I have been practicing my slur (ligado) technique on classical guitar… using the Aaron Shearer book.
As I was doing exercises I thought, “some of these could make good sequences”. Then I started to try and apply them in a more jazz way. Not working so well.
I did a lot of problem solving and came up with some ideas. However I feel like the wisdom here far transcends my limited-ness.
The motivation for the book was to systematically address different slur fingering combinations. Each figure though is built with slurred notes within reach of each other. Pedal notes always add logic to a sequence. The bulk of these have a flow similar to enclosures. To me they make the most sense resolving to a chord indicated by an additional target note or notes. They also can form cool sequences by moving the patterns in various ascending or descending intervals. Harmonically speaking the starting and ending points define function. Now that you have assimilated these moves, not a bad thing to consider if they have any application outside of guitar gym class.
+1000000 on the wedge.
I've also given EQ tips for people who prefer a more fender sound. Also have tried pedals with it to give it more tube like response. I'm a huge fan of the Bud6. I don't...
Thanks for the opinions. You guys are making me think perhaps a Deluxe Reverb Tonemaster would be the cure for the playing live dilemma. It does have a line out, so if I wanted to plug into the PA......
Alright mofos, here's my final submission! I worked this tune in college back in the 00s and I guess it came back to me. I did every instrument on my digital piano and spliced them together. Took it...
I love this tune.
That's Cornell Dupree on rhythm guitar with King Curtis. (First, the original studio recording and second, a live version from a TV performance---much better sound. And That Band!...
Soul Serenade
Today, 05:23 PM in The Songs