d halfnote
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Posts posted by d halfnote
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Interestingly enough, the main online refs to this gtr seem to be this thread !
However there is this set of connections that may provide some further leads...
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Thanks, DaveD.
I'm a guitarist &, therefore, deeply into the fantastic Derek Trucks & his partner Sue Tedeschi.
I don't really follow the lives of most musos the way I did when a young player so I didn't know of the travails that KB & his friends, family & maybe fans (that's triple FFF, F ya get me) knew.
There's nothing but a gap when anyone goes elsewhere, ferget if you were his family.
https://liveforlivemusic.com/features/oteil-burbridge-kofi-tribute/
May I add this from him.
[video:youtube]
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I think what P90 is describing might also be considered the ongoing evolution of style / form / & cruel K-RULES !
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Uh, "dlassical music" from, y'know, what culture ?
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...I have fully learned the following:
Major scale
Pentatonics
Dorian...
Wow---I myself have never fully learned anything !
I also try to leave the modes/scales approach and I also throw in just some "from the gut" playing (d would be proud of me ;-)).Hey, cat, 7 things you never needa wonder abt is what I think of you !
People who hear me play now are amazed that i can devour the entire neck and stay in key.Eat 'em up, cat !
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Not sure how sheet music fits in as a trap or anything other than another tool :idk
But I take yer point abt the necessity of sheer physical exercises as long as the exercise does not become the end result.
I've heard some of yer stuff & yer good.
Maybe you should consider a latter-day Bach thing wherein you create a series of etudes that start w/yer explorations of various modes & explore the melodic kernels that you find therin.
Been v busy lately but I'm still looking at that list of songs you posted to see how they fit in w/various modes.
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Perhaps this
Do not worry abt what you play if it gets across what you intend !
should've been written thus:
Do not worry abt what you play or how you play it
so much as the effect is has on listeners.
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Q Tips
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STOP !
Do Not Drill.
Do not force anything into what you play.
Music is a social communicative tool.
It is not a system of rules nor a preset science.
Music is for communicating w/ other ppl.
Look 4 the ways 2 communicate.
If you think you need to modify how you communicate, OK but quit tryna BE CORRECT !
Do U think that Luis de Milán or Jimi Hendrix thought much abt BEING CORRECT ?!
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Sorry to yell but some shthds here got me stirred up.
Yer a player.
Keep playing.
Do not worry abt what you play if it gets across what you intend !
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I hope
(& suspect, hopefully
)that you can discern the weeds from the chaff here.
Quotes that refer you
to
other explications of info
are but deeper morasses of what you can already
& have already found.
Play music
& listen to what it tells you.
As A-String said, understand what yer yerself doing
Roll back to dig it deeper.
Hear what you hear.
[video:youtube]https://www.youtube.com/watch?v=OOwBDlcasZ8
Best of, MF, & keep us informed !
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There's a great deal of misunderstanding, even amoungst authorities, on the development & history of modes.
As they were created in the 1st place in Greek era culture, in how the developed during the Middle Ages (basically their tranliteration into European music got them all turned around).
I'll reiterate this a last time.
There are many ways to study them & develop their use.
One way is to concentrate on using them as exercises to develop music.
That can be interesting, mostly as an exercise that may become interesting music...or may not & just remain an exercise.
Another is to develop music that happens to have qualities associated w/any mode(s).
To me the best way to get the gist of anything is to reduce it to it's simplest qualities & add to that as one learns.
Therefore I view all scales/modes/etc, no matter what culture they're from, as variants on the major scale (which in fact is how the modern modes we generally use are defined).
You have the basic melodic notes involved in a tune, the "color" notes that elaborate the music & the harmonic notes that frame those.
Concentrate on what you want the music to sound like & express.
Then consider what went into that.
It will sort itself out.
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That's all cool, MF, but rather than the types of music, I wonder at the particular songs you like.
Which songs resonate w/you & would therefore be more familiar to you & easier to dig how any particular mode fits w/them ?
When you hip yerself to that is when you get hip to the overall effect.
Any style or, in the case of many bands such as The Beatles any general general categorization, can involve a wide variety of musical effects such as scales (while scales are generally considered building blocks & tools, they're really effects in how the note collections work to build a mood---in fact one might consider that the words mood & mode are equivalent in that the mode/scale works to affect the listener's mood !)
While AString remains a better & faster source of theory than me,
[Craig's really smart & experienced plus is VERY interested in helping ppl]
I do think I have 2 areas of expertise that may be valuable to you:
--- You are best served by the idea that there is no need to hurry.
Getting ahead of yerself is not really possible.
Until you get a grasp on an idea---a real understanding of what it does---yer only gonna spin yer wheels.
Like I said before, do not rush yerself.
--- Conceptual ideas are great for study but in the case of music---if not all art---the effect on the listener is what matters.
How many great players have not been able to connect w/ppl ?
