Martin
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Post by Martin on Mar 30, 2016 11:56:57 GMT
I keep meaning to learn that old fingerstyle staple, Freight Train.
While perusing Youtube for a decent version that I liked to give me a starting point, I came upon this:
What's everyone's thoughts on this style/version of a relatively simple song?
To me, there's far too much going on that's not anywhere near the style of the song, but am I missing something?
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leoroberts
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Post by leoroberts on Mar 30, 2016 13:40:08 GMT
It's certainly in the style of TE - why play one note when you can play 427?
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Post by lavaman on Mar 30, 2016 14:02:40 GMT
There's a lot to be said for the old saying "Play to EXPRESS not IMPRESS"
I much prefer this version. Elizabeth Cotton has really impressive technique 'cause she plays her guitar upside down.
Iain
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Post by gekko on Mar 30, 2016 15:31:26 GMT
I really like this version by Martin Tallstrom:
Plenty going on there but it's subtle enough not to ruin the overall feel of the tune.
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Martin
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Post by Martin on Mar 30, 2016 15:39:11 GMT
Now THAT is how to use your fancy schmancy technique I wish there was a nice two chord strum version that sounded as good
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Post by andyhowell on Mar 30, 2016 19:11:07 GMT
To me, there's far too much going on that's not anywhere near the style of the song, but am I missing something? [/quote]
Technique, hah!
Anything that 'sounds good' works for me.
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Post by earthbalm on Mar 30, 2016 19:23:17 GMT
There's a lot to be said for the old saying "Play to EXPRESS not IMPRESS" I much prefer this version. Elizabeth Cotton has really impressive technique 'cause she plays her guitar upside down. Iain It has the same ease and economy of physical movement demonstrated by MJH. Beautiful. I prefer this but I think all versions have their place. Shall watch the "Tallstrom" video shortly.
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ocarolan
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Post by ocarolan on Mar 30, 2016 19:27:32 GMT
Martin - your vid of FT in the style of TE didn't move me either! Simple but well done is more what I like to hear. Elizabeth Cotton hits the mark (obviously!) and I quite like Martin Tallstrom's version for its bounce at the start, though some of the twiddles go a bit far. I just listened to colins 's version on another thread earlier (can't remember where!) and reckon he's got it about right! Keith edit - here is Colin's version, from a while back - www.acousticsoundboard.co.uk/thread/6037/julian-lage-freight-train?page=1&scrollTo=86900
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Martin
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Post by Martin on Mar 30, 2016 20:57:33 GMT
Yep, colins has it spot on there
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missclarktree
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Post by missclarktree on Mar 30, 2016 21:04:50 GMT
You can certainly have too many notes. On the plus side, playing in the TE style must give you fit fingers and burn more calories.
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Post by earwighoney on Mar 30, 2016 21:57:26 GMT
There's a kind of flatpicking vibe to the Freight Train performance. It might not be my thing but the technique really is impressive.
The amount of technique IMO is dependant to the context and whether it is needed for the song/composition/improvisation to tell it's relevant story. Exercising greater technique more so than is required can result in the piece being used to serve the technique than vice versa which can result in something that might defeat the underlying aesthetic/story of the piece, but there are always exceptions to the rule.
I sometimes find 'modern' fingerstyle acoustic players to be a bit like Michael Bolton. A lot of emphasis on delivery but lacking in emotional context or producing anything interesting.
There. I did it. Mentioned his name twice on an acoustic forum in one day.
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Riverman
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Post by Riverman on Mar 30, 2016 22:05:43 GMT
There. I did it. Mentioned his name twice on an acoustic forum in one day.
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Post by vikingblues on Mar 31, 2016 6:28:35 GMT
Sadly flash is what a big chunk of an audience like / want - so .... to maximise popularity and earn a better living technique often wins over emotion. Often there's so much audience noise with people yapping it's a wonder they can even hear the flashy stuff! " a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing." Mark
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Post by andyhowell on Mar 31, 2016 7:00:24 GMT
Flash works for Tommy in the sense that a You Tube video, seen for the first time, is often stunning!
What I admire about him is how he has turned this into a really successful cottage industry. There's a TED talk on this which interesting.
Have I ever been moved to go to a concert - nope!
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Post by delb0y on Mar 31, 2016 7:03:06 GMT
There are some great versions of FT linked here. Like others, not overly keen on the "Tommy" style version, but I really like all the others especially Martin Tallstrom's. I wish I could play like that!
I think there's a time and place and it's always good (IMHO) to have a few chops in the bank for those rare times and places where a bit of flash goes down well. Most of the time this means an occasion when there are lots of musicians watching, rather than real people. I've played my "flash" version of Staggerlee ("flash" here is relative - it's still more Tommy Cooper than Tommy Emmanuel) at Open Mics frequented pretty much only by musicians (*) and it's gone down pretty well but at a proper gig it's died a death whilst my partner in crime's two chord strummed song about the Malvern Hills stopped people in their tracks.
I have a love hate relationship with Tommy E - although he's blissfully unaware of this relationship. I like to watch him, and I most enjoy the little impromptu after-show jams and demonstrations you can find on YouTube. Many of those are sublime. But I've yet to find a recording that I want to play more than once, or even own. It's as if it's more visual than aural. I guess you could say I like to watch Tommy Emmanuel and listen to John Fahey.
(*) Round these parts you can go to an OM every night of the week, sometimes more than one, but they're all populated almost exclusively by musicians. It feels like pay-for-play: buy a pint or two and get to play three songs in public. I do go a few times a year to try out new songs, and listen to others, and to catch up with friends, and to practice playing in front of folks, but somehow it feels very musically incestuous and as if the general public aren't included.
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