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Cover Band Players: How Do You Learn "New" Songs?


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This all assumes that I am the 1) primary player in 2) a project where nailing parts and sounds is crucial, for which 3) I can discern some benefit to me as a player or participant or rent-payer in the disproportionate investment in run-up time, since otherwise tribute projects are a soulless spirit-suck. (i.e., music/money/hang)

 

First thing I do is listen to enough of the material to get a sound-world in mind, and determine if it's a one-board or two-board (or more) project. This also tells me in the macro sense if I will be making patches and/or hosting samples. (If not, the whole thing often goes back-burner until closer to rehearsal.)

 

Next thing I do is reach out to BL to see both what their philosophy is and also what other players are involved. I can't tell you how often I have spent hours with my head in my monitors getting filters and timbres and waves just right, only to show up and have a BL who would have been happy to have me play the chords right and not fall down drunk during the gig. Similarly, horn parts are a PITA, so one of my first questions, if the music has horns, is whether there are live players on the gig.

 

Then I listen through every song with a Google doc open and write down the potential keys parts and patches, including notes to myself about how long or not long the song might take to learn.

 

Then I triage: Anything that I might frankly only need a chord chart for, with everything just bread butter sounds and a cursory familiarity with form elements, goes to the bottom of the list. Anything that requires specific patches and parts to be learned, goes first. My OCD tendency is to immediately create some rough "in the ballpark" sounds without too much tweaking at first, so I can get used to where the parts go, and then keep nudging away at those patches as time goes on. Sometimes they are more than sufficient to just roll with straight through, and sometimes they are so weirdly far off that I am damned happy I made them in advance and didn't show up with them sounding like that at rehearsal.

 

Then I make my charts. All info is on the chart--key, patch, part notes, which board does what, and all form information, in a format that I have made fool-proof (for myself) over the years. Different parts of the song (chorus, verse, bridge, etc) are color-coded, so I am not chained to the linear form if I don't have to be.

 

Then I play along with the recorded versions to be sure my chart is right and I understand all my notes and know how to do what I need to do.

 

Then I play WITHOUT the recorded versions to be sure I actually know the information and can access it independently, without subtly leaning on the recorded version.

 

Then I show up at rehearsal worried that I might make a single sonic or musical error, and find out I over-prepared to an embarrassing extent, and grumble silently to myself about tribute projects being a soulless spirit-suck before reminding myself about Item 3 in my disclaimer at top.

Now out! "Mind the Gap," a 24-song album of new material.
www.joshweinstein.com

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Some great advice here. I keep thinking I ought to get an ipad and do proper charts - the kind that Bobby can read 5 years down the line and play the song perfectly. I'm just on an iphone now, and my BandHelper charts are just cribs. I can't get more detail on that little screen. So the cribs help me remember what I've learned, but don't replace the learning.

 

My life lesson is that I learn by scoring out a chart. Even if I end up not using (all of the) chart, that process helps embed the song in my mind.

 

I'm also an absolute stickler for nailing "which version". ("You said the live version - the 2003 Helsinki one? 2009 on SNL with the string break? The duet with Capo McChangekey?")

 

Cheers, Mike.

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For me, it depends on expectations. If it"s a fun bar band, I listen to the songs in the car. Maybe sit at the keys once. If there"s a specific synth sound that really should be there, I"ll program and learn it. Other than that, I"d feel pretty good to play and have fun.

 

If the expectations are along the line of 'tribute" level, then it ups the ante considerably. Listen, rough chart, program sounds, play along with song, then play without song, repeat. If expectations are high, I follow the adage 'Don"t practice until you can get it right, practice until you can"t get it wrong".

I would like to apologize to anyone I have not yet offended. Please be patient and I will get to you shortly.
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For me it goes like this:

 

1) Get the setlist for the gig

2) Go through and group into a few categories:

a) Songs I already know or have minimal keys

b) Songs that use pretty generic sounds and won't need much programming time and also not terribly difficult to learn

c) Songs that may need a lot of sound design and layout time and/or learning/practice

This allows me to thoughtfully prioritize and carefully budget my time before the gig to be sure I'll be fully prepared, leading to.....

3) Procrastinate until the day before the gig

4) Panic, pull my hair out, and frantically try to pull it together enough to pull off the show.

Dan

 

Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth.

