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Playing Carnatic ragas on guitar is now somewhat common. It’s not about the bends, but all about the slides, in conjunction with the ascending and descending slurs (translated to the TAB World of the typical guitarist: “hammer-ons” and “pull-offs”.
I’m trying to get some of that down. Good luck trying to master the 72 parent ragas of Carnatic music on guitar, lol. While still maintaining George v Eps “guitar as lap piano” thing down. As Segovia said about the guitar: “Listen to the orchestra!” (I.e, to borrow from v Eps’ ‘lap piano’ concept: emulate the stings, brass and woodwinds! But, at the same time, the guitar has to be as personal and expressive as the human VOICE.
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12-21-2022 08:06 AM
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Originally Posted by stylo
Most people know of U. Srinivas as playing with John McLaughlin in “Remember Shakti’. To be fair, McLaughlin (or most other musicians) could never be in the same league as U; Srinivas as an improviser. Only someone like Bird.
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I can understand Charlie Christian being considered hornlike, because in his hands the electric guitar became an instrument distinct from the acoustic guitar. The electric guitar gave a weight to single notes that the acoustic guitar didn't have. He was able to enunciate phrases that were similar to what horn players were playing. It was a fundamentally new way of playing the guitar.
When I hear T-Bone Walker I also hear a horn-like approach. He also plays like a horn section sometimes, with two note stabs. It's really a really cool early electric guitar approach.
By the 80s I think the term hornlike came to refer more specifically to Coltrane's Sheets of Sound, which was actually his way of trying to play chords by playing single notes so fast they blurred together into one tonality. Allan Holdsworth is most associated with it.
After his Sheets of Sound phase Coltrane went through a harmonics phase where he explored playing more than one note simultaneously on his horn. 1960-1961. I see this also as him trying to play chords on the saxophone. Listen to him here:
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