V7#5b9
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Posts posted by V7#5b9
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Thanks Mark and Greg. I always appreciate kind words and constructive criticism even more so. By the way, my apologies if I miss and fail to respond to entries due to constraints of time.
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@Wim VD Real cool Wim! I think I’ve heard it before. Well done!
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@mark_h Your promo vid is really nice. As far as I’m concerned you played smoothly. Non-rigid timing gives it more feeling. Bum notes? What bum notes? You meant to play what you did, that’s it!
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Currently, my recording facilities are not favourable and I’m still focusing on practicing jazz etudes, but since the theme is fitting I thought I’d use my old recordings. This is really old stuff. I recorded those almost 5 years ago for a couple of initial monthly challenges. It’s kind of funny for me to listen to these amateurish attempts today. I really should take some time to rerecord them to find out if I’m still dying of laughter listening to them.
“Blowing In The Wind”
Bonus track “Yesterday” should probably stay home.
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12 hours ago, Popeye said:
Wayne Chase has a sense of humor......in amazon.com this book lists at $285.00.......REALLY!
@Popeye Hey Mike, you’ve been quiet lately. It’s good to hear from you again. Just to make it clear in case someone overlooks it. The book sells directly from the publisher for $47.95 including shipping. The PDF edition can be downloaded directly from the publisher for $19. You can check the amazon reviews, but you wouldn’t want to buy it there. The good thing is there’s enough free chapters for you to peruse online and form your own opinion. That is if you want to bother with it at all.
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A brief rundown and demonstration of the key aspects of stylistic blues guitar soloing and techniques by Griff Hamlin.
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This is something I had mentioned on the old forum. The resource is rather unconventional as it doesn’t use musical notation at all, but it is remarkable in the way it covers its contents. It makes you think and sometimes re-examine your approach to music. Things that I was vaguely aware of became much clearer. I also found new things that had never been explained in any other resources I’ve come across.
Having said that, you may find some small inaccuracies or sometimes even disagree with the author. For instance, his circular harmonic scale chord progression chart is very useful, but he claims that a lot of musicians mistakenly think that the Circle of Fifths has something to do with chords and chord progressions. Well…, that’s a matter of interpretation.
Nevertheless, I think it’s a resource worth looking into. It’s available in both digital and print formats. You can read about half of the contents online for free. Here’s the link to How Music REALLY Works!
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@matonanjin According to their PRS SETUP GUIDE the non-piezo hollow body models are factory set up with 10 - 46 gauge strings.
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I had a Strat and it did feel heavy. I never liked the 6 in-line headstock and couldn’t quite get used to a fat neck. I have a lighter, Strat-like Carvin with H-S-H configuration and neck profile I like. Eric’s Thinline Strat looks cool and sounds nice, but you know what he said about developing your own tone. It’s 90% your technique.
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8 hours ago, Steve Krenz said:
Yes, I like his material. I think he is in Nashville. I'd like to connect with him.
Glad you're learning!
- Steve
@Steve Krenz Aside from the above-posted video, I haven’t heard of the guy’s website before. He may have good material, but according to his ABOUT page, Brian doesn’t seem to have solid credentials. I understand that you definitely don’t need twenty years of guitar experience, a music degree and a career as a performer to be a legitimate guitar teacher, but I personally gravitate to instructors with the best credentials.
Would you recommend him to the community mainly on the basis of his material and presentation skills? I admit I have an ulterior motive for asking the question as I sometimes ponder over a similar idea.
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18 hours ago, matonanjin said:
It is feather light and has this gorgeous hollowbody tone. It has McCarty Humbucker Pickups. There is just no doubt at this point that this is going to be my "go to" guitar.
And I’m sure the playability of the instrument is excellent, too. Congrats on acquiring this gorgeous piece of work. Enjoy!
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“If it sounds good and if it feels good, then it IS good.”
- Duke Ellington-
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Although I’m not too fussy about pick brands, I find that size, shape and thickness make a difference in tone or effect, as well as my playing comfort. I have a range of Dunlop picks and depending on the guitar and/or style I’m going for, I’ll use a different one. For instance, I use MAX-GRIP JAZZ III, ULTEX JAZZ III 2.0 or Big Stubby 3.0 for jazz guitar.
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Let me add a slower shuffle or the slow blues
and the straight rock ’n’ roll blues.
