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"Right Here Waiting" by Richard Marx (cover)
This is my cover of Richard Marx's Grammy winning song, "Right Here Waiting" from 1989. It only recently occurred to me to attempt this song because it's played on the piano and doesn't really sound like a "guitar song." Richard Marx played this on the piano in the key of C so it was not terribly hard to figure out the accompaniment on the guitar. I looked around for chords and lyrics on the Internet but the ones I found were terribly inaccurate. I played this on the guitar more like people tend to play the piano, where the chorus melody is played out in the accompaniment. At first I thought, Oh, this doesn't work at all, but after a while, I got better at phrasing the melody in my own accompaniment, and I guess I got used to it. It's kind of like a blues approach to accompaniment, where so often old blues players would outline the song melody with their accompaniment. Of course a pop song like this doesn't sound anything like blues. I hope you like this... I did change the key and dropped the pitch of the song a little. I thought my voice sounded a little too strained at my age to be singing at his original pitch. Besides, a lot of guitar players are older guys who might like to try this song pitched down just a little bit. Because I played this on capo 2, the song could easily be dropped even lower. Thanks so much for listening! - Glenn
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#2
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I really liked this Glenn, and that is a gorgeous Olson, by the way.
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Mark |
#3
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I do agree, that Olson works really well on this song. Nice thick trebles for the melody line. Thanks, Glenn
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#4
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Is that a cedar top?
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Mark |
#5
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I don't know how you do it, but everything - playing, singing, recording- just keeps getting better and better.
What kind of equipment are you using to record yourself with? It sounds incredibly clean and natural.
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Fingerpicking Acoustic Blues/Rag/Folk/Slide Lessons https://www.tobywalkerslessons.com/ |
#6
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hi Capn'
Yes, my Olson SJ has a cedar top, back and sides are East Indian Rosewood. It has a kind of velvety sound, doesn't it? And as I noted, rather fat trebles. My rather short picking nails do not pull a lot of treble out of this guitar, while James Taylor, as an example, gets a lot of treble out of his Olsons because his artificial nails are fairly long, emphasizing the high frequencies. Thanks, Glenn
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#7
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How very generous of you to say such positive things! Thank you Toby, and thank you for taking the time from your busy schedule to listen and comment! You are a real treasure here on the forum! - Glenn
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#8
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Beautiful - excellent performance!
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#9
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Thank you Colin! Appreciate your listening and your comments!
- Glenn
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#10
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Dustin Furlow -Award-winning songwriter/guitarist, Visual storyteller -D’Addario, G7th and K&K Sound Artist -Music on Spotify, Apple Music and YouTube: www.youtube.com/dustinfurlow -New album "Serene" (Oct '23) and tablature available at www.dustinfurlow.com |
#11
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Yes, that's been my experience, too. When my fingernails get too long, the trebles become more prominent, and then I find I don't care for the sound as much. When I hear that sound, it reminds me to file my nails a little shorter. I don't worry about the thumb nail because I use a thumb pick. Regards, Glenn
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#12
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Wow - awesome job! A very different feel from the piano original, but it really works. Thank you Glenn.
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#13
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And when I think of it, the top on my Olson SJ is very much "carmel cedar," isn't it? Cool! Thanks for commenting! - Glenn
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#14
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I realized that I did not completely respond to your comments above. I am recording the audio separately from the video cameras using good studio microphones (Audio Technica AT4050 large diaphragm mic for voice, two Rode NT5 small diaphragm condenser mics with omni capsules for stereo guitar) to a computer based recording system (Steinberg Cubase). I use a hand clap before the recording to get all recording systems (audio recording plus 3 video cameras) synchronized later in Adobe Premier. I then use Adobe Premier Elements to do the video programming. All those fades and zooms are done electronically with Adobe Premier since all cameras are sitting on tripods and nobody is in the studio with me. I have learned over the last year how to get a little more out of the cameras by using the Premier software to simulate a little more feel of movement during the final video with pans and zooms. It helps to be a nerdy engineer, though I didn't learn this stuff just overnight. Thanks again for your very kind comments, Toby. - Glenn
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#15
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Marvelous!!!
Really enjoy that! Pp |