Foot-tap inducing acoustic guitar? Is it possible?

[TBman]

Don Ross, Andy Mckee.

Percussive playing can get the foot tapping.

Don't ask me how you would sing to something like this....

[Bushleague]

Originally Posted by TortoiseAvenger

Hi there:

In my continuing search to become a better singer/songwriter, I wondered if anyone had thoughts on how to build arrangements/accompaniments with enough rhythm that gets people moving.

I've been learning some Fingerstyle techniques, and while I can see them being useful, I'm less interested in making massage music and more interested in a indie/pop/rock sound, with only my voice and an acoustic guitar, to the extent that it is possible.

Any relevant skills I could learn, courses I could take, and/or instructors to look out for would be greatly appreciated.

Of course, example tracks for inspiration would be lovely too.

P.S. — Much thanks to everyone who has been replying to my posts. Getting so many different viewpoints is very helpful .

A man after my own heart, I've been on this very journey myself for awhile. Trying to find guys who create "big" music on an accoustic guitar seems to be about as easy as finding hen's teeth.

So I guess what I've found, if you can play drums or actual percussion and have a feel for how and where to create accents you can sort of "suggest" rythm changes with how you strum. I've always liked doubling and halving my timing to accent different portions of the song, and while its not quite the same as playing with a drummer I can often accomplish a fair "suggestion" of this just by how I'm accenting my strumming, specifically around the places I would have a drummer make the change. Typically for a slower more powerfull rythm I think I throw more emphasis on strums that would line up with the bass drum, while more speed is better accomplished by simply accenting strums that fall on the back beat. I break both of those rules pretty regularly though. I think once you have built the groove you want the listener to feel you can then deviate a fair bit and the listener will still feel it.

Beyond that I've found that making a lone acoustic sound big and full of energy is all about learning to use your open strings and sympathetic notes, sounds super simple but I'm litterally on a constant search learn new ways of doing this. When I listen to someone play an acoustic I dont even hardly pay attention to the noodling, I just want to figure out how that player is filling in the space around his melodys. If I can make enough sound that I'm free to play even simple melody lines my playing instantly becomes more interesting, the more tricks I learn to help me accomplish this the better. I hope its not in too poor of taste to link you to some tracks I've recorded, which if nothing else has energy and a strong rhythmic quality. I think pretty much all the songs have "beat changes" as I imagine them at some point, interested to see if others can hear it or if the effect is far more subtle than I suppose it to be.
https://soundcloud.com/user-348714923/cold-front


So actual acoustic musicians that create lots of energy? First off, Jeff Martin is the king, if anyone else creates more sound and energy than this guy can then please let me know.
https://www.youtube.com/watch?v=X84T...ay3jrY&index=2

Tommy Emanuel, who is a freak of nature. You litterally cant watch this without your head starting to bop involentarily. Funny thing is its not even that rhythmic of a piece. He starts off building a monster groove, and after that goes all over the place and as the listener you just keep feeling it. Pretty cool concept.
https://www.youtube.com/watch?v=6hb7DYgcwSo

Joey Cape and Tony sly, though their solo careers favored more of a typical singer songwriter approach, they never really did shake their punk roots. About the only clip I've seen with people crowd surfing to a guy playing a Martin. I think anyone who write songs at all should check out Tony Sly (RIP) as his lyrics were incredible IMO.
https://www.youtube.com/watch?v=fO4yft0dZ_c

Not a purely guitar venture, I know, but the energy here is off the charts as far as acoustic music goes.
https://www.youtube.com/watch?v=Xh1khdZW3vM

And just to up the freak factor a little check out DayzNDaze. I really cant decide if I like them, or hate them, but they do make me tap my toes... wont post a link as the lyrics tend to be pretty explicit.

[nickv6]

Try watching a Thom Bresh video or two. He uses a foot tapping board too, to add low frequencies.
Nick

[AndrewG]

Originally Posted by Gordon Currie

Do you have any examples of artists who do this? Wanting to know how you define foot tap inducing.

Personally, I find few finger style players to be foot tap inducing. Tommy Emmanuel is the one that comes to mind first as a highly rhythmic player.
(Not saying it can't be done, but the bar is way higher for fingerstyle vs. flatpicking.)

