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the version that features guitar or the fancy one with strings and shit?
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12-11-2018 08:07 AM
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The one with shit!
Originally Posted by joe2758
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haha that’s just a phrase around here that means “and stuff like that.” or “etc”
i use it on the forum and probably sounds like something else to others
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Yes, I got it))) just kidding (for a foreigner's ear it is catchy))) Originally Posted by joe2758
By the way these style of strings playing unison counterpoint to solist sometimes can be interesting - especially if the orchestra is good( when not too corny and cliche)
The other record with his small group is real jazzy ... shit... (bro...)
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I hope more people listen to this. It's got some lovely stuff in it, especially towards the end. Originally Posted by Jonah
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absolutely, in fact string arrangements like that are actually some of my favorite music and I try to capture as much as I can in my solo guitar arrangements. Originally Posted by Jonah
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now if I could just capture some essence of Shostakovich...
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Thank you...I hope more people listen to this. It's got some lovely stuff in it, especially towards the end.
I feel embarassed actually.
Because I just hear that in some places I did not follow instinct and tried to secure it and as usually it leads to awkwardness and mistakes... hope I will feel more relaxed with it later.
I really forced myself to upload it - I said to myself: if I do not begin to do it now I will never do it...
If you do not mind, guys, I will make a few more takes later and probably one with backing track...
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I liked it too, Jonah, and I know what you mean about being embarrassed. I hope to post improv for the first time here and I don't know if I can do it! I lack confidence (that's why I quit music school)
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Originally Posted by joe2758
I usually quit everything because I had too much confidence!)))
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A bit crazy with iReal .. the pattern was called 'jazz ballad' - I did not expect it would go into double-time.. the changes are default...
So far I feel myself as if I am searching my pockets but instead of coins so far I find some garbage, old receits, gum... and all shit (as joe2758 would say...)
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It's definitely your fault, definitely...
But what is that picture? It's got me worried.
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This take is really nice...om.I just did this five minutes ago. Different harmonies in the backing and a different way of playing it. I look careful (maybe) but I'm just playing it as it comes. If it sounds like the other one it's because the phrasing is probably similar. That can change things, it's quite interesting.
We ought to do a discussion on phrasing sometime... I might start one.
As for phrasing... it is the most important issue ever.
- playing rythminc excercises like playing 8ths in 3 or 5 or 7 against stable 4/4 (the best thing is to play chords in 4/4 and melody with these groupings on top simultaneously)... these shifting accents get incorporated into ear and then I just tried to play phrases like I play just onbeat 8/8 phrase but starting on 'and' of the 1st beat (basically it is 5/8 grouping thing) etc.
These shifting accents really move things on when I am able to relate them to harmony properly...
- then I had to force myself to start a phrase with a pickup note and then to make myself hear how this note is related to the harmony...
For example if we take an ascending line line F(pickup)/E-F-A-C/E.. over Dm7
and we play it just in time that E coincide with the 1st beat in comping it will sound as suspension to F but the rythm feel will be very steady -- all in the pocket. It sounds nice because if this suspension... it makes it move on a bit.. right?
If it were E/F-A-C-E.. everything would be too much in the pocket.. too stable.
But if we make the 5/8 thing and start a pick up note on the 1st beat.... and play it as a pick so shirfing the phrase 1/8 behind the beat... though in this case there is no suspension - the rythmic shift in accents on the phrase brings in movement...
Another point - I noticed joe played the melody almost exclusively onbeat... this is really the thing that I have to learn to control.. playing just straight on beat (and correct note) adds the solid ground into a solo...
I re-listened my playing - almost everyything goes on 'and' which maybe is not that bad as natural hearing but can be quite annoying.
My problem that I am not only playing as it comes - I am litterally being taken away... at best I feel myself in the middle of the storm and either I catch the wave and survive or lose it and drown.... all I can do is trying to hear something... and if it does not come out I am just lost... and feel like: damn... nothing... empty black... then I just stop...
I am just not able to consiously use anything I practice in real playing... I tried.. it ruins everything.
the teacher I took some lessons with said that with such an approach I really have to practice a lot of such things behind the performance so that all the tools would become very intuitive... he said that it is just a personal thing: some players sound like they compose the solo on the spot (he named Raney and Joe Pass - so speed dose not matter here) when he said composed he meant that they more or less coordinate the tools they have, and some players just begin as a warm up and then gradually gets just blown away (he named Wes, Sco... somebody else)...