As I suspect yer own experience shows, the feeling imparted by music is what matters.
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I'll chk yer latest music post out
but in the meantime here's a chance to teach me something...
WTF are "dishpans" ?!
I doubt it has to do w/this..........but :idk
JAPAN IN A DISHPAN
[video:youtube]
JAPAN IN A DISHPAN BASS SOLO
[video:youtube]
SOMETHIN' ELSIE ALTOGETHER
[video:youtube]
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MF, I think yer on the right track in some ways but I would, again, emphasize the value of putting music studies in a definite context.
One can explore & learn from simply playing forms & patterns.
That's where many very cool creations start but the real expression of music is songs, melodies & other thangs.
That's kinda what y'just wrote but it's more than feels, although those are also valid.
"The Blues", for example, is a feel (or set of feels).
I asked before nut can you tell me a few examples of yer fave songs or music ?
Styles? Cultures ?
I think you'd get a quicker idea of the expressive qualities of modes by studying how they fit w/the music you "feel" & how their nuances affected you.
Abt this...
...so i get the feel of how the shapes sound in different keys.That's a sticking point for me & one that I think will waste yer time.
As I think I pointed out before, the idea that the same thing played in diff keys sounds diff is a misconception that's hung around for far to long.
It dates from the times when acoustic instruments had more narrow capabilities than in the modern world.
There is a real phenomena, tessitura, that relates to the pitch range of voices or instruments.
This is most noticeable at the extremes where an instrument or vox will sound v. diff than in it's general range.
In The Olde Daze, particularly w/European ensemble music, this meant that there really was a slightly diff emotion that could be attached to some combinations in certain ranges.
That eventually led to the sort of person who likes to over-categorize things, claiming there were diff expressive qualities inherent in diff keys.
That's not the way it works in the modern world where instruments, esp electronic insts, are much more uniform throughout their ranges.
Truth is that it's simply & solely an idea suggested by the various pitch ranges of instruments/vox & how we respond to what we're most accustomed to hearing.
For example, high pitches tend to sound strained; a rising pitch set suggests (depending on culture) lighter emotions & a descending phrase solemnity.
Try playing a passage in C; C#; D; E of any similarly close set of keys, however & you'll not really hear a diff.
Key has no more effect on music than yer BDay has on yer persona.
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& then there's this
[video:youtube]
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Re: Rivers of Nehil
Do all those cats sorta look like the same guy?
I'll have to look into that...I like conceptualists [*].
Well-recorded but only the sax solo really resonated w/me...Oh now the bass solo [5:08 + ] is giving me something to think abt & the drummist was clever throughout.
I also liked the little shiver-me-timbers ["shiver-me-timbres" ?] dance the vocalist did abt 6:15 in apparent response to the drum roll there [*].
Thanks for showing us something new (at least to me), Hugh !
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BTW & FWIW, Zappa's Inca Rds showed up (at least for me---YT picking material based on viewers's habits) as a follow up.
Could almost beb an extension of the "Owls" track !
[& the close-ups of FZ's fingers during his solo are particularly helpful
][video:youtube]
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MuFu, I meant no criticism nor intended faulting of yer ability to understand...only that I wondered if you might be pushing to hard in a race to reach yer goal & not savoring the territory along the way.
I think the enjoyment of music's the main thing.
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So, I know I am still jumping around, but please bear with me.
NO !
I had a mini breakthrough tonight.I learned that the Mixolydian scale is the same as the major scale except the 7th is flattened. Thus, I was able to play the mixolydian scale.
At risk of seeming pedantic, I recall that being my 1st post to this thread, when you were asking which mode might be most common.
That's not important in itself but I wonder if it indicates that yer too concerned abt acquiring info quickly & may be overloading yer "Mental In-Box" without taking time to investigate the subject by playing though & get a real feel for the way various scales/modes sound in various contexts.
That's not a criticism, MF, just a question.
When I was younger I was quite in a hurry to know things & it takes a while, perhaps, to realize that these things do take some time to become familiar.
We're never done with learning these things b/c as long as we play there will be nuances that we catch or develop.
Watch out for the time when you think you've nothing to learn---that's not a good sign !
Now, I am realizing that as long as I respect the fact that the interval distances remain the same ( in this case, the 7th is always flattened no matter where you play the notes and no matter what octave you start the root on), then you are safe playing it.Cool---but remember that as you play parts in context you may add or leave out notes. You aren't restricted to only playing the defining notes of scales/modes.
You can mix in other notes or even mix in diff modes...& you do not need to be aware of or have an intellectual justification for that.
It just need to be how you want things to sound.
Dig ?
I also realized why I had no much trouble with the video that Craig had kindly posted for me. You see Craig started the C major scale on the A string, 3rd fret. I was not aware, until tonight, that one can start a scale on any string.I thought it always had to start on the low E string. so when Craig was saying that he was paying the C major scale, and then trying to explain modes from there, my mind was stuck on "why isn't he starting on the low E, 8th fret?"