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I pretty much work with a single classic rock band these days which rehearses every week. My rehearsals go one of three ways:

 

1. Get to rehearsal, find out we are dusting off an old out of rotation song. Play it without preparation.

 

2. Get to rehearsal, find out we are going to learn something completely different than what was planned previously. It's usually an Eagles or Delbert McClinton song because my band leader has such a hard on for them. Play it with a quick iPhone listen.

 

3. Learn something that actually requires patch preparation outside the usual piano/organ sounds. Spend a lot of time programming. Learn tune over several rehearsals. Play it live once or twice and never again.

Moe

---

 

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This may not be the answer you wanted to hear but this is the easiest way for me. I just play the whole song on piano and try to incorporate the most important ideas of the song in there. Once that happens, it's super easy to do #2 of your list. I haven't been part of a band in ages so it's been a long time since I've done song-specific splits/layers..etc.

This is the BEST advice I've read so far. A lot of playing covers is about identifying the most important bits and working down from there. This goes for learning solos, comp'ing grooves, etc. To some degree, you have to be able to approach the music the way the original performers did, They didn't sit down with sheet music and learn every note of a groove. They felt it, and played what came naturally. If you play pop music to a score, it's likely to sound stilted and stifled. There's also no point to it, the most important part is maintaining the flow and feel. It takes some experience to be able to identify the important parts, but after a while, you can really start to hear when the musician was "goin with the flow", and when they had something specific to say. The fiddle solo in Baba O'Riley is a fantastic example: there are some key licks in there that need to be played and feel very central, and then the rest are usually just some runs or "filler" to get from lick A to lick B. Most great solos are like this, this is just one that really stands out for me.

 

Sam is absolutely right... hands on keys as quickly as you can. Here's my basic road map:

1) Listen through once without playing, get the feel and jot down the basic form.

2) Listen through again, and play along to start figuring out the important parts, and think about where different splits/patches will need to be.

3) jot down the chords and important melodic figures. (I have a shorthand in Text format, since I use MainStage and can give myself some cheat notes)

4) Do any programming.

5) play it through once or twice with everything combined.

 

This would be a roadmap for a mid-to-complex tune. Most simple pop songs can be learned just by playing along with once or twice.

 

When I joined my current cover band, Elephant, I had to learn about 10-15 songs a week for the first 3 months or so. We play 4 hour gigs, so that's a good 75 songs a night. They let me start with one set, then two, then the whole night. I think another good tip was doing almost all the songs on my weekly list the first day, to some basic degree (listening, playing along, jotting down chords), and then just coming back fresh the second and subsequent days and perfecting them.

 

A few months back I got a call, 24hours in advance, to fill in for a gig which had 20-or-so keyboard heavy songs that I needed to learn. It was an extreme exercise in managing my workflow to get down the important bits as best as I could.

Puck Funk! :)

 

Equipment: Laptop running lots of nerdy software, some keyboards, noise makersâ¦yada yada yadaâ¦maybe a cat?

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I used to make a mix tape of all the songs and run it constantly in my car when I was driving to work. I found it to be a crude but effective way to get familiar with the tunes, over and above all the rehearsing and programming.

This.

 

Beyond pounding into your head the structure of the songs, it also gives you an idea of how they work â and what's important. Which hooks, which sounds stick out after repeated listenings and actually make the song?

"The Angels of Libra are in the European vanguard of the [retro soul] movement" (Bill Buckley, Soul and Jazz and Funk)

The Drawbars | off jazz organ trio

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Who is singing the song? Do they play also?

That is the first thing you need to know.

 

Current band I am in, we play most of the songs in the original key but not all. Singer is also a good, solid strummer. He plays by ear.

Our bassist keep digging up charts and learning from the record and it often was overly complex compared to the way the singer played the song - he is the band leader and books the gigs, his band.

So, it was a lot of extra work and didn't bring results.

 

I've been in at least 4 other cover bands where the singer either played in a different key to accomodate their vocal range or left out a chord or note here and there.

 

The audience will never hear or know the difference if you all play together. As soon as somebody stands out by playing the "correct" thing over the "actual" thing, they will notice.

So I would find out what the band wants you to do first rather than assuming that everybody always plays everything just like the record.

