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Topic: Woodshedding |
Dom Franco
From:
Beaverton, OR, 97007
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Posted 7 Nov 2015 9:10 am |
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I am trying a new approach to practicing songs and arrangements on my 12 string lap steel.
Until recently I first focused on the melody, and then because I sing, I also worked on the chord progression and fill licks.
Now I am playing through my songs (with background trax) purposely avoiding the melody and looking for cool riffs and countermelodies.
I listen to a lot of jazz, and I am inspired by Sax players and some Clarinet masters as well. I can’t even begin to match the speed and hot licks
That I hear and love, but now I have a goal!
Here are some things I have discovered that are helping me in my new quest:
1. Find a nice warm tone, fat enough so that a single note sounds full.
2. Play in a lower register, the higher strings can sound thin and too shrill.
3. Imply the chord changes with walk downs, double stops and occasional return to the melody
4. Use arpeggios, open strings, hammer ons and pull offs for faster licks.
Now back to the woodshed…..
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https://www.youtube.com/channel/UCYG9cvwCPKuXpGofziPNieA/feed?activity_view=3 |
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Brian Evans
From:
Nova Scotia, Canada
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Posted 7 Nov 2015 2:06 pm
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Listen to Benny Goodman - king of arpeggio's in my book. Dixieland jazz clarinet. Lonnie Johnson also. I am also woodshedding (good term that) arpeggio's this week - major 7, dominant 7, minor 7, minor 7 flat five and diminished 7 in twelve keys, naming each note as I play it. Actually quite hard to name the notes in a "I know this" manner, as opposed to "what the heck comes next" manner. Try staying away from licks, but play purposeful lines instead. Licks are often just a way to fill time and make sound while you think of something else to play. If you refuse to play licks, you always have to play something new.
This "naming every note you play" thing is new for me. I am trying to get to where I know the name of every note on the fretboard, in an internalized manner, with the goal of freeing up improvised play. Seems backwards, but I was at a lesson and got completely schooled last week. Play a G minor seven flat five, she said, and I had to really work at it to play one just off the go like that. She then improvised a simple yet nice chord melody based completely on Gm7b5 chords all up and down the neck. All inversions and substitutions yet tied back to the chord. Yes, on a normal six string, but it translates to my dobro very well. |
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Mike Neer
From:
NJ
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Posted 7 Nov 2015 5:49 pm
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Dom, I really love to play and practice and I devote a lot of time to just discovering my own voice. It is a great joy to do, but there is so much work to do. I wish I'd started playing steel 20 years earlier, I might be good enough by now!
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Links to streaming music, websites, YouTube: Links |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 8 Nov 2015 1:11 am
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I think Jazz on any instrument is a task. Henceforