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Originally Posted by ghoststrat
I'm glad you saw the post for what it was and not some kind of insult.
Like I said it's not always a good thing.... I would much rather play a tune at 220, then play a ballad. That doesn't mean I CANNOT play one, just that I am much closer to my element playing tunes that are burnin. The LAST thing you want to hear is me playing Girl from Ippanema.... As soon as I start soloing it turns into some kind of bebop/blues thing, totally inappropriate. Worse yet, if I do try to cop that (it's probably best to leave out how I would label it) feel, it's totally fake. You might buy it, but I as the player, I feel like I'm doing an impression of someone else.
One of my good friends (went to music school together, great musician and player) has always been the complete opposite type of player than myself. Where I might put ten notes, he might play three. The thing is, he has always been able to make me smile with his playing, because he comes up with stuff that I don't hear in my head. We are DIFFERENT!!!
And that is a great thing, especially when we play together. There is a big contrast between us in both our comping and solos. That makes it refreshing. The bonus is we both end up at some point trying to cop a bit of the others style, which makes us both better players in the end.
A good non guitar example is one of my favorite sax players, Eddie Lockjaw Davis. No matter what tune he is playing, it's the blues. The dude was born with it.
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03-15-2016 03:00 AM
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Originally Posted by ghoststrat
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Originally Posted by vintagelove
You have great points!
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Originally Posted by Boston Joe
The reason I did it was that I was complaining to a friend who's a very solid player. He told me to do it for one year, and if my playing wasn't transformed, I could move in with him and he'd kick my ass into shape (we were pretty young at the time, so it wasn't as crazy as it sounds). Well, I did it for a year and it was great for me.
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Thanks Ghost for the thoughtful responses.
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Originally Posted by ghoststrat
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Originally Posted by ghoststrat
Personally I set my click to 2&4 or 4 and tap (or don't tap) my foot on 1&3 or just 1. Lower body/upper body.
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Originally Posted by yotsn
Bear in mind, he is talking about great players who are absolutely consistent as to where they place the beat, they don't 'wander about' with it. And the differences in question are presumably minute. But it's an interesting point.
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Originally Posted by christianm77
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Originally Posted by christianm77
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Originally Posted by ghoststrat
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In terms of time feel, it's good to get sensitised to where the beat is. Then when you are playing with others who can feel where they are at.
I think working with a metronome has helped here, it's good to develop your ability to synchronise exactly with a click. But it is also good to play with the metronome playing in a different place to you so that you can make it swing.
A good player will also project a feeling of time for in their playing - their own pocket, rather than leaning on others all the time.
In the second case I think that's developed by working on your rhythmic imagination - hearing phrases rhythmically. I feel this ability is separately developed to playing with a click, but I'm not 100%
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@c77, I believe Zucker had a few lessons with Pat.
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Originally Posted by christianm77
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Originally Posted by robertoart
Speaking of his old recordings, El Hombre is simply stunning for a 22 year old. How come he sounds so much like Benson? Who was listening to who? ....
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Originally Posted by princeplanet
Ibanez pm200?
Today, 09:46 AM in Guitar, Amps & Gizmos