It has been my experience that you cannot count on that and it could be a waste of everybody's time. Cheers, Kuru

 

 

It took a chunk of my life to get here and I am still not sure where "here" is.
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Almost like CowboyNQ does.

  • Take a listen - Write down all the keyboard sounds I hear (that I can physically play)
  • If I can't play them all, pick the most prominent ones
  • Find/tweak/program the sounds in Kronos or VSTs
  • Set up midi routing, controller mapping, and key ranges in Cantabile
  • Learn the different parts - Amazing(ly) Slow it Down(er) if needed
  • Play along at tempo
  • Repeat that ^^^ a bunch-o-times

By then I got the song sections down so it's easy to adjust if the guys have a different arrangement.

 

~ vonnor

 

Gear:

Hardware: Nord Stage3, Korg Kronos 2, Novation Summit

Software: Cantabile 3, Halion Sonic 3 and assorted VST plug-ins.

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Also, it seems obvious but, make sure the band is performing the song the same way as your recording (intro, verse, chorus, correct key, etc.) A few times I"ve learned a song incorrectly and even created sounds for a song I ended up not using because the band performed a different version of it.

 

This.

 

A couple of the more experienced bands I played with this had a solution to counter this - the spreadsheet of the song not only had artist name and song title, but also a link to youtube so that everyone learns the same version.

 

Most important thing is to just learn the structure of the songs. Then you can "fake it until you make it".... you can always fine-tune sounds later.

 

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Spotify and YouTube are godsends nowadays.

 

YouTube for slowing down, rewinding. But also for looking up how someone else covered it, plenty of tutorials online. Major time saver.

 

Then on Spotify, make a custom playlist of all the songs the band will be playing. I have multiple playlists for multiple bands.

I mount an iPad at eye level, and keep it connected to my Kronos, so I can listen to Spotify that way, and rewind and play along without any fuss.

 

Learning song structure is #1 for me.

Then dialing up the sounds to make rough combi of each song is #2.

 

Even after I have a song down, I find myself continually tweaking it, even months later, to get closer to the studio recording.

 

Good luck!

 

 

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Already a ton of good advice on this thread. I joined a tribute band in late 2018 and had a similar challenge. Most songs needed their own patch with splits so I bought a new synth that would be devoted to that ( and left my digital piano to be the mainstay for the cover band I was already in). I haven't seen a lot of mention of YouTube by I found YouTube videos useful (even those without a person that just showed "player piano keyboard" for lack of a better word). With the YouTube vids I could see the parts, and hear that part, and the cross check to the changes I had already figured out or got from web searches. We rehearsed a lot when I first joined but the band had all strong players so most everyone did their homework.

 

I then set up my iPad (BandHelper) with a new project for the tribute act, and got all the songs and patch changes for the synth going (still manually change patches on the digital piano ... and maybe too lazy to get a USB hub and make both keyboards change patches with "one button push").

 

We cover material that in some cases would require two keyboard players ... so I have had to pick my battles. Most of the material is not hard to play, but I need to be on top of it as each song requires patch changes (and in a few cases key changes to accommodate the lead singer). Unlike my cover band (where I sing 80+% of the leads) I sing lead only on a few covers for the tribute band so my focus is very different.

 

We mostly do the studio versions, and when we don't we agree on a live version and specifically what we are going to do. I agree with psionic11 that you "fake it till you make it" .... if you don't have all the sounds dialed in yet... add organ, strings, piano to follow the spirit of the song and focus on hitting the chord changes. For me, bandhelper has the set list, the midi patch changes for the synth, and the chord changes for each song (I think in chords not notation).

 

Enjoy the project and bear in mind that you will likely be your harshest critic, followed maybe by band mates, and lastly the audience...

Korg CX-3 (vintage), Casio Privia PX-5S, Lester K, Behringer Powerplay P2, Shure 215s

http://www.hackjammers.com

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You've received a great deal of great advice.

Truth! Far more than I'd been expecting - I'm very grateful to you all for so being generous with your time and thoughts.

 

I have read each post in full and have found plenty of tips I can take away immediately and also potentially in the future. Also some pretty solid reinforcement that my current method is not a million miles away from what quite a few of you do - which is also welcome.

 

Again - thank you.

 

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KEY!