I am not sure about names but I think there is some sense in it (it does not make anyone worse or better of course) - when I listen Joe Pass or Raney I mostly hear that their creativiity and inventiveness work within certain territory they know and keep investigating... usually these players are more creatively stable by the way!
When I listen to Wes or Sco I often hear like they begin a solo with some kind of attampts to approach the unknow thing... in some solos they actually do not come out of it even.. they give attampts trying some familiar phrases and licks like making a test you know... searching for it... and it may happen that nothing works this time so they may end up ok but not great... but if it happens they find they really dive into it and then it's all the fun for them to get to an unknown territory.
That makes their creativity in performance not always that stable - too much risk... I think in that case the experience of live playing is more important than anything.. you need the circumstances where you cannot stop and quit and have to find solutions more than the players of the 1st type.
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Willie Nelson’s solos have rarely grabbed me, but I think it’s great advice to listen to and emulate players who are able to make compelling performances without straying too far from the melody. John Knowles comes to mind. Originally Posted by mr. beaumont
I’ve sometimes considered trying to reinvent my playing by pretending chords don’t exist for a while and just focus on learning to play melodies in as lyrical and compelling way possible. I’d start with simple familiar melodies and make sure I can nail them and make them beautiful before progressing to more complex melodies and improvisation.
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Lovely player, this guy. New to me...I'll be checking out a lot more. Originally Posted by KirkP
As for Willie, heck, a lot of the his solos would pretty much just BE the melody...but he plays melody in such a convincing way, it never feels redundant to me...Willie plays just like he sings, totally respectful of the tune, with just a bit of artistic license, and I truly don't think he ever played a tune he didn't feel connected to. Willie don't phone it in.
I'm a Willie fan though...I think he's a national treasure.
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To be fair, Willie also played a lot of crap. But when he nailed it I'd say that was because of him, not the guitar playing. It was the kind of person he was coming through much more than studious technique and all that. In fact, he didn't have too much studious technique.
He was the 'what you see is what you get' type of person. And there was also a bit of 'and if you don't like it you can lump it' in there too. And that's actually quite attractive to people :-)
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John Knowles and Tommy Emmanuel will release a duo CD soon. I think they’ll do some touring next year. Originally Posted by mr. beaumont
John started doing arrangements for Chet Atkins in the 1970’s. Here’s an interesting two hour interview.
John Knowles Interview - Chet Atkins first Certified Guitar Player - Everyone Loves Guitar - Everyone Loves Guitar
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A solo version by Peter Bernstein:
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He must like this tune, he did it on his solo record as well (Live at Smalls).
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Anyway, just a "read down." I think I'll keep playing this tune, it's bluesy, I like it.
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Really Bluesy)Anyway, just a "read down." I think I'll keep playing this tune, it's bluesy, I like it.
What is the brand of your manouche guitar? Expensive one?
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Nope, just about the cheapest decent one you can find--it's a Cigano. I absolutely love it. Originally Posted by Jonah
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Your guitar does not look that 'yellow' as the cheapest Cigano on youtube))) The cheapest one seems to be laminated. Originally Posted by mr. beaumont
Yours is probably GJ-15? Solid top?
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Yeah, it's the 15. It's not as yellow as many of the pictures I've seen, but it's definitely "yellowy." Like, they obviously used a tinted finish. But it's not bad looking.
It's really lightweight, and it's louder and more responsive than a Gitane I had a few years ago that cost 3x as much. A friend of mine, who ran Caravan Guitars here in Chicago, even likes it, and he has a constant flow of 3-15k guitars going through his house
If you can find one, they can be kind of a steal, imho. The brightest part of the pic above is about the true color of the guitar, too. Pretty golden, a little hazy, like an IPA.
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We have here sort of 'manouche club' with jams and all.. they have a an online shop and they have special offer before New Year - new GJ15 is about usd350 Originally Posted by mr. beaumont
Yeah, it's the 15. It's not as yellow as many of the pictures I've seen, but it's definitely "yellowy." Like, they obviously used a tinted finish. But it's not bad looking.
It's really lightweight, and it's louder and more responsive than a Gitane I had a few years ago that cost 3x as much. A friend of mine, who ran Caravan Guitars here in Chicago, even likes it, and he has a constant flow of 3-15k guitars going through his house
If you can find one, they can be kind of a steal, imho. The brightest part of the pic above is about the true color of the guitar, too. Pretty golden, a little hazy, like an IPA.
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