-
Originally Posted by grahambop
-
05-31-2019 04:47 PM
-
I will honestly confess... I'm loving all this encouragement and advice, even the criticisms are so constructive that it's easy to hear. You all are just incredible people to devote so much thought and time to my efforts.
Sometimes recently I've just wanted to quit, sell the archtops, keep my Martin D28 and play John Denver the rest of my life.
Said nobody, ever.
Seriously, though, your input into my musical growth has been a powerful motivation to keep plugging away at it.
-
Oh, something I wanted to comment on, about the song itself....
Of all the versions I listened to, only one instrumental was at the original, ballad(ish) pace of the song. It seems everyone else speeds it up. I kind of like the song more as a ballad. Anyone else?
-
What's wrong with John Denver?
-
Originally Posted by Bahnzo
-
Originally Posted by Bahnzo
-
Originally Posted by lawson-stone
-
Originally Posted by lawson-stone
-
Originally Posted by lawson-stone
When I work hard on a tune and I feel I’ve hit a dead end, I’ll often set it aside and work on other tunes for a while. When I come back to it later, I might at first be frustrated that I’ve forgotten parts of it, but the process of relearning seems to help me get over some of the technical issues and improve beyond what had seemed a dead end.
-
Another thing to try to just focus on melody and groove is to impose some kind of limitation on yourself.. one or two strings, or a compacted area of the fretboard.
Heres my first notes of the day...I'm trying to play pretty much linear and not outline the chords by playing arpeggio shapes as much as possible. I play the notes I give myself to work with at the beginning, but it's a 4 feet span, top 3 strings plus one note on the 4th string.
Is it a great solo? Hardly. But did it force me to think differently? Absolutely!
-
Originally Posted by mr. beaumont
-
Hey Lawson, I don't know if anybody has mentioned this , but have you ever tried Howard Roberts super chops type methodology with a tune ? Basically start off really really slow, like 60 to 80 BPM, You record several 10 minute soloing sessions per day , straight eighths etc. bump the metronome a little bit each day.
Anyway, one of the preassessment type things with that is that you record yourself insanely slow and play it back at double speed etc. it gives you a good idea at what problems are true creativity problems versus more technical problems. When I did it , I found that I was much more creative than I actually thought I was. It was more of a time /technical barrier than a hearing /creativity barrier.
I'd say record a version at an insanely slow tempo and playback at 2x . Give yourself a true assessment of where you are on the creativity scale right now.
-
-
Originally Posted by rpjazzguitar
-
In the Frank Vignola lesson above, he does a sequence with, basically, guide tones, and I've been playing around with those ever since. What a wonderful way to simplify the whole tune! I'm enjoying just walking those tones up and down, playing with the rhythm, and adding in a neighboring chord-tone, melody note, or chromatic note. Not history making, but I'm feeling a liberty with the tune that I didn't feel before. No doubt, all the prior work has contributed, but this simply little sequence of guide tones he outlines is just amazing.
-
Lawson, I thought you'd be interested in this recently released 1964 live recording of TWNBAY by the J.C. Heard & Bill Perkins Quartet with a great solo by Joe Pass @ 3'22":
Frank Vignola talks about Birdland’s Guitar Night...
Today, 10:40 AM in The Players