 

I've gotten burned a few times when the band plays a song in a key other than the album, and didn't inform me. They often look at me like, "I thought you knew?". It's usually a guitar thing. Some songs were recorded with detuned guitars (particularly early 90s), or songs from the 60s-70s often had the tape speeds changed. As a keyboardist, we don't really have "good keys" and "bad keys", but guitars do to a larger degree. For instance, you will often find GnR or U2 songs played up a step from their original since the guitars were often tuned to Eb or D, and it doesn't make sense for the guitarist to retune. Guitarists and bands need to be more upfront about this, but I've played with guys who have been in the rock circuit for so long they figure that everyone knows (because there are some fairly universal standards). Those are some of the few times I've gone, "to hell with it" and used the transpose button.

 

The aforementioned "Baba O'Riley" is one of those landmines. The recording is in F, and Pete wasn't a stranger to capos, but some guitarists don't use them, so my band plays it in E. I've played Baba in many bands, and learned it in F. I decided not to relearn it in E for fear of getting my wires crossed while playing with another band.

Puck Funk! :)

 

Equipment: Laptop running lots of nerdy software, some keyboards, noise makersâ¦yada yada yadaâ¦maybe a cat?

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Lots of good advice. Last 12 months I've ben doing a lot of tribute gigs as a hired gun, my process is similar to the original one outlined, I'll start with noting sounds and programming them and splits and layers rather than learning parts at the piano, I figure if it comes to it I can learn parts in the car on the way to the gig, it's just pop music, but sounds and splits have to be done before the gig.

 

Usually I'm learning stuff on headphones, so after I've programmed everything and hopefully learnt the parts, usually a few days before the gig, I'll set up a single speaker and do levels and EQ for each newly programmed sound, often I'll do it in the garage because it's all hard surfaces like most venues. Keep the sound guy happy and I might just be able to hear myself through foldback.

 

Particularly with 80s synth pop, I might recognize early on that I don't have enough fingers to cover all the parts, so I'll get on YouTube and listen through some live versions and see how the band did it when they were out of the studio, and then sometimes chat with the guitarist and see where he's at, and if there's not much guitar on the original (e.g. Eurythmics' Here Comes the Rain Again) I might ask him to do something to cover a synth part that I think might translate ok to guitar. If I'm stepping into another keyboard player's shoes, I might ask how he covered it, and sometimes I might do that anyway just to get an idea of what the band is used to hearing.

 

That works both ways: listen to the other parts. Are there 2 guitars but your band has one guitarist so you need to comp behind his solo? They have a sax player so I might layer some brass and double his lines (I'm otherwise not a fan of rompler brass). The band has 2 singers but there's 5 in on the chorus of the recorded version so I might set up a vocal sound and see if they want it layered behind them.

 

Charts I'll do last, after the song is in my head/fingers. I don't want to be reading charts live, at least not for these gigs, they're just for when the gig comes around again 6 months later and my memory needs some help.

 

General covers gigs are another story, frankly apart from a few essential parts I've identified on a few songs I'm gonna wing the rest of it after listening in the car on the way to the gig, but for tribute bands I feel it's my job to nail things.

Gig keys: Hammond SKpro, Korg Vox Continental, Crumar Mojo 61, Crumar Mojo Pedals

 

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I've been gigging for just over 50 years. Yes, I'm old. For the last 20 or so, I've NEVER had more than a day or two to learn new songs for someone who called me at the last minute. The points made here are all good other than when you have no time. The BL who called me is always referred by another player I've worked with a lot. I'm known as a guy who can play anything, rock, jazz, blues, funk, country, reggae, whatever. Here's my method:

 

1. Get a set list.

2. Make sure that list has the keys.

3. Highlight the ones I don't know, thankfully it's usually not too many but some could be in different keys.

4 Go to YT and listen to the ones I don't know. A lot turn out to be pretty simple, 3 or 4 chords with standard structure. I'll make a quick note on the list for those including the patch I want.

5. For the ones that are tricky and I don't know, search all my own books and charts and I have a ton of them including iReal, Fakebook Pro, the Book of Rock and Roll, or go online to try to find it. If that fails...

6. Go to the piano and play along with YT. My piano is off to the side of my big computer monitor so I can see the screen. I don't worry about playing whatever sounds I'll use with my stage rig. Put more notes on the list.

