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And if someone could remind me how to rotate photos, that'd be great.
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04-25-2023 01:50 PM
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Hey, one I know. Here's how I would chonk through it.
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Chonky indeed!
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Ok, here's a playthrough, let's talk!
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A few things on my mind about rhythm guitar.
I was just now struggling to get a decent sound out of a Godin nylon. I ended up deciding that the strings needed to be changed and the RMC electronics don't EQ the guitar properly. Then I remembered that a top pro played it for 3 hours on Saturday (the very same guitar) and sounded fabulous. So, when your tone sucks, rather than look in an equipment catalog, you have to look in the mirror.
Here are my thoughts about big band rhythm guitar.
1. Make sure you hear the number being called correctly and there are no other charts with the same number.
2. When you take the chart from the box, make sure it has all its pages.
3. When you spread the chart out on the stand, make sure you've unfolded all the pages.
4. When you can finally see the chart make sure it's the same tune everybody else is reading.
5. Make sure you understand the road map. This is more important than figuring out how to play any individual passage, because if you're lost, you can't play anything.
6. Make sure you understand if you've got a solo and where it is. If the chart says "solo", and you don't hear a solo, oops.
7. If the reading is too hard, lay out and keep your place in the chart. This is much better than playing something incorrectly.
Everything else is just knowing how to read, how to play and how to work your gear.
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I don’t think you’re in the right thread.
Originally Posted by rpjazzguitar
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Actually, I think rp's post is great for this thread!
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I feel like "take the red line" should at least have a nod to chicago blues somewhere in there Originally Posted by mr. beaumont
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It seemed to be a direct reply to that big band thread. Originally Posted by mr. beaumont
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Oh believe me, if I got a solo! Originally Posted by AaronMColeman
I feel like "take the red line" should at least have a nod to chicago blues somewhere in there
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Well I did another one up high, I wasn’t thinking about the melody here just shoving chords together.
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Oooh, I might sus these out for ukulele... Originally Posted by AllanAllen
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This link contains a demo of three different ways to strum chords -- which don't sound the same.
But, first, I put in something I'm currently working on for Brazilian grooves. I don't have the feel right yet - I'm still working on the basic technique.
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In December, I made up charts like this for major, minor, and dominant 7ths. Then played ii V I VI all over the neck using them. It helped me get comfortable. I wrote out m7b5 and M6 but moved onto something else before drilling Minor progressions. Originally Posted by mr. beaumont
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I just want to add some thoughts that I've found important.
In my book pulse is key, and I always try to match things up with the rest of the rhythm Section.
This starts with differentiating between a more Two-Beat oriented feel, and a "walking"-feel. But it goes evene further then that.
E.g.: Drummer on semi-open Hi-hat usually means longer quarter notes.
I've actually spent several years to internalize how the bass players and Drummers I play with accent their quarter notes. And will pay a lot of attention on that when playing with other people. There are huge differences in placement and duration that I'll always try to match.
I think this also ties into stylistic choices. Earlier Swing often lends itself more towards shorter notes (think Banjo and gut-stringed Bass). New Testament Basie has longer quarter notes.
And then you should be thinking about placement (as in location) of your strums. There's the Freddie Green thing, where you place 1+3 more towards the Neck, and 2+4 towards the bridge, so you get an accent on the latter without changing the pulse. I tend to like a "round" strumming motion for Shuffled feels.
Just some random thoughts
Paul
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Put them into Paint. Under 'Home' there's a rotate option. You can also resize to taste. Originally Posted by mr. beaumont
Attachment 101181
Attachment 101182
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Excellent post! Originally Posted by Webby
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Thank you! Originally Posted by mr. beaumont
Another useful trick i picked up, especially for Big Band Jobs:
You already start strumming as the tunes is counted in! That way you're already in the motion and can better match the timing.
Same thing when I count in: I'll always be ghostin' the pulse.
Paul
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Yeah, this is the stuff!
I definitely found that recording harder to follow as the bass and drums are not as clear...just the technology of the day. Following real humans in the room will always be better, but hey, gotta start somewhere.
Going to try another pass with a track, and explore the location of striking the strings more...
Anybody else who wants to post videos in this thread is more than welcome, too. More the merrier. I'm hoping this process can turn into some kind of resource for folks.
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Maybe I'll get round to recording something, but I'm kinda busy right now.
Got some older clips I can share though:
(I think you can see that neck/bridge strumming thing kinda good there, playing without a Drummer/Metronome is frightening though!)
And here's a short one in a slow tempo:
Placing the guitar at an angle like that also helps! Freddie knew what he was doing
Paul
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Freddie definitely knew...he really wrote the book.
Can't tell, are your legs crossed? Trying to figure out how to comfortably get the guitar to stay at that angle...strap helps as well I assume...
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Yeah, always have my legs crossed, and only recently got around to finally installing a strap button on my acoustic, which makes things a lot easier. Originally Posted by mr. beaumont
Keeping the guitar at an angle like that achieves 3 things:
1. Strumming hand
Your strumming hand won't fall on the low e-string, but naturally direct you towards the d- and g-string.
2. Volume
I try to have as little contact with the back of my guitar as possible. In an ideal setting it's balanced on the edge of the rim between my leg and my chest. It's crazy how much tone is lost when the back can't vibrate freely.
[3. Projection]
In a nice venue the ceiling will reflect the Sound of the guitar and project it into the room. In most modern venues that effect is neglectable though.
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Cool thread, and what trip to see myself mentioned in such good company.
Anyway, rather than bloviate like I usually do... I realize how I perceive what I'm doing and therefore talk about it may not be 100% accurate to what I'm actually doing. So, yeah... I just figured I'd record a quick pass.
I am almost entirely playing two note voicings, and went ahead and kept going after the key change for fun.
I will say I found it oddly hard to lock into the track because my guitar was so much louder than I could get the track playing on my laptop.
Maybe next time I try something like this, I'll play it through some bigger speakers so I can actually hear the track clearly.
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Definitely use a strap even when seated, IMHO. The ergonomics improve immensely. Originally Posted by mr. beaumont
FWIW, I never play with a big band, but for playing rhythm with a singer and/or second guitar I have discovered drop 2 on the bottom four strings. It’s something I learned watching Ronnie Ben Hur and have come to like it better than 10th, or partial drop 3’s.
Obviously rhythm guitar is very context driven. What works for the three guitars of Judas Priest probably doesn’t if you are playing in Glen Miller’s band. Comping with a bass player in a Jazz trio demands something different than helping “jazz up” a singer songwriter. Power chords, drop 2, 10ths, comping with just the 3rd/7th all have their uses.
I don’t know what your goals are, but it sure is fun exploring all the options.
Sent from my iPhone using Tapatalk Pro
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Lol, options are great, but I think I was at least kind of clear what this thread was about...
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