Discussion in 'The Backstage' started by TheSandman, Jun 9, 2016.
I so F****** LOVE the teddy bear mic stand!
I've always enjoyed this performance. The first attempt sounds awkward, and he definitely wasn't feeling it. He starts it over and knocks it out of the fah king park!
I have played original music, for a couple of singer/song writers. I knew it wasn't good when they would ask, "What does this song mean to you?"
I would tend to approach songs, musically, and try to not play over the lyrics. The song writer would want me to understand the lyrics first, then come up with something that matched the song. I was often hired over other guitar players, that I thought were better, because the writer thought that I played with more feeling. Having fronted bands, I had learned to ride my volume control. Most of my guitars have a single volume (yes even my SG Diablo). I also found that they would really like it, when I would let harmonics ring, over several bars. I would either ride the volume, to control the length of the sound, or use a tremolo to maintain the sustain, and my fingers to stop it, at the appropriate time.
When an artist hires you to play, or do studio work, you are no longer playing for yourself.
You found someone who hired you for studio work and talked about feeling? "Can you sight-read" is the usual question.
As a guitar teacher, I could read (slowly), but was never asked to do it. We always used the Nashville (number) system.
I can remember the first time I met one artist. We sat outside the studio, in the dark, on a bench, around 11 PM, facing a municipal airport. When ever an airplane would take off, it would drown out my solid body guitar and his singing. But, I did manage to write the hook, for the song that we recorded that night, before the session started.
Never seent the Nashville number system before, but I guess it makes some kind of sense when you have a popular song that may have to be sung in a variety of different keys to suit singers. Personally I'm happy to transpose on the fly from normal stave-written music. An advantage of the standard stave is that the music can direct the form of the chord, the actual notes played, rather than just telling the player what the chord name is.
Here is a good explanation of the Nashville number system, written by John Bohlinger (the best player I know), for Premier Guitar. I was normally called to co-write or create lead guitar parts (the writers were acoustic guitar players), or to convert existing keyboard parts, to guitar.
This is one of the guitarist BS myths - that some guys play without feeling, usually the more technically proficient guys get that rap.
The issue is not if the player is playing with feeling - I assume they ALL do in some way - but if you as the listener feel something too.
So how do you tell if a guitar player is playing with feeling?
His fingers are moving.
Seriously, it's time we drop this stupid concept and only pay attention to "do I feel something when listening?"
I am largely in agreement here. Thing is, how I feel affects my performance and presumably the the listeners response. Then again, at club volume, they can't hear nuance anyway.
i dont know how to say it maybe if he looks like he's struggling maybe ?
or something like this
In which case I play with the most feeling EVER!
Looks (and sounds) like this......
great song,great video,thanks for posting eSG,love it
World of talent on that stage right thar
Interesting conversation, and I fall in the intentionality of the artist camp. Somebody is playing, and that somebody affects every sound with their playing choices/skills - of course, the sound needs to be contextualized, so a metal player can play with feeling in exactly the same way that a blues player can.
There's certain strains of literature and cognitive science and other areas of thinking that foreground the receiver/listener in isolation, but I've always understood groups of people in a very different way; we are fully embodied and experiential in a holistic manner that cannot be separated, so a listerner by themselves simply makes no sense to me. The receiver's/listener's understanding of context will affect the performance, for example if somebody is deaf - that will seriously affect their ability to 'receive' the performance, but the musician is foregrounding the notes they choose to in the way they choose to, the spaces they choose to, the strength of note, how long it's allowed to ring, etc.
So, we come to the question of what can the musician do that adds feeling? I'm not skilled enough to know, but RVA's suggestion of silence certainly seems a good idea. Raiyn suggests slight variation of tone and notes, that makes sense too. I was watching a blues lesson once and the guy was showing how bend/vibrato control from start note to end note, how you move between the two, etc, was very important for feeling and for tone. Just so many areas.
Guitarist playing with feeling. I felt I needed to sell that Stratocaster!
Geezer playing was almost dead when recorded, so not too much emotion showing on the face.
good playing Biddy!!!
Nice bit of double-tracking there! And no click track?
Mick Jagger couldn't act back then either! Man was that forced!
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