Suggestions for improving my phrasing

Brad Bechtel · From: San Francisco, CA

So I can play the notes, and I'm pretty good with melodies. The last practice I recorded, though, I really noticed how my phrases tend to start to sound alike when I solo.
I'd like to improve that, of course. Other than just trying to mimic other people, are there any suggestions you could offer towards improving phrasing? Thanks.
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John Dahms · From: Perkasie, Pennsylvania, USA

Brad, think about phrases the way we speak. We often speak by implying rather than saying the whole thought. Sometimes we don't have to complete a thought to be understood. Sometimes a grunt starts a sentence, maybe a grunt is all that is needed, or a grunt and a few choice words.
Speak through the instrument. Feelings can be implied without complete lines sometimes. You know, like when... and...
got it?
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Stephen Gambrell · From: Over there

It's almost become a cliche, but listen to horn players. Unlike us plugged in fools, they actually have to stop and BREATHE! Find out where they're stopping, and---ignore timing! As long as you end up back on "one" at the end of your ride, you've done OK.

chas smith R.I.P. · From: Encino, CA, USA

To add to what's been said, since you are good with melodies, try playing them as you or Frank Sinatra might sing them. Then when it's automatic, add a few "ornamental" notes and short phrases to them.

Mike Neer · From: NJ

Start your phrases on the upbeat, rather than on the downbeat (for instance, start on 1 an 2 an etc., rather than on 1). Sometimes rhythmic displacement can lead you into more swinging, exciting phrases. A lot of jazz musicians might start on the upbeat of 3, leaving a little more space. Then you might try playing little motifs, or actually answering your own phrases and even embellishing them with accents, chromatic notes, etc.

Most importantly, hear what you want to play internally and then make a conscious effort to play it.
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Jeff Au Hoy · From: Honolulu, Hawai'i

I think "improvement" in phrasing can only come from listening to and imitating the players you'd like to sound like. It's like learning how to speak.

Of course, if you don't want to imitate anybody then there's no need for "improvement." Whatever sounds you make are good.

Robert Murphy · From: West Virginia

The best advice I have received was from Mark Gamsjager at NGW. "Let your music breathe". Put some silent space in your phrasing. Listen to T. Bone Walker. To many notes clutter up the listeners ears.

Andy Volk · From: Boston, MA

Great advice above! By all means try imitating horns and singers whom you like. Carlos Santana was quoted as saying he listened to Dionne Warwick's phrasing. Sinatra was influenced by Tommy Dorsey's trombone and did laps in the pool to build up the breath control to sing long phrases. A few of of the Sacred Steels players sound to me, a lot like Aretha Franklin with African-American-influenced melismatic phrasing. I've tried (unsuccessfully) to imitate Stan Getz's sound on lap steel as well as Earl Bostic's raunchier feel. It's all easier said than done. It takes a lifetime of playing to sound like yourself. The goal is to keep sounding like a better version of one's self.

Bob Hoffnar · From: Austin, Tx

Sing a phrase along to the tune and then play it. Practice singing without playing while looking down at the neck visualizing how you would play it.

Try playing only 3rds,7ths and 9ths over each chord. Then add a half step leading tone coming from up or down to each note.

What I have been up to recently is trying to nail some of Bob Dunn's solos note for note. That will sure mess your head up !
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Bob

Gary Lynch · From: Creston, California, USA

It seems to depend on what you are trying to archive. Imitating or making your own art? Usually what comes naturally out of your own hands is original to some extent if not the majority of the sound. Through our lives the tape recorder in or brain has accumulated many tunes and bytes of tunes. The ones we like seem to come out to some extent in our original work. Jeff nailed it when he said; "Of course, if you don't want to imitate anybody then there's no need for "improvement. Whatever sounds you make are good."

I think that is true if you have talent and good playing skills. After all, many of the players that get copied note for note are originals themselves. Why are we coping them when we can create out own music? There are artist that copy other works note for note and there are artist that build their own music. Some do both.

There is still a lot of uncharted territory out there to experience.

Brad, can you send me an MP3 of one of your original tunes?

glynch1107@sbcglobal.net

Thanks

Ray Montee · From: Portland, Oregon (deceased)

I discovered early on, that JERRY BYRD played strong on his solo albums but where I found his REAL EXPRESSION was deep inside this backup work with the multitude of artists, both big name and unknowns alike. That's one reason why I made such a concerted effort to acquire as many records on which Jerry performed.
I too, discovered years ago that the phrasing of top rated vocalists, like Perry Como, Frank Sinatra, the McGuire Sisters, etc., along with various horn blowers.........all can lend to one's sense of phrasing.
In my opinion, phrasing is the one strong musical element that is lacking in so much steel guitar work these days. One just has to keep digging until you eventually catch on.
It's the bar hand that will really make your phrasing a reality.

Rick Abbott · From: Indiana, USA

When I listen to music that is not steel oriented I find some common ground; when I try to play along, most of my chops are gone. South American pop is a neat place to start. African pop is cool too. I do agree strongly that learning the phrasing of a good singer is helpful. Try a mute for the strings (no, not a joke), If you have no sustain you'll be pressed to find notes and phrases that are different. Might cause speed picking? Try an Ebow for maximum sustain to force you to play as few notes as possible over the changes? Listen to Frank Zappa? Random thoughts.
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Jim Kennedy · From: Brentwood California, USA

BB King claims that the guitar is his voice. He "sings" with the guitar what he cannot with his voice. Most good blues teachers will tell you to sing in your head what you want to play. If you don't hear it, you won't be able to play it. IMHO, steel is the most immotive of instruments. You can mimick almost any emotion with it. Make that thing "sing" your feelings, which I have discovered is easier said than done, but is well worth the effort.
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