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Yeah, that's how the Real Book has it, AA with two 8 bar endings.
Originally Posted by Ukena
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09-05-2024 11:12 AM
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I agree! This is a great thread and I thank everyone for contributing.
I just recorded several takes of If Ever I Would Leave You on different guitars, both plectrum and fingerstyle, with various microphones, preamps and DAIs looking for differences in sound quality. There turn out to be some interesting ones, and I'll post the comparison in a separate thread on the appropriate forum. But the tune made me think of this thread, so I'd like to share one with you on The Autumn of Solo Guitar 2024.
It's fingerstyle on my Eastman 810CE7 with JS113s and a 75 thou Chrome 7th through my DV Mark EG250 head and Toob Metro BG+.
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Beautiful! Although the way it starts, sounds like he's already out the door..... "the sound of that chord, that's how you really feel about me?!" Originally Posted by nevershouldhavesoldit
P.S. - I would like to hear how you'd play it with a pick. Do you usually or always play solo guitar fingerstyle?
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Hee hee! Originally Posted by Mick-7
Beautiful! Although the way it starts, sounds like he's already out the door..... "the sound of that chord, that's how you really feel about me?!"
But to be serious, those chords are a critical part of my audio testing. One of the biggest differences in sound quality among mics, preamps, and DAIs is how clearly and distinctly each of the notes in those chords can be heard. Close harmonies in the bottom octave (especially on a 7) are an excellent test of the recording and reproducing qualities of audio components. The guitar is an even better test than the same chords on a piano, because plucking adds transients that hammered strings don’t produce.
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Lovely Nevershould
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I usually let the circumstances and my mood dictate how I play. If it's a solo gig, I'll just play what feels right at the time. When backing a vocalist, I honor preference (if any) or decide based on the tune and the feel he or she wants. I did both fingerstyle and plectrum takes for the recording equipment comparison. Originally Posted by Mick-7
Here's the same tune pretty much the same way on the same guitar, but with a pick. I made these to compare recorded sound quality, so I ran through them all quickly and a few clams snuck in. I was concentrating more on the live sound and watching the VU meters than I was on playing, so I must apoligize for the imperfections. I was only planning to post small sections to compare specific sounds. The FS track I posted is decent, but some of the others have some errant notes. Unforunately, the most glaring one is on this take - I hit the 7th string instead of the 6th at 3:00.
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Beautiful playing nevershould...that 7 string sounds so full...
I've hit a very busy patch, but I'm still relearning Old Folks for now, and trying to keep playing the other tunes I've done so far every day so they stay in my memory...I'm hoping my brain can hang on to them...it certainly doesn't get any easier as I get older!
Right now today I'm dealing with one kid's practice from 3:45 to 5 and the other kid's from 4 to 5:30 and those numbers keep swimming and transposing/transversing in my head.
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Thanks for the kind words, Jeff. Originally Posted by mr. beaumont
You’re not alone in the quest to maintain your memory banks - we all struggle to juggle all the tunes we thought we’d never forget. I discovered over the weekend that I no longer remembered the exact head to Billie’s Bounce. So I spent an hour last night relearning it. We’ll soon see if it’s still there today.
As I near the end of my 8th decade, I’m grateful to have remained fully functional and happy to be here. I’m just a little disappointed that my fund of knowledge turns out to have a capacity limit
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As a teacher by day, I find the biggest key in memory is moving things from short term to long term. One of the ways I've found most effective for that is demonstrating or teaching someone else something...hence these threads! I'm actually not helping anybody but myself
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Trying to play this style improvisationally or at least nearly so has haunted me for 30 years. After several weeks of pounding away on "Stella By Starlight" a few years ago, I just rolled the recorder and cut loose. It's a clamp-bake, to be sure, but it was a ton of fun.
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I thought it sounded nice. Originally Posted by lawson-stone
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As did I! Some little Johnny Smith-isms in there too, which is ALWAYS a good thing in my book.
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Great idea for a thread, you all are wonderful! Here's a few contributions from me:
The first three are chord melodies that I did a while back, using a Gibson Johnny Smith. The last one is a somewhat different approach, using a Fender Telecaster.
Three of the four were recorded at live events at a local venue, and the Christmas Song was done at home as holiday gift for friends and family. All on smartphones.
I haven't played the Johnny Smith in a while, but recently restrung it with TI Jazz BeBop 11s. To me it feels and sounds better than the strings I used on the above recordings (possible TI Swing 13s, IIRC). I'll be using the Johnny Smith more at jam sessions in the coming months. If time, I may re-do the Stars medley on that.
Someone To Watch Over Me got on my radar when Bill Frisell said he worked on that while cooped up at home when corona shut down live music venues for a while. I never heard his take, but liked the tune so tried to work up a version.
Spring Can Really Hang You Up The Most I first heard by Johnny Smith, later by Kenny Burrell. My take has elements of both, one of my favorite solo guitar tunes.
I decided to do an arrangement of The Christmas Song for the holidays a while back, and may actually have posted it here before but it seems apt for this thread.
The Stars medley is a combination of When You Wish Upon a Star and Stella By Starlight, both transposed to A to make use of guitaristic devices like open strings and harmonics. I used some pedals on that. The event I played at was an electric guitar event and I like messing around with pedals once in a while. There's a tape echo and spring reverb, and, with apologies, a looper for a short ad-lib interlude.
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Here’s one I tossed off about an hour ago, again on acoustic archtop (the L-75). Listening back now, I can hear a little of “Afro Blue” (specifically, the version Emily Remler did on her Take Two album).
Hybrid pick and fingers here (and I really should get some Chromes on this instrument):
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My reason for being on this forum is that I hope to learn to accompany myself on guitar as I sing Standards.
Here's a version of Darn That Dream I worked up, and recorded on the fly this afternoon. I'm playing into my brand-new TOOB Metro 8", with a Superblock US amp. The speaker is on our carpet, using the iPhone's mic, so the recording quality is not great.
Last edited by Ukena; 09-13-2024 at 04:25 PM.
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One can hear that you are singing as well. Originally Posted by Ukena
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Here’s one that takes up Jeff’s reference to no style limitations. It’s a throwback to how I played when I first started playing back in 1984 (I still have the tapes):
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And some quirkiness back on electric (Les Paul Tribute with P90s):
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the loner,Gary Moore
https://youtu.be/_sVwUaoGqeE?si=CEwoXkGzdpeUPAHn
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Some years ago some of us were talking about chord-melody and a forum member challenged me to take a song I had never played and produce a chord-melody performance of it in one hour. The tune was "What's It All About, Alfie?" and so I pulled out the lead sheet and spent an hour with it, and this is the result.
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Here's a rendition of the A section of Autumn Leaves that I learnt from a fellow on youtube 13 years ago. I never did get the B part of up to snuff.
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This is from my the beard days, but I’ll put this in while I work up something fresh. Nice tune not often played around these parts
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Here’s another. I’ll stop now
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Bring back the Beard!
That is an absolutely lovely arrangement of Early Autumn. Clever moves without showiness, ringing melody notes, tight voices.
And the dusky masculinity of the five o'clock shadow.
I've not played that difficult song in 25 years.
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Had a go at this a few years ago
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