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Topic: Tips for playing "twin" stuff ? |
Larry Lenhart
From:
Ponca City, Oklahoma
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Posted 10 Mar 2014 2:12 pm |
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| I really like to hear the sound of "twinning" guitars, bet it 2 guitars or steel and guitar. There seems to be very little written about this topic in form of guitar method books. My approach to it has been to write it out by hand in music notation and then play it on guitar in appropriate positions. Any advise or direction on this topic would be appreciated. |
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Clyde Mattocks
From:
Kinston, North Carolina, USA
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Posted 10 Mar 2014 4:30 pm
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I enjoy doing it and working out parts. It's really rewarding and effective if you have a competent instrumental partner(or two) in your band. My preference is for the steel to carry the melody since it has the better sustain, and the electric guitar on the harmony. This is not a hard and fast rule, as it works well the other way, too. Right now, I am fortunate as I have in my band a young girl fiddle player who is a music major and has a keen ear. I can play a line and she can immediately hear and execute a perfect harmony line. A band playing harmony parts indicates a certain level of commitment.
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LeGrande II, Nash. 112, Fender Twin Tone Master, Session 400, Harlow Dobro, R.Q.Jones Dobro |
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Ellis Miller
From:
Cortez, Colorado, USA
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Posted 10 Mar 2014 4:53 pm
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Commitment indeed... there is no magic wand. Don't be afraid to keep it simple. Play the melody on the turn around / kickoff. Maybe split the solos and then twin the last 4 measures. Think in terms of parallel thirds within the key signature as long as you don't go far from the chord in play. Practice, practice and try not to kill each other.
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Ellis Miller
Don't believe everything you think.
http://www.ellismillermusic.com |
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Clyde Mattocks
From:
Kinston, North Carolina, USA
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Posted 10 Mar 2014 9:15 pm
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I have been lucky to have some wonderful "twin" partners over the years. Not to name drop, but Jimmy Capps in our teen years and later Jimmy Saunders and Tommy Mercer. We did it so much that we didn't have to communicate who would play what, even down to a repertoire of stock endings that we could just feel which one was appropriate. I was in Nashville a few years back to play steel of a tribute to Clyde Moody CD. Jimmy was on the session and it all fell right back in place. Playing is truly fun when you are in that kind of company.
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LeGrande II, Nash. 112, Fender Twin Tone Master, Session 400, Harlow Dobro, R.Q.Jones Dobro |
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Leon Grizzard
From:
Austin, Texas, USA
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Posted 11 Mar 2014 3:58 am
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You generally play in parallel thirds, but on beginnings and ends of phrases or on held notes, both notes should be chord tones, which means some 4ths. Sometimes it is best for the harmony voice to stay on the same note while the melody voice moves for a few notes.
I have a YouTube series on playing doublestop melodies, which utilizes the same principles. Here is the first one:
http://www.youtube.com/watch?v=fd6jG8MoGJI |
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Don Griffiths
From:
Steelville, MO
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Posted 13 Mar 2014 7:07 am
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My all time favorite take on this is the intro to the Allman Bros. " Revival". Thanks so much for the YouTube series Leon Grizzard! That's the stuff!
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Shobud Pro1,BMI U12, Santa Cruz F, PRS Standard, Fender Twin Reverb, ‘53 000-28 |
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