 

That's it. No time to dig in and make it perfect, learn horn lines, exact synth solo's or any of that. I'll keep listening to the tunes as much as I can and make little crib sheet notes on the song list and the few charts I was lucky enough to find. After that it's called there no such thing as wrong notes in jazz, baby! I'm a pretty good, flashy soloist and that gets me past any shortcomings in the details of any one song. I agree, cover bands usually don't do them exactly like the record anyway.

 

You need good ears and pay attention. Have fun and jam it out. One last and very important thing and it usually happens at least once with a short notice gig. Some songs are tricky and subtle and if you really can't do it then it's Duke's famous quote:

 

WHEN IN DOUBT, LAY OUT! It's better to have a hole in the sound than fill it up with a bucket of clams.

 

Bob

 

  • Haha 1
Hammond SK1, Mojo 61, Kurzweil PC3, Korg Pa3x, Roland FA06, Band in a Box, Real Band, Studio One, too much stuff...
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One of us comes up with the chord chart. The guitar player usually gets his charts from some online service. Most times its correct, other times it will have me scratching my head.

I listen to the song then by singing the melody I work out the exact chord voicings as best as I can. Then I will workout the specific riffs. I also go to youtube as a sanity check or sometimes insanity check. Some people shouldn't post! Some stuff on YT is so bad, but usually its pretty obvious when its correct. For example I got a text from the guitar player he wants to sing Phil Collins 'That's All', it took me about 20 minutes to work it out for practice tonight. I never played it before but I recognized the song right away.

 

Now I just need to play the main riff enough to get it into muscle memory and work out the solo part.

 

Boards: Kurzweil SP-6, Roland FA-08, VR-09, DeepMind 12

Modules: Korg Radias, Roland D-05, Bk7-m & Sonic Cell

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It is a great question, I am also always wondering how musicians learn new songs. I imagine it like a really hard and long process from learning music to words and feelings. But once at college, I had to write an assignment about this issue, so I ask the service to write my assignment for me professionally. And I learn a lot about how musicians do it, I have found the service on https://www.aresearchguide.com/write-my-assignment-professionally.html this project, selected the best by review. I think you all should read about it, cause it is very interesting!
This looks like an ad for this service. In my old professor days, if I found out that someone paid to have a paper written for them and submitted it as their own, I would have failed them in my class and, if possible, get them removed from the school.

 

These are only my opinions, not supported by any actual knowledge, experience, or expertise.
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It is a great question, I am also always wondering how musicians learn new songs. I imagine it like a really hard and long process from learning music to words and feelings. But once at college, I had to write an assignment about this issue, so I ask the service to write my assignment for me professionally. And I learn a lot about how musicians do it, I have found the service on https://www.aresearchguide.com/write-my-assignment-professionally.html this project, selected the best by review. I think you all should read about it, cause it is very interesting!
This looks like an ad for this service. In my old professor days, if I found out that someone paid to have a paper written for them and submitted it as their own, I would have failed them in my class and, if possible, get them removed from the school.

Maybe I can get this chap to outsource the actual learning of the songs for me. Then he can plug the knowledge and muscle memory into my brain "The Matrix" style. Even better, he could play the songs for me on stage. I'll take the performance fee of course, it's only fair. After all, I did the hard work of coming up with the idea of deciding I wanted to learn some songs.

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Technically, if it's a cover band, the song isn't actually "new". Just sayin.

Dan

 

Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth.

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In my old professor days, if I found out that someone paid to have a paper written for them and submitted it as their own, I would have failed them in my class and, if possible, get them removed from the school.

I had three different professors try to get me kicked out of the university I attended. They all failed. Never liked college professors much, I'll make an exemption for you. :cheers:

 

:nopity:
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YouTube for slowing down, rewinding.

 

Many years ago I bought a Tascam CD-VT1 which had many useful features for rehearsing - remove vocals, set loop points, transpose keys, and change playback speed (while maintaining the key signature). It worked with CD media.

 

Not long ago I took a look at Tascam"s website to see if there was an updated version which would work with digital audio files, and while they didn"t have the vocal trainer they did have a 'guitar trainer' which uses audio files. I bought the GB-10 and tried it out, and aside from not having the ability to remove vocals it has all of the other features.

 

And now that stem files are readily available, or trivial to generate, I find this to be one of the most effective learning aids for me.

