#16
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Most if the time "that player has soul" translates to "I like it."
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#17
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In this clip, Derek Trucks plays a soulful solo when BB King asks for it Other favorite soul guitarists: Jairus Mozee. TJ Whitelaw Kevin Byrd
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Current: 1952 Gibson J-45 - Schatten HFN passive / Fishman Matrix Infinity 1983 Washburn Timber Ridge Custom - Fishman Onboard Prefix Premium Blend & - Schatten HFN passive 2016 Gibson J-45 Standard - Fishman Onboard Prefix Premium Blend & - Schatten HFN passive backup Tonedexter & Sunnaudio Stage DI 1990 Yamaha FS-310 Past: 1995 Martin D-28 2015 Eastman E10SS Last edited by The Kid!; 06-20-2019 at 12:20 AM. |
#18
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In my opinion it comes from within, and can't be taught to those that don't have it. All the technique in the world won't get you there. You either feel it, or you don't.
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#19
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Some players seem to be able to take their audience along with them as they explore and find ways to express their music. It's a beautiful thing to experience from either position. I would call this soul.
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#20
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That seems to address the "charisma" aspect, but can you "hear" charisma on a record without seeing the performance? Or is there something a little deeper?
Part of it too, comes from conditioning. A lot of guitar players are conditioned to hear a bent note or a blues scale as "soulful." But I'd argue there's still something in the playing that makes those devices actually work versus sounding contrived. |
#21
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Quote:
George Burns (and others).
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#22
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Quote:
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#23
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Music is the purist form of magic. Art is laying ones self open to urges that are not fully understood while trying to expressing something. Sometimes they happen together. Not all people will be moved by the result. My moment of clarity with this issue came when I suspended all outside stimuli except the music and responded to it. I don't know if that is soulful. But it's fun.
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#24
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So true... Once you understand how the trick is performed, some of the innocence and the thrill of not understanding what actually happened is gone.
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#25
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Quote:
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Doerr Trinity 12 Fret 00 (Lutz/Maple) Edwinson Zephyr 13 Fret 00 (Adi/Coco) Froggy Bottom H-12 (Adi/EIR) Kostal 12 Fret OMC (German Spruce/Koa) Rainsong APSE 12 Fret (Carbon Fiber) Taylor 812ce-N 12 fret (Sitka/EIR Nylon) |
#26
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Once More With Feling!!!
Hi, I'm late to this party, but I have strong feelings about this subject.
Last week I went to play to a "folk" club. and sat politely waiting whilst some floor spots played before I went on. Whilst this is not "always" the situation, it is quite a common scenario. * Club organiser walks on and announces -Fred and Mabel, Jim, Jenny, or whoever, and walks off. * Audience politely claps. * One or two people walk on and place large music stands in front of themselves, hiding their instruments and/or faces from the audience. * They sit/stand and tune up (Why did't they do that before??) * They talk, giggle, whisper to each other, rustle song sheets or press their ipad. * (Maybe) they inaudibly mumble a song title at the audience * They start and read through every word from the music stand, and it sounds like a schoolboy reciting a poem * Rinse and repeat. There is more to what we call "performing". When you get together at home to enjoy playing together it is for you, but when in front of an audience it is for them! Performing a song, is like performing as an actor, and/or storyteller, with musical accompaniment. Each skill has equal importance, These are my views on "telling the story":
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |
#27
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Tough task if you ain`t got one. Otherwise just keep going. Mr Beaumont is right on the money here, since I started treating rhythm equally to what notes to play, people started telling me my playing gained a lot of personality to it. Good luck
Timothy
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Larrivée OM-03R I bet yours doesnt sound half as good as mine does! |
#28
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Quote:
In 2005 at Healdsburg Guitar Gathering in Santa Rosa, California…Muriel Anderson taught a clinic titled "Putting your Heart in Your Hands". So many players wanted to sign up that she had to teach the clinic twice. If you've ever seen her play live, she evokes a lot of emotion from the audiences she plays for. It's not that she's overly animated. She does use a lot of acoustic dynamics (loud, soft, middle volumes) and a lot of rubato (music tempos being flexible, but not erratic). Her music covers a range of styles, and music which is familiar, and not familiar to the audiences. She connects to the audience with her music. She talked about technical things which connect with audiences, with styles of music, actual pieces, and personal playing techniques which evoke emotion. And she talked about the music being arranged to be interesting and challenging to the player as well as the audience. And she challenged the clinics to do things differently if they expected to get different results from those they were already experiencing. She is approachable and very genuine when you see her play or meet her in person. It's amazing since Muriel only sings one or two songs in a concert…she is primarily an instrumental player who connects strongly with audiences. I've found myself wiping away tears when I hear her play (I've probably heard her live now 8 or 9 times), and look around and see others reaching for Kleenex (or wiping their eyes on their sleeves). One time I sat in a room where she was demonstrating guitars for a particular builder for 15 minutes, and people left the room weeping because the music touched them. Don't think my additions particularly answers deep question, but I do believe it's partly involves the music we choose (the stories it tells), the culture of the room, what the audience appreciates, and how well we match our skills to them. Sometimes instrumental songs like Sweet Georgia Brown or California Dreamin' are fun and familiar so audiences love them. But a room full of teen-agers who never heard the Beach Boys or Gypsy Jazz don't connect with them. I don't have any emotional investment in an arrangement of Sweet Georgia Brown, but love to jam on it with other musicians and pass it around a group when we are performing live (everybody solos on a verse). And audiences love the up-tempo spontaneous nature of it. When the tapping became a legitimate style (Andy McKee style), just doing string acrobatics only went so far before people grew bored. Andy raised the bar by not only doing unusual techniques, but actually making his arrangements interesting by adding style and variety to his songs. So knowing an audience and knowing the music of their culture is pretty important to connecting with the people we play for. Hope this adds to the discussion… |
#29
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Interesting topic -- IMHO "Soul" is a simple reflection of your inner musical self. It comes from your soul, your heart, and your sense of what you want to musically convey -- unrelated to technical expertise or talent level. Play from the heart and be yourself -- and your "soul" will come through.
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#30
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Quote:
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