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Discussion in 'Tab, Tips, Theory and Technique' started by boneyguy, Sep 8, 2019.
You guys are talking like drummers. Drummers who read charts and use German grip!
The reason that song was banned was due to both the title and the rawness of sound. People were afraid it would turn many of the teenagers into juvenile delinquents.
My answer to the question in the thread title is no, but I'm responding anyway just to say that this caught me just as I was reading a Wikipedia article about rhythm.
I have thought for some time, as I bore myself with my own guitar playing, that I should develop more understanding about rhythm as it applies to music. As I read the article, I am not surprised that it's hard to understand: everything becomes darker before the dawn.
Or, maybe it was primitive and trivial, and now it's not.
Ahh, but he's a lot more in-tune than the original. Pulled the rug out from under us again!
Yessir...and he seemed to like the distortion effect that was not available back in the late ‘50’s.
i guess they were afraid that it would invoke images like this.
Ask Johnny Depp...
I can absolutely guarantee that Link Wray was not counting the irregular phrase length when he played this. And that if you are counting, you are missing the point and your performance is suffering. This is rock and roll, it's a feel thing, and if you are getting caught up in counting, you are missing the boat. Counting is a souless academic pursuit best reserved for orchestras and music reading. When soulless academics impose that approach towards "feel" music, the result is always disappointing. Inevitably it takes you away from feeling the music which is the whole point here, particularly with this legendary rock and roll tune that is dripping wet with the spirit.
It's akin to counting the blues form when the singer holds on the one chord more than 4 bars. Nobody is sitting there counting. You just go with it, go by feel, somebody has to cue it though. You are playing guitar on this tune, so that's your job. But if the drummer wants to set up the pentatonic part, you follow him. That's playing as a group.
....that was a well written and entertaining rant!!!
I've never heard music being divided up into two broad categories before of 1)'feel music' and 2) 'soulless academic music'.....that's quite a statement to make. I would love to hear responses from classical/jazz musicians as to how there is no 'feel' in the 'soulless' music they have devoted their lives to. I think this is more an expression of having a limited ability to appreciate and actually hear music other than what you have decided is worthy of your attention.
It's always interesting to see how people will interpret a question. I wasn't asking for nor needing help to play the song nor was I suggesting that in order to play the song you needed to be able to count it. Of course you don't. None of those things that many people seem to be responding to were contained in my question.....and yet a substantial number of people responded as if those things were part of my OP. I find that a bit strange.....but, whatever...
And again, as has often been iterated on this particular forum, and I will reiterate one more time, this is the forum about 'Theory and Technique', right? So why do folks get so worked up on this particular forum when there are discussions about 'theory and technique'...lol. Maybe we need a 'Feel' forum on the TDPRI?
And I'm suggesting that perhaps a part of that "rawness of sound" was the slightly off-kilter count of it....and I'm not discounting any of the other reasons mentioned.
Just reading through. One of those songs you play at home because it's iconic and seems simple enough but then somehow it doesn't quite work and you don't know why so interesting question.
I'd guess that a lot of covers just turn it into a full 12 bar, especially jam night versions.
Thank you for this.... I had a hard time reading some of the responses that were completely off topic.
My take on the song....
It starts with two pickup notes (chang, chang) on the 3 & 4.
The descending line is 6 beats long... it can be thought of in three ways....
4/4 bar followed by a 2/4 bar
3 x 2/4 bars
1 x 6/4 bar
The descending line lands on the 1... the 3&4 of that bar are once again the chord shots and you repeat.
I can assure you... nothing I just said above effects how I feel, play, interpret the song
Thanks for your ideas. The point being there is no right or wrong answer but there are several ways, as you've shown, of counting the song. That's all I was trying to spark from my OP....some different takes on how to count it
And, as you've stated, as did I, there is no reason why knowing this sort of thing would impede the performance of this song. No one in their right mind would suggest that because you can count the song that it then follows that you are now required to count the song from beginning to end every time you play it, yet that's the implication from some folks!
I'm at a point where I think the understanding (cognitive and intuitive) of rhythm is the most fundamental and important aspect of music...period. I read somewhere many years ago that rhythm is the only aspect of music that can stand alone. In other words you can't have melody without rhythm....as soon as you leave one note to go to another you have implied a rhythm.....usually called phrasing when talking about melodies....without rhythmic phrasing a single pitch would simply sound indefinitely. You couldn't have harmonic variation (chord changes) without rhythm...as soon as you leave one chord to go to another you have stated a rhythmic quality....harmonic phrasing. But you can have rhythm without the need of melody or harmony being present. So, in my mind ALL aspects of guitar playing should be approached as rhythm playing.
I read decades ago that the first devised musical instrument was likely an animal skin stretched across a hole in the ground...something to beat on to create a rhythm. Rhythm is indeed at the heart of everything....and the heart has a rhythm..and the orbits of the planets....
Here’s one to count on....in all ways...
Funny you should choose SR and Jimmie. This is my go to example of groove and feel. In my mind I have this notion that Stevie walked away from that gig wishing that was his full time band....now, that's probably not true ....but I wish they were my band....good lawd awmighty!! They're rockin' so hard it's mind blowing!!
All I know is, you gotta pick hard right at the bridge of the guitar..
Drives me crazy, people covering it, but the attitude comes from the way he strums so close to the bridge.
I submit that the tune is in 12/8 time and the 1-2-3-4 you count are dotted quarters. Each phrase is three measures long. Listen to the ride and the kick. Unmistakably 12/8. If you count it in four groups of 3 per measure, everything falls into place.
Here are three measures for example: The bold beats represent strums which ring out until the next strum.
1 2 3 / 4 5 6 / 7 8 9 / 10 11 12 | 1 2 3 /4 5 6 /7 8 9 /10 11 12 |1 2 3 /4 5 6 /7 8 9 /10 11 12 | 1...