Techniques that can enhance rhythm are arpeggiation, cross-picking, muted strums.

Study rhythm guitar in general. Good rhythmic arrangements tend to have loads of nuance and detail.

It's the nuance and detail that will take a solid rhythmic arrangement to irresistable.

Watch Tommy Emmanuel's left leg here; on the studio album you can hear his foot tapping all the way through 'Lewis and Clark', bang on the 'on' beat...https://www.youtube.com/watch?v=Y1pS_6hErDA

[Howard Emerson]

Originally Posted by TortoiseAvenger

Hi there:

In my continuing search to become a better singer/songwriter, I wondered if anyone had thoughts on how to build arrangements/accompaniments with enough rhythm that gets people moving.

I've been learning some Fingerstyle techniques, and while I can see them being useful, I'm less interested in making massage music and more interested in a indie/pop/rock sound, with only my voice and an acoustic guitar, to the extent that it is possible.

Any relevant skills I could learn, courses I could take, and/or instructors to look out for would be greatly appreciated.

Of course, example tracks for inspiration would be lovely too.

P.S. — Much thanks to everyone who has been replying to my posts. Getting so many different viewpoints is very helpful .

My first reaction is to tell you that if whatever you're "writing" has a groove to it (in your mind), you're more than half way there. However......if you're "writing" something but don't have a rhythmic feel already in the song idea kernel, you've got a really tough row to hoe.

I grew up as a frustrated drummer & frustrated bass player, AND I was anti social, so when I learned how to fingerpick, the rest was just a matter of following my tendencies, and never being satisfied easily.

I teach, by the way, but talk is cheap, so heres a couple of my compositions to give you an idea what kind of a groove one guitar can create.

From 'The Wall Talks', this is 'Rumble Strut' in open C tuning, with a straight 4 groove and lots of syncopation:



Here's an arrangement of Chuck Berry's 'Maybellene' from my second release, A Tale To Tell. Straight 8 fingerpicked on 12 string and a bottleneck overdub:



And here's one from my latest release The Rhytalin Kid, entitled Summer Island Groove. It's a Latin flavored solo piece in open G.


Get in touch if I can help you start approaching your potential.

Regards,
Howard Emerson

[grandstick]

Monty Montgomery will get one foot (feet) moving.

And yes - Tommy Emmanuel is the very model of kinetic acoustic guitar artistry.

[FrankHudson]

I've got nothing to add regarding resources to improve this side of your playing/ compositions, but I just wanted to compliment you on your aim. Groove is terribly important and not always singer/songwriter strong point. Making it one of your aims is an important first step.

I guess I'll add one thing: even if it's not a big part of your own style, listen to some of the classic acoustic blues players for ideas. Most of them were masters of getting the body moving with a single guitar and mixing the groove with vocals.

[jaymarsch]

Also, check out Adam Rafferty - great rhythm and groove chops. Vicki Genfan has some instructional stuff on Truefire. Jeffrey Pepper Rodgers has a book on rhythm playing.
Best,
Jayne

[Guitars44me]

I was a drummer starting at 7, and sang in church even earlier, so I had some skills when I switched to guitar at 42! 28 years ago, SIGH.

No one has suggested practicing with a metronome or rhythm machine, but working to get that rhythm internalized is key. I know you don't want to use machines on stage, and Good for you. But practicing with one is a different story, and may well yield great results in your case.

May I also suggest that you don't forget to let the music breathe once in a while. A relentless groove can get old after a while. An occasional rubato can help emphasize the lyrical content of your songs. And remember, that the average listener will probably pay more attention to the vocals then they will to the guitar! So pay attention to singing in rhythm too.

Remember to HAVE FUN. Fortunately, fun is contagious

Salud

Paul

[mr. beaumont]

I think the key is to play the guitar like you are interacting with a band. Even though there's no band there. Magic word-- syncopation!

The way Ben Harper and Jack Johnson play rhythm comes to mind.

[TortoiseAvenger]

As usual, so much great stuff here.

