#1
|
|||
|
|||
Wrapping my head around a melody over a busy rhythm
I was hoping someone here had advice or tips for me. I am working on a tune that's a simple melody over a busy rhythm and my brain is getting twisted trying to multitask it. I came up with it by playing back the rhythm on my phone while perfecting the melody, but when I try to play the rhythm and melody at the same time wires get crossed in my brain.
The notes are slightly apart from another but not a full in-between like a fingerpicked song where the rhythm is a steady 4/4... does that make sense lol? I don't want to compromise the rhythm part but I think I may have created something that I'm unable to play? Any advice? Please ignore if you rolled your eyes during my 1st world problem ha.
__________________
Why would you be reading a signature when there's so much V-Brace stuff to talk about? |
#2
|
|||
|
|||
When I'm trying to separate the rhythm from the melody in a piece I'm learning or composing, I have to have the rhythm part "overlearned" to the point where it would be like singing along to someone else's playing.
I also will record the rhythm part and then work on singing the melody over the recording over and over to learn to be able to separate the parts so one doesn't "bleed" over into the other. Does that make sense? |
#3
|
|||
|
|||
Yeah, totally. That may be where I'm going wrong, the rhythm part is still quite new. I need to play it into the ground until I can play it without thinking so I can focus on the melody. Thanks, that makes perfect sense.
__________________
Why would you be reading a signature when there's so much V-Brace stuff to talk about? |
#4
|
|||
|
|||
The only thing that works for me in that situation is slowing it down. I mean waaay down, like 1/4 regular speed. Then take it one measure at a time.
At that point I don't think of it as multitasking; it's just one complex part that my fingers have to be able to execute by going the right places at the right times. As I gradually bring it up to full speed, I make sure the dynamics and phrasing are right to make the separate voices of melody and rhythm distinct. But first I have to get it mechanically correct. YMMV, etc. |
#5
|
|||
|
|||
I tried that but I didn't stay dedicated to the concept. I believe I will have to set a metronome and stick to it. Thanks for the advice
__________________
Why would you be reading a signature when there's so much V-Brace stuff to talk about? |
#6
|
|||
|
|||
Perhaps you need to flip the script. Try recording the melody and then play the rhythm part over and over until your fingers just know where to go. Then after some time continue to play the rhythm with the recorded melody, then wean yourself off the recording.
At a certain point our fingers will take over the complicated guitar stuff and you can almost disengage your brain. In fact I find that when I'm playing well rehearsed stuff if even try to think about it I botch it up. Imagine what a pianist goes through. Speaking of pianists... Have you tried playing/singing while reading the music with both melody and rhythm written out together? I find that having it like that brings some mental congruity even if it is a little unmusical at first.
__________________
Assuming is not knowing. Knowing is NOT the same as understanding. There is a difference between compassion and wisdom, however compassion cannot supplant wisdom, and wisdom can not occur without understanding. facts don't care about your feelings and FEELINGS ALONE MAKE FOR TERRIBLE, often irreversible DECISIONS |
#7
|
|||
|
|||
It wasn’t entirely clear from the OP. Are you fingerpicking, flatpicking, or hybrid picking? Do the notes in the melody and bass happen literally simultaneously? Or is it more like a flat picked broken pattern where you go back-and-forth between the groove and the melody?
Different techniques, different styles, different approaches. More details could be helpful. |
#8
|
|||
|
|||
Quote:
Rhythm consists of hammer-ons, I believe in what's considered a swing. The melody does indeed line up with and go in between the rhythm in a traditional way, the melody doesn't quite 'line-up' with the hammer-on portion.
__________________
Why would you be reading a signature when there's so much V-Brace stuff to talk about? |
#9
|
||||
|
||||
Post a video of the specific song you are talking about. Problems and issues vary with the specifics.
__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#10
|
|||
|
|||
It's not a cover, I'm writing it.
__________________
Why would you be reading a signature when there's so much V-Brace stuff to talk about? |
#11
|
|||
|
|||
Quote:
You need to reduce the rhythm part to its essence. Play the 'bass' part/notes to the groove that you have in your head, and DO NOT go crazy trying be a 'bass player'. Insinuation, implication, suggestion, etc go a LONG way towards getting the heart of the song beating strongly enough to be able to play the chord/melody over it. I do that sort of thing all the time. I only have the finished track to show you, but the guitar you're hearing is just one guitar with a couple of percussion overdubs. https://soundcloud.com/user-676357162/uh-oh Hopefully it will inspire you. Regards, Howard |
#12
|
|||
|
|||
Quote:
I was afraid of the idea of streamlining the rhythm part. I've kinda always been a rhythm player at heart and the main inspiration was to do the opposite of a traditional solo acoustic piece (simple rhythm/complex lead).
__________________
Why would you be reading a signature when there's so much V-Brace stuff to talk about? |
#13
|
||||
|
||||
Nothing you could post?
In any case it's pretty easy to write yourself right into a corner with no way out other than to make adjustments to the original plan.
__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#14
|
|||
|
|||
I'm not at home and able to record a quick take But yeah, I think you nailed it... I painted myself into a corner.
__________________
Why would you be reading a signature when there's so much V-Brace stuff to talk about? |