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Originally Posted by 2bornot2bop
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01-04-2016 05:12 AM
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Originally Posted by Greentone
This music is one that I can easily relate to. To me it strikes the right balance between having energy and lyricism. It is also harmonically more straightforward than modern Jazz. Some jazz harmony feels like doing a math exercise and I have never really understood how to turn 28 different uses of the melodic minor scale into music :-) I admire people who can do this in real time while improvising. I just can't do it. Django mostly used very straightforward arpeggios and some chromaticism but combined them in such a creative and beautiful fashion into very expressive lines. I'm just having a much easier time getting my head around this. I also love the picking technique. It will take more years to become fluent and comfortable with it, but I am very motivated.
In the interest of full disclosure: I learned the arrangement during one of the workshops with Joscho Stephan that I attended. He transcribed it from somebody else's take on this Django piece, but I forgot which player it was. Just the middle part of the recording were my own licks. I tried to follow up with something that was matching the vibe of the first chorus. That took a while and I was also stealing from other Django solo's. But I hope (minus the technical issues) it kind of worked ... but plenty more to do :-)
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Originally Posted by Marty Grass
Happy new year!
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Originally Posted by medblues
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Originally Posted by jads57
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Originally Posted by travisty
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I really like the big full bottom and the ample top of your archtop, Frank. Looks Teutonic. I don't know but I keep thinking about the barmaids of Oktoberfest...
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hi hi, that is a funny vision - the barmaids at octoberfest ... well, I guess that's how we germans are
It's funny, I am not sure how Henning Dodderer accomplished that - it's a big guitar, yet is not the least bit uncomfortable to hold or play.
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i love some of the random details on the guitar. the teeny tiny truss rod cover, headstock stripe and shape, but some especially the bridge and the pickguard- very bauhaus, i want to say. the guitar feels clean and austere yet modern at the same time. very... germanic?
your thoughts on the tail piece? though my eye wants to see something more in tune with the pickguard/bridge choice, thats interesting choice. don't see many fingers these days.
neat clip, too. did you record the rhythm track with the guitar also?
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Hi feet,
thank you for the nice comments! I agree on the retro meets modern impression. I didn't know that it would come out this way in the beginning. I think here the aesthetic sense of the luthier played a big role and I am really happy with his take on things.
the tailpiece was not so much a 'concious' decision. I had a quality finger tailpiece sitting around and using it helped to keep the cost down a bit. These fingers are very functional and I happen to also like the aesthetics of them. Not sure what I would have opted for since tailpieces are not that abundant on the market. Maybe an ebony one?
The backing track is a realstyle from Band in a Box 2015 - I guess gypsy ballad or so. I was planning to also record the rhythm track but then got so annoyed by my computer problems that at the end I did not exchange the rhythm guitar.
cheers,
Frank
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