I love to see some of the artists mentioned intentionally including their foot tapping as part of the performance. I had thought about percussion... I only have so many appendages, and the guitar body hitting stuff A.) scares me and B.) I haven't been able to do very successfully. My feet don't carry their own weight though, so I thought of some sort of mini kick drum. For some reason, I'm reluctant to do that... I don't think I can shake the "Dorky One Man Band/Asheville Busker" vibe. But just my feet tapping? Cool and simple.

The idea of playing to a jam track or in some way pretending I'm playing with a band is an interesting one. I've always found it easier to play to a track than a metronome, because I can "feel" the groove. Would have never occurred to me that this would be good practice even if in the end it wasn't there.

Finally, one thing that hasn't been mentioned: It's important to me for an arrangement to build or arc in intensity. Back when I was doing more electronic stuff I did a bit of production, and the general principle that I learned was that tunes should build in intensity to some sort of climax and then fall off. This is something I love in music, and also something that many solo guitarists and singer/songwriters don't do very well. Of course, with only one instrument, there's only so high you can go. This concept though, starting relatively sparse and building up to something relatively full, is one that I am very interested in bringing to my singer/songwriter pieces.

Awesome advice as always. Keep it coming

[Br1ck]

Build a Mississippi stomp box.

[Bushleague]

Originally Posted by TortoiseAvenger

As usual, so much great stuff here.

I love to see some of the artists mentioned intentionally including their foot tapping as part of the performance. I had thought about percussion... I only have so many appendages, and the guitar body hitting stuff A.) scares me and B.) I haven't been able to do very successfully. My feet don't carry their own weight though, so I thought of some sort of mini kick drum. For some reason, I'm reluctant to do that... I don't think I can shake the "Dorky One Man Band/Asheville Busker" vibe. But just my feet tapping? Cool and simple.

The idea of playing to a jam track or in some way pretending I'm playing with a band is an interesting one. I've always found it easier to play to a track than a metronome, because I can "feel" the groove. Would have never occurred to me that this would be good practice even if in the end it wasn't there.

Finally, one thing that hasn't been mentioned: It's important to me for an arrangement to build or arc in intensity. Back when I was doing more electronic stuff I did a bit of production, and the general principle that I learned was that tunes should build in intensity to some sort of climax and then fall off. This is something I love in music, and also something that many solo guitarists and singer/songwriters don't do very well. Of course, with only one instrument, there's only so high you can go. This concept though, starting relatively sparse and building up to something relatively full, is one that I am very interested in bringing to my singer/songwriter pieces.

Awesome advice as always. Keep it coming

Forgot to mention, go get yourself an egg shaker, watch a few tutorials and then throw the thing in your car. Play it along with the radio at stoplights or while cruising the highway, a shaker generally likes to be played at 16th notes with accents either thrown on the 1/3 (bass) or the 2/4 (snare). Once you figure that out, you can get creative, using more or less accents in various parts of the song, or figuring out other places to put them. This is a good way of building groove and translates pretty well over to strumming a guitar.

[Everton FC]

One more here! RAW!! I am going to put a p/u in my little H927!!
https://www.youtube.com/watch?v=tzrzHob8ox4

[Steve DeRosa]

Originally Posted by TortoiseAvenger

...I had thought about percussion...My feet don't carry their own weight though, so I thought of some sort of mini kick drum. For some reason, I'm reluctant to do that...I don't think I can shake the "Dorky One Man Band/Asheville Busker" vibe...

If you can set up a good independent counter-rhythm with your feet as you play, IME you can create a very convincing percussion background with a kick drum and hi-hat; check the local classifieds/thrift stores/pawn shops; shouldn't be too hard to put together a serviceable used kick/hat combo for $150 or so - and if you want to take it to the next level:

Originally Posted by Bushleague

Forgot to mention, go get yourself an egg shaker, watch a few tutorials and then throw the thing in your car. Play it along with the radio at stoplights or while cruising the highway, a shaker generally likes to be played at 16th notes with accents either thrown on the 1/3 (bass) or the 2/4 (snare). Once you figure that out, you can get creative, using more or less accents in various parts of the song, or figuring out other places to put them. This is a good way of building groove and translates pretty well over to strumming a guitar.

You might find this of interest:



https://www.westmusic.com/guitars-fo...ar-folk-picks/