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I don't think anyone on this thread has brought up my favorite scenario: coming up with keyboard parts for a cover song that doesn't have keyboards on it. I got to do this a lot at the Eagles tribute I played in November, since only about 50% of the tunes had keyboards, and of them, the only ones that required real time investment to make sure I knew more than form and changes were Desperado and, uh, the extra guitar parts I filled out in Hotel California.

 

The previous year, the same group had done a CSNY tribute, and because it was right on the heels of my wedding I was a little more religious about laying out on the songs that didn't have keyboards. This time, though, I knew everyone in the band, and knew they trusted me to be tasteful (and would tell me if I wasn't), so I had a lot of fun adding some barrelhouse piano and Tex-Mex organ lines to the songs. The guitarists were neck-deep in super-specific three-guitar arrangements and I just had to go "cool, three chords plus a modulation after the third chorus, let's see what happens!" Having a similar amount of fun with the Rush cover my band is doing this weekend (a lot more fun than the bassist).

 

In that situation, of course, I still had to do a ton of listening to make sure I knew the forms. Also the vocal harmonies, yikes.

Samuel B. Lupowitz

Musician. Songwriter. Food Enthusiast. Bad Pun Aficionado.

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Technically, if it's a cover band, the song isn't actually "new". Just sayin.

Ah! I thought the term "cover band" was determined by whether or not you applied a cover charge at your gigs. Always learning...

:roll: :roll: :roll: :roll: :roll:

Now out! "Mind the Gap," a 24-song album of new material.
www.joshweinstein.com

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I don't think anyone on this thread has brought up my favorite scenario: coming up with keyboard parts for a cover song that doesn't have keyboards on it..

 

I do that often also... pads, strings or brass are good sounds to augment songs which don"t feature keyboard parts, aside from adding a more traditional keyboard sound of piano or organ. Also can add a guitar sound to harmonize or complement the guitarist - I use a distorted guitar patch on Heaven and Hell and it works pretty well.

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I don't think anyone on this thread has brought up my favorite scenario: coming up with keyboard parts for a cover song that doesn't have keyboards on it.

 

I play in a dance/party band and we do a "rock" medley of Barracuda/Crazy Train/Shook Me All Night Long and on each track I use a synth stab patch(Syn Brass The Sailor) on my Kronos X during the chorus.

Kronos 88 Platinum, Yamaha YC88, Subsequent 37, Korg CX3, Hydrasynth 49-key, Nord Electro 5D 73, QSC K8.2, Lester K

 

Me & The Boyz

Chris Beard Band

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When I was talking with the guitar player in my new band, which is a "Funky Blues Project" prior to getting the gig, he asked me how I would approach "Hold On Loosely" by 38 Special. I told him I would go with Hammond, heavily overdriven, and mimic the rhythm guitar. This was exactly what he hoped I would say. He had been working with a keyboardist that would kinda noodle around instead. Bobby, the guitar player, was looking for someone that would rock it harder.

 

As I told him at the time, "When I Rocks, I Rocks. When I Rolls, I Rolls."

 

That is kind of my approach to songs that have no keys, but multiple guitars. I'll play the rhythm played by the 2nd guitar, freeing up the guitar player to concentrate on the lead parts. The song will determine what sound I use, be it AP, Rhodes, Wurlitzer, Hammond. or any other miriad of sounds.

 

The biggest compliment I ever got from a band I sat in with is my overall approach to playing covers. I jammed with them, and afterwards they told me that they sounded better with me there than without me. I try to do that with all my cover bands.

 

"In the beginning, Adam had the blues, 'cause he was lonesome.

So God helped him and created woman.

 

Now everybody's got the blues."

 

Willie Dixon

 

 

 

 

 

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Like many here, I learn the entire song on piano and chart it (usually Nashville style) Then I go back and add what ever other parts I might cover (Strings, bells, synth etc) one at a time. With that many tunes I usually listen to signature lines and learn them first. Then I will come back after playing a while and see if there is anything else that needs to be there. I sometimes write out a string line in case I FORGET it on a show. MOST IMPORTANT I listen to the songs in the car or anywhere I can to get familiar with them all. I ind that repeated listening is almost as good as rehearsing it on the boards!

Jimmy

 

Those are my principles, and if you don't like them... well, I have others. Groucho

NEW BAND CHECK THEM OUT

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