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The blues shuffle is one example.
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@John Wells I’m glad you’ve made it to the new forum. I hope you’re doing fine.
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1 hour ago, Plantsman13 said:
But how do you REALLY feel?!
It’s simple. Bodies like rhythm, and they like syncing to it. That’s why you unconsciously tap your foot to music you like. You don’t think about it; in fact, it usually happens when you’re not thinking about it. Syncing up with a metronome or whatever delivers the beat or pulse is a physical thing. That’s why and how you feel it.
And here’s the video for people who don’t have a facebook account.
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Thanks Dave. If you can endure 25 seconds before the English narration and translation kick in, you may find the following video interesting.
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@NeilES335 Do you remember this one?
I think I posted it on the old forum at some point. It’s currently one of Taylor’s legacy models, but Long & McQuade may have two in stock in Ontario. I wouldn’t mind having one myself. It’s right around your price point.
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@NeilES335 I’m sure Greg will have some words of wisdom on that, but you may find the following videos helpful as well:
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@NeilES335 You’re welcome. I’m not a huge fan of Martino myself, but I try to listen to various jazz guitar artists as part of a learning experience. Pat has a unique perspective on the instrument, which he reveals in “The Nature of Guitar” he did for TrueFire.
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In my vast array of music theory books Tom Kolb’s “MUSIC THEORY Everything You Ever Wanted to Know But Were Afraid to Ask” has its place. Tom’s main approach is based on brief conceptual descriptions and formulas. It covers a lot of information, but you may find it kind of dry. I use it mainly as an additional reference.
If you want to get a relatively quick grasp of basic music theory and understand the big picture, I would recommend “The Everything Music Theory Book” by Marc Schonbrun. Marc’s easy and engaging language makes reading the book and learning theory enjoyable. It actually has a companion book by the same author: “The Everything Reading Music Book.” There is some overlap between the books, but they complement each other perfectly. Then, you will be able to tackle more advanced music theory books.
Steve usually recommends: “Edly’s Music Theory for Practical People.” It’s very good as well.
I hope this helps.
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@Wim VD You’re welcome. I feel humbled by your favourable comment. I’ve never had the gift of being able to play by ear and now my condition isn’t ideal, either. I have to wear hearing aids and deal with tinnitus. Fortunately, these days the abundance of resources makes it possible to learn music theory thoroughly and compensate for the ear’s shortcomings to a substantial degree. My resource library is relatively big. I’m grateful to those who developed and codified the language of music.
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18 hours ago, Wim VD said:
I am currently making my first small steps in soloing, so this topic is very relevant to me. I have been trying out playing scales and playing chord tones over chord progressions, and the chord tone approach sounds beter to my ear. So I decided to focus on learning chord arpeggios in the months to come, starting with the dominant 7th chords, and then the major and minor 7th and eventually the m7b5.
Any advice is welcome on this topic. When it comes to soloing, I feel like an absolute beginner again :-)
@Wim VD The reason the chord tone approach sounds better to you is because you are using the harmonic framework of the progression. Chord tones are the safe, sweet notes the chords or arpeggios are made of. They are the notes you can hold or land on. When it comes to the seventh chords, the third and the seventh are the guide tones and you should target one of them when making the chord changes. Of course, the chord tones alone don’t make a great solo, but if you start with them, you will get the harmony into your ear and you will hear the chord changes. Then, you can start adding approach notes and here the devil is in the details that are way beyond the scope of a simple post.
So you decided to focus on learning the arpeggios starting with the dominant 7th chords. That’s a good idea because all you need for a traditional 12 bar blues is this one type of chord. The harmonic simplicity and structural economy of the 12 bar blues makes it the perfect vehicle for tackling soloing and improvisation in the early stages. So again, you start with chord tones only, then you add approach notes thereby building your solo from the bottom up. You can learn the arpeggios in isolation or from the perspective of its parent scale. The mixolydian which can be thought of as a major scale with a lowered seventh is the parent scale for a dominant 7th chord.
After you’ve completed Session 19, you may want to reach for a resource that thoroughly deals with soloing and improvisation in your chosen genre.
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Monthly Recording Challenge 53 - "Unplugged"
in Guitar Playing & Technique
Posted
I plan to do just that in the coming months. It will be easier from the recording perspective as I will be able to plug directly into my Zoom R24, without worrying about the background noise.