking ... "Don't f*** it up" or, " I wish the singer would stick to one time signature/beat" or wtf did the bass player just hit!
"click click click click click"
Our drummer insists we use an 8th note click track while playing. Click speeds over 140 bpm tend to drown out any room for imagination or thought.
Sometimes I remember to remind myself to give these people something they will enjoy. If I can get out something musical with some emotional energy in it, that's what makes people smile. I play solos like I play golf; I never really know where it's going to end up. Sometimes it's a clean hit, just as often there's dirt flying and people rolling their eyes.