So, the drum recording was good. Today, however, I’m being my own worst enemy and faffing around. I resolve to do something today and report back. In the meantime here is a nice doodle I made, and a solo I recorded for Seb Cornellisen a while back.
So, the drum recording was good. Today, however, I’m being my own worst enemy and faffing around. I resolve to do something today and report back. In the meantime here is a nice doodle I made, and a solo I recorded for Seb Cornellisen a while back.
Today marks the first day of a month of working on my album. Here’s what I got from day 1.
First step was to trot over to Digital Village to buy some AKG 414s, or maybe a pair of 214s and a ribbon mic… But, I was given a left turn by the prospect of trying a matched pair of sE4400a mics for a few days. So, armed with the 4400s and with the arrival of drummer Matt Home, I started recording what I thought would be a series of loops for me to chop and change at will. But Matt turned out to have such an unbelievably great feel, I abandoned that in favour of letting him have-at-it for a few takes, and then off to Munson’s for lunch.
In the grander scheme of things, yes, I got some drums recorded. My first intentions went by the wayside. But that’s ok, better things happened. Lesson No.1 – go with the flow.
I’d mentioned about the recording on Facebook and Twitter, and consequently I’ve gotten masses of good advice re: mics. Also, I videoed the recording and showed it to my good buddy James Knight, who also gave me some stellar advice on mic placement, and what effect it would have on the recorded sound, different polar patterns, phase issues, and more. But all after the fact.
So – lesson No.2 – I’m reminded that you learn most by doing. If you’re sat on your arse, practicing your scales, reading books, thinking ‘practice, practice, and THEN I’ll be ready’. Stop right now. You’re wasting your time. Put your foot out – publicly – and have a go. You’ll learn so much more. But, and here’s the rub, you need people who are not afraid of letting you know the things you need to know. And that’s where your friends, followers, mates, and networks like Twitter, Facebook, A Jam Session, The Pub, and so on, make the difference.
So, what about the brain surgeon? Do they just ‘have a go’? Surely there must be a line you have to cross. I wonder if a brain surgeon would say that after the first ‘proper go’ they learned more? Or was it all prep?
Shot myself in the foot there, eh?
Anyway, off to edit some drums…
I’m going to be adding lessons/transcription/articles/guitar stuff and so on under the banner of ‘The Jewel Box‘ so you’ll be able to search for them under that tag.
For starters, here’s an old Guitarist column, I’ll upload a new one every now and then. Let me know if they’re of any use. The content of all the columns is pretty random. Sometimes it’s simple stuff like this; sometimes it’s a bit more involved.
Here’s the audio, which you can download
And here’s the music + TAB
Here are some ways to target the IV chord of a 12 bar blues. The IV chord usually happens in bar 5. In other words, if you’re playing a blues in G, it’s how to get from the G7 chord to the C7 chord. Here are four variations on this theme.
In the first example I’ve added the b9 and #5 to the G7 chord. These notes provide tension over the G7, propelling movement towards the C7. Notice the Ab [G7’s b9] resolves to C9 chord’s G note and the D# [G7’s #5] resolves to C9’s D.
Example 2 uses a Db13 that resolves down a semitone to the C7. I’ve placed the chord on beat 2 to call more attention to the chord and thus heighten the tension. Db7 is a tritone substitution for G7.
Example 3 places an Ab-7 before the Db9. Also I’ve missed out the top note on this example to vary the sound of the harmony. Think of the G13 voicing in example 1 in three segments:
Now try removing one or more segments of the chord to change the sound. For example, don’t play the bass note, or, just play the 3rd and 7th. This is an easy way to get more mileage out of what you already know.
Example 4 uses a sequence that descends in whole tones to target the C7. These variations are often suggested by the bass player, [as the music is happening – not over a pint after the gig] and the soloist might alter their improvisation to reflect the suggested harmony.
So, that said, anyone else got any classy ways of arriving at the IV chord? Please share them here…
You can check out all 29 lessons that I made in The Jewel Box
Check this out…
I saw this on Channel 4’s Equinox programme when it came out. In particular, Jerry Donahue’s playing is extraordinary. It blew my mind then and it still blows my mind now. The playing is sooo funky and the bending is utterly beyond belief. Just incredible. Great ‘English’ commentary too – ‘if this looks easy, it’s not’ [I say! Really, old bean?].
Also this track, taken from the album ‘Telecasting’, was featured on Guitar Player Magazine’s flexi-disk insert (which I still have) in 198something and Jerry’s playing on that is even better than this. Unfortunately I don’t have an original copy of ‘Telecasting’. I got the re-mastered version but the sound is kind of smoothed-out and it doesn’t have the same bite and twang as this I think. Anyway, for bending strings Jerry Donahue is my favourite. Anyone else got any string-bending classics?
Back from Holland now and what a great trip it was. I was playing with Sebastiaan Cornellisen and Frans Vollink. Here’s a clip of the first tune from the second gig. I’m sure more will surface on YouTube soon.
While I was out there I got Seb to record some drums for my album. More about that soon after I figure out why my camera seems not to want to let me remove the video from its grasp…
Off to Holland for some gigs with monster drummer Sebastiaan Cornelissen and Frans Vollink, really looking forward to these gigs. I think we’re doing a sort of CD opening night for Seb’s just-released CD ‘UTurn‘.
The album has a huge list of guests: Gary Husband, Jimmy Earl, Steve Hunt, Scott Kinsey, Gerard Presencer, Richard Hallebeek, Alex Machacek, Susan Weinert, Leonardo Amuedo, Tom Kennedy, Frans Vollink, Hardian Feraud, Johnny Copland, Gary Willis and Ruud Cornelissen. I play a guitar solo on ‘4 Hands‘ with Seb and Hadrian Feraud, You can check out some of the music here or at Seb’s site. I haven’t heard the whole thing yet but the clips all sound pretty amazing.
There’s also a chance we’ll get to do a bit of recording for my album too while we’re out there so hopefully I’ll have some video/audio stuff to post here. Either that or I’ll buy some cheese and drink lots of really strong coffee.
