Post by vikingblues on Jul 29, 2017 19:57:01 GMT
I used to follow on line lessons by a teacher called David Wallimann when I was on the dark side and playing electric. He is great at suggesting ways of exploring and finding your own way to do things and play music that is your own. His background is in the prog and jazz areas. At 22 won first prize at the Tal Farlow French National Jazz Content.
He was instrumental (ho-ho ) in getting the hang of playing improvised lead solos over backing tracks and getting into modes.
Although I'm now on the acoustic trail I do still take a look at some of his new teaching videos and try and apply some to the acoustic realm.
Today I tried for the first time to amalgamate a couple of his suggestions in a way of creating music on the acoustic while trying to sharpen the listening skills.
First choose a scale. To a lack of my own surprise I chose Phrygian. In D so I didn't have to retune the new GG guitar from DADGAD.
Then record a bass line using the notes of that scale - avoid the bass line following chordal progressions and try to use it more as a rhythmic part than anything else.
Then record a chordal part - three or four note chords played as arpeggios or as block chords. But taking those 3 of 4 note clusters without any thought as to which chords they are. Just using notes of the scale - trying to make them random to some extent and maybe going back and repeating ones that sounded good.
Finally record a lead part. Trying to listen to what has become your "backing" in tracks 1 & 2 and reacting to it, judging intervals, and meshing with it. If possible!
Obviously there will be some rough edges and, if like me you forget the scale at some point on the fretboard a bum note or two. But it's fascinating what results.
It came out sounding a bit fusion. I had no idea what it would be when I started it. Particularly fascinating what results from those chordal clusters - very different to bog standard chords.
I think ideally, if you're good enough you do the chords and lead in the one go - but I'm not, so I didn't.
My better half thought that what I described as the method sounded very complicated.
Maybe I'm not taking account of what I've learned, but I was thinking it's incredibly simple as a concept.
As a practical demo of what occurred I've linked the resulting recording below. I'm encouraged to try a few of these. All three parts are the Vintage V2000MGG - the bass by a software octave adjuster. A little tiny bit of reverb added, otherwise just what the Avantone microphones picked up.
"Exploring with a Nod Towards Fusion"
Mark
He was instrumental (ho-ho ) in getting the hang of playing improvised lead solos over backing tracks and getting into modes.
Although I'm now on the acoustic trail I do still take a look at some of his new teaching videos and try and apply some to the acoustic realm.
Today I tried for the first time to amalgamate a couple of his suggestions in a way of creating music on the acoustic while trying to sharpen the listening skills.
First choose a scale. To a lack of my own surprise I chose Phrygian. In D so I didn't have to retune the new GG guitar from DADGAD.
Then record a bass line using the notes of that scale - avoid the bass line following chordal progressions and try to use it more as a rhythmic part than anything else.
Then record a chordal part - three or four note chords played as arpeggios or as block chords. But taking those 3 of 4 note clusters without any thought as to which chords they are. Just using notes of the scale - trying to make them random to some extent and maybe going back and repeating ones that sounded good.
Finally record a lead part. Trying to listen to what has become your "backing" in tracks 1 & 2 and reacting to it, judging intervals, and meshing with it. If possible!
Obviously there will be some rough edges and, if like me you forget the scale at some point on the fretboard a bum note or two. But it's fascinating what results.
It came out sounding a bit fusion. I had no idea what it would be when I started it. Particularly fascinating what results from those chordal clusters - very different to bog standard chords.
I think ideally, if you're good enough you do the chords and lead in the one go - but I'm not, so I didn't.
My better half thought that what I described as the method sounded very complicated.
Maybe I'm not taking account of what I've learned, but I was thinking it's incredibly simple as a concept.
As a practical demo of what occurred I've linked the resulting recording below. I'm encouraged to try a few of these. All three parts are the Vintage V2000MGG - the bass by a software octave adjuster. A little tiny bit of reverb added, otherwise just what the Avantone microphones picked up.
"Exploring with a Nod Towards Fusion"
Mark