I didn't voice this question because I thought I'd sound stupid, but that was one of the things that was causing a block in my mind.
I am nowhere close to mastering modes, but I am starting to see the light at the end of the tunnel where the mixolydian mode is concerned.
So, when i asked about "shapes or patterns' of the mixolydian mode, i am thinking that the way I phrased it was awkward. What I should probably be saying is that it does not matter where you start the scale, as long as you respect the interval thing. this will cause the "shapes" to look different depending on what root note you are starting on, and what string you choose, but the intervals remain the same.
I am hoping I am correct.
I will try to check in on this thread tomorrow but after that, i will be away until the 20tjh.
Thanks for your patience.
Hey, pal, work at yer own pace.
This is a lifelong exercise in development.
Cut yerself a big slice of slack & enjoy playing music.
Don't think ya "hafta-hafta-hafta"---OK ?
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I see...
I'll have to take some time & look at the clips & charts before I find examples of what yer citing as differences.
Do you see what I'm pointing out, though, abt fingerings are only there as guidelines for study---not as yer only options ?
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[this was typed in the same time frame that encompassed the immediately preceding posts from MuFu]
If I understand correctly, yer looking for fingerings ("shapes"). Is that correct ?
In that regard you could play, as I believe has been stated already, any scale/mode starting on any note anywhere along the fretboard.
The relevant factors being...
--to practice exercises for dexterity;
--b/c some position offers comfortable fingering for the music yer gonna play in in a particular situation.
If I'm addressing the Q properly, I can't stress this enough:
the whole point of study & practice is to be prepared for playing what you want as you develop as a player.
The only real rules are what works to achieve the musical effects you want to invoke &, depending on style/genre/artistic goals, those desired results are up to what you intend to achieve in that context...which may be diff from what you intend in another context.
We've heard some of yer playing, so we know yer skilled.
You want to learn more & that's great; no one should be complacent & ongoing development is a goal more should pursue ... but I wonder if, for whatever reason, you might feel unnecessarily intimidated by what you think you don't know.
Remember: the very thing that will make you distinctive as a musician is what you do that's different.
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& ON THE DAY AFTER...
Well, as long as I don't hear PAUL McCARTNEY'S gosh-awful Christmas tune,or,
JOHN LENNON'S tune that reminds me of "Stewball"
and
That oh, too syrupy "Christmas Shoes" tripe, I'm OK.
Whitefang
Lennon was a notoious magpie but IO never knew he'd swiped that tune...or even that said tune existed.
When I looked it up it seemed a bit deep in the folk canon for John to be familiar w/ but then look what I found from, YIKES, 1969 just when Lennon was bringing his "So This Is XMas" game out !
[video:youtube]
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Updating an earlier entry
[video:youtube]
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I hope Mu Fu sees the Jan GP.
There's a multi-page analysis of how the Mixolydian mode's been used in abt 20 diff pop tunes.
There's also a particularly striking idea from Carol Kaye (a young jazz guitarist before she hit the studio scene as a bassist.
The study of chords & arpeggios is more vital than that of scales.
Point being, I think, that while melodic lines are the basis of songs, the harmonic/chordal structure of music is an easier, more direct way to understand contextually useful variations than the use of scales alone.
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[video:youtube]
Great bg vox by The Chipmonkettes !
D'ya think that track was accelerated in the box ?
Not the vox pitch but the tempo... :idk
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The Beatles, rather apparently after their meeting w/The Dyl
[video:youtube]
The Dyl wins by living longer
[video:youtube]
CB tells us the Rastafarian version
[video:youtube]
Transitional R&B track from Butterbeans & Susie
[video:youtube]
Albert Nelson (King) 'splains it his way
[video:youtube]
On a somewhat less humorous note but knee deep
[video:youtube]https://www.youtube.com/watch?v=7HzhOcj4L-s
Oh yeah, it's a gtr forum so here's a 2-fer to catch up
John Lee early
[video:youtube]https://www.youtube.com/watch?v=wjhRc8fQKHM
John Lee late
[video:youtube]
A, uh, KInky Kristmas (Dave does some trix
)[video:youtube]
Dig Christmas at the John Scofield digs
[video:youtube]
The Real Derek knocks over some dominoes
[video:youtube]
Another John & some kids from Harlem
[video:youtube]
All The King Of Rock'N'Roll Wanted Was A Rock'N'Roll 'Lectric Geetar
[video:youtube]https://www.youtube.com/watch?v=cCXx1Z8srYY
Who's got an encore ?
]
)
RIP Kofi Burbridge
in The Keyboard Corner
Posted
The TTB analog to "C Slop" or "M Brain"... :idk
Thx to Matthew Moore !
The transition from DT's slide to Liz Leo's t-bone was particularly striking just for the timbral effect---I though it was a dist gtr at 1st....