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#1
10-09-2016, 06:24 PM
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Things to keep in mind...
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There are still so many beautiful things to be said in C major... Sergei Prokofiev 
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#2
10-09-2016, 06:45 PM
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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
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#3
10-10-2016, 07:34 AM
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Quote:
You certainly can't argue with rhythm advice that comes (even indirectly) from Dizzy Gillespie! I only have a slight concern here. I don't practice with a metronome either, but I know that when I did (once some time ago) it woke me up to how flexible my intuitive sense of time is - in a bad way. I.e., I knew I tended to speed up when improvising, to get ahead of the beat. It took the metronome to really throw it in my face, and make me realise how the brain slips into different gears (without you being aware of it) depending on the complexity of what you're doing. Playing rhythm to a steady tempo is fine (no need for a metronome, and better without it); start improvising and real world time slows down, because your brain speeds up, to let you think faster. That's BAD for music. Otherwise, I'm right with everything in that link. One just has to be aware of how one's sense of time is organic, dependent on circumstances, amount of adrenalin, etc. If you can develop the "African" sense of groove first, and keep that as your foundation, that's ideal. But it's easier said than done, and is not natural. It has to be trained. Here's Hal Galper (who's also worked with Mike Longo) on the same topic. (He's talking "jazz", but it applies to all music derived from the "African diaspora", and that includes rock and blues.) https://www.youtube.com/watch?v=a2XnB5G6oSc
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen.
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#4
10-10-2016, 08:00 AM
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I am a huge advocate of the 20 minute learning window (based on neural pathway articles I've read).
I liked his attitude about guitar and music a lot The nonsense about water had nothing to do with guitar but water-sheep spread the word like water-religion.
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Fazool "The wand chooses the wizard, Mr. Potter" Taylor GC7, GA3-12, SB2-C, SB2-Cp...... Ibanez AVC-11MHx , AC-240
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#5
10-10-2016, 08:26 AM
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Quote:
 Personally I will hold a rock steady tempo on some tunes. On other tunes I will vary it considerably.
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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
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#6
10-10-2016, 08:28 AM
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I am so happy there was a rhythm reference to juggling!! I've been a juggler for about 30 years and a guitarist for about 3. One of the things that has been the most natural for me to pick up is the rhythm / groove / whatever. With juggling, I've learned over the years that a consistent beat is good but sometimes, you need that space to make things work. Additionally, if something gets a bit out of sync, being able to get back in the groove is VERY important. With juggling, getting out of sync results in a literal crashing down of the pattern. I'm certainly not perfect but playing with other beginners, that is one area that I am happy to have a head start in.
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Original music here: Spotify Artist Page
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#7
10-10-2016, 09:58 AM
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 . But I didn't mean you need metronomes to train your sense of time. What you do need is a steady groove, and some other musicians to play with, so you listen to each other, you feel it (outside and in) and it all averages out. African music - ridiculous generalisation - tends to be like that. The problem in western music - at least at the kind of amateur level where people's sense of time is sloppy (and not in a good way) - is that rhythm is not trained in that way. Clearly, in some people, it's hardly trained at all. I wouldn't say metronomes are good training tools. But they are good for highlighting the extent of the problem - a crude diagnostic tool. The metronome exposed my problem (cruelly). But I tackled the problem without (much) using the metronome; I just remembered to be conscious of the time, and not take it for granted. I developed a different attitude to it, and listened differently.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen.
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#8
10-10-2016, 10:42 AM
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Tempo -- the easiest thing to understand, in many ways the hardest thing to do.
Watch Steve Winwood do this acoustic version of John Barleycorn. A simple song really -- shapes are D, Amin, C, G, an Esus and E. All first position, and just some basic single note strikes with the pick and a pull off on the Amin (consistently every time). He does it with capo at the 7th fret -- perfect for his high register -- but you can do it at the 5th too. Watch how in the first rendition of the bridge line, the line with the Esus/E/Esus/E strum, he is just slightly off tempo. After that? Doesn't miss a beat. THAT's playing.
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2011 Gibson J-45 Standard 2014 Martin D35 1971 Harmony H1204 Sovereign Jet Black 1970ish Harmony Buck Owens American 2012 Martin D1AXE Last edited by KarlK; 10-10-2016 at 10:49 AM.
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#9
10-10-2016, 04:23 PM
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Quote:
__________________
"There is a crack in everything. That's how the light gets in." - Leonard Cohen.
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#10
10-10-2016, 10:11 PM
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Adam is a great guitar player and I have talked with him about his approach many times but the metronome thing is a controversial. Tommy Emmanuel (which I respect most) said to me that he always practice(d) with metronome and couple years ago I took him to one studio in Bangkok where he recorded one of his songs to a producer who added drums, keyboards etc. to the track later. That would be impossible without metronome.
I have recorded several songs with metronome but some songs sound "lazy" with it. For example Stairway To Heaven starts like 68 bpm and ends 130 bpm. It speeds us from start to finish. Some people like John Bonhams "unsteady" drumming and some don't but in Stairway To Heaven it works. I've been listening past couple weeks early blues fingerstyle players and they speed up and their rhythm structure of different parts is all over the place but it just works (most of times). But mainly I like to listen players who can play in time. You can speed up or slow down but you need to get that time back from somewhere. Last edited by TomiPaldanius; 10-10-2016 at 10:19 PM.
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#11
10-11-2016, 03:22 AM
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) Page's intro starts at around 74, but it's deliberately flexible, with slight rit's and pauses. It's reasonably consistent for the first 2 minutes - moving either side of 74, but not speeding up on average (which shows Page's command of time). When the chord riff comes in it starts accelerating very gradually, getting up to 80 by 3:00, and roughly 85 by 4:00 - but still with random pauses at the ends of lines. When Bonham comes in he picks up the 85 and holds it pretty steady. At the next chord break leading into the solo, it picks up noticeably - which sounds like a deliberate tempo change to mark the different section (with a different rhythmic feel), although it still does accelerate slightly from around 96 up to 100 by the time the vocal comes back. It stays around 100 right up to the final extreme slow-down for the last ad lib title phrase. So, nowhere near 130! - but still a good example of organic tempo flexibility (particularly the way the slight acceleration is linked with increasing intensity and dynamics), in what is, after all, a long episodic piece where it would be quite natural to have even more obvious and deliberate tempo changes than they do. My favourite example of acceleration throughout a piece is Herbie Hancock's Chameleon. It starts at 94 and gets up to 104 after only 2 minutes, and 110 by 5 minutes - but does hold fairly steady beyond that (maybe 112-114 by the end of the 15 minute track). For a piece with such a cool, funky groove at the outset, the acceleration is a little unsettling, as if they thought - collectively - that it was just a little too cool and funky and wanted to pep it up a bit. Such experienced musicians would not have done it accidentally.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. Last edited by JonPR; 10-11-2016 at 03:32 AM.
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#12
10-11-2016, 03:31 AM
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Yes its not 130 (68 to 96 is the scale I used to play it if I remember right) but anyhow you get the point. Years ago I used to play it with metronome and it just does not sound right. Cannot even listen it anymore
 Number 130 I got because I just ear trained Bohemian Rhapsody from Queen and it starts around 70 and the solo part I play around 130. Original is even faster. Double tempo at the end from the beginning.
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#13
10-11-2016, 03:43 AM
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Quote:
But obviously I agree that a metronome is hardly appropriate for either tune.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen.
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