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Yea... go for it... But man I love that guitar.
Originally Posted by customxke
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06-07-2024 03:11 PM
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It's not so much that I love that particular version, it's typical old Hollywood schmaltz really...but the chords are beautiful, particularly the bass movement in the second half... Originally Posted by AllanAllen
Of course, playing this style of rhythm guitar, bass movement isn't really the most important thing, so like I said, I'll stick to the accepted "jazz changes" for my first run through at least.
Here's me playing the original changes, but in Bb (the normal key)
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Wonderful, very tasteful. Originally Posted by mr. beaumont
I don't understand why there's so much negativity around this song normally.
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Ahh, I'm getting it now. Originally Posted by mr. beaumont
I mean, it's just not for me. It sure seems like EVERYONE else likes it a lot and everyone has a classic version. It's a me problem I guess...pawlowski6132
All I ever thought was that it was a generic movie theme turned into a forgettable ballad.
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Ok, Stella part 1. This one will need a few visits.
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I thought I'd try something like Freddie Green-type comping. As someone who spent 50 years supplying bass and rhythm with my guitar – think oom-chunk – it's really hard to leave out the low end, and try to just play 3-note comping for rhythm.
It's especially hard when one is playing by oneself – we like to put the root in for reference, but in a combo that already has a bass player, that would get in the way.
I tried Lady Be Good in F, since that's the key I sing it in. Since the chords I'm playing at the beginning give no hint of the key, I start with a little 8 bar intro that gives an idea of the key center. Also, my Triggs New Yorker isn't set up for acoustic playing, with relatively low action and flat wounds, but you get the idea.
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Sounds great...intro is a great way of setting up the key. Originally Posted by Ukena
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Hey guys!
Cool to see the rhythm Camp going on!
I played a gig in Luxemburg yesterday, and snagged some clips for you.
This is me playing some rhythm for a dance Party. Whole Band played unamplified.
The tune is called "the big Apple Routine"
Paul
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Wow. So awesome!!! Originally Posted by Webby
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Was hoping we'd see you here! Sounding great as usual. Originally Posted by Webby
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Excellent! Page turn at 2:50? Can you remind me what Eastman you have again? Every time I see Originally Posted by Webby
one of your videos I get the itch.
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You got me there! Yeah, had to turn pages. I'm the last one in my Band still playing from paper, but I think I'll be making the switch to an Ipad soon. Originally Posted by AllanAllen
My guitar is actually a Baton Rouge, but I often just describe it as an eastman, because it's easier. It's a prototype model under the BR Label that never went into production. When I bought it I was told it was built by Eastman and I think it's fair to assume so. I guess it's a slightly modified Version of an AR805.
It's been serving me quite well for the last 10 years!
Paul
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It's a beauty! I'm a sucker for that Eastmany-red finish with the lighter binding – it's essentially the same as the finish on my Eastman AR905CE CC custom.
And the punchy sound you get out of your BR is great, and your rhythm is unimpeachable.
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Thank you very much! Originally Posted by Ukena
Yeah I totally agree! It's hard to beat those Eastmans. I kinda lucked out with this one though. If I were to design a custom guitar this one would already be pretty close.
I like that you describe it's sound as "punchy" (I think so too) . The Eastmans are often described as too bright, which might be true, but I still think they're a great match for FG-style comping!
I just uploaded another Clip from yesterdays gig:
Paul
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Great punch. Is it parallel braced?
Really doesn't sound like most Eastman's I've come across, which have that Benedetto thing going...very pretty sound, actually. But this is the...correct sound. I can that action's up there a bit as well.
Can you talk a bit about chord voicings? I'm hearing 4th and 3rd string, but are you getting the 6th in here sometimes as well?
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It’s great to see someone having the same problems as I do. Originally Posted by Webby
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I tend to forget things like that, but I think it's X-braced actually. Will have a Look again, when I get home from work. It also has a fairly thin top, I believe those are both factors that are usually attributed to result in that Benedetto Sound. Don't know why it sounds the way it does. I'm using heavy 80/20 Bronze strings, don't know if these are the reason for that sound. Originally Posted by mr. beaumont
By the way: I think you Sound amazing on that old Kay! I hear a lot of those "Cello-Qualities" there!
Yeah, my action is kinda high, although it's still comfortable for me. I played with a higher Action for quite a while, but in the end realized, that I don't need to proof anything. I now go for the lowest action that doesn't buzz when i hit the strings with max. force.
Re Chord-Voicings:
I'm sure I'm at least fretting the 6th string*. I think you can see in the clips i posted, that i have my guitar placed at quite an angle on my lap. I think I barely hit the 6th string in that position. I think what i play is mostly 3rd string with "a bit of" 4th string.
*I'm not sure if this is the traditional way to do it, but I always fret the low E-string, regardless of the root. That means for all voicings with root on the A-string I'll go for the 5th on the low E.
So for Amin6 and D7 I use the exact same voicing. It's not like I'm really playing (like audible) the lowest note anyway, but even if it comes out audible I'm at least not doubling the Bass. I also think it's easier to mute the other strings like that.
PaulLast edited by Webby; 06-10-2024 at 08:56 AM.
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Follow up on this. Do you adjust for a Dm7b5 or just fret the natural 5 on the E knowing you won't hit it? If I do the later I don't have to flip my hand from middle finger on E to ring on E, but I am unarguably grabbing the wrong chord. Originally Posted by Webby
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Really good question! Originally Posted by AllanAllen
I do adjust for a b5, so for example Dm7b5 = Ab6.
One reason is that I just really want to do everything "right" and also like the challenge a bit.
The other (and more important) reason is that I feel like it makes a difference somehow. I feel like fretting the chord creates a different Sound, even if everything except for one note is muted. I think Jeff also stated this in his observations at some point. I can't explain why, but there is a difference for me.
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Lightbulb moment for me with that Ab6 bit. Originally Posted by Webby
4x35xx
3x34xx
3x13xx
That's some nice easy grips for a minor ii V i.
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That's exactly how I'd fret that! Originally Posted by AllanAllen
Paul
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Today's musings.
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Interesting about the pick. I use Fender Heavy pearloids, turns out they're .96mm. I had just assumed I was using a "light for jazz" pick based on some of the stone, and bluechip options I've seen here.
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Stone and wood picks are awful.
Bluechip is snake oil, in my opinion. Very clicky. Hated the one I had, lost, found, tried again, hated again.
The 0.94mm would not be my go to for plugged in jazz, or single note playing...for that I still like the 1.5mm Pro Plec the best.
Rhythm guitar, however, sounds best to me with a pick with just a little "give." I think I've concluded I want the thickest pick I can use that isn't completely rigid.
I also use the round end for rhythm. Much better sound.
All of this IMHO, YMMV.
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I think picks are a personal thing like strings, whatever one likes is fine for the job. It's nice to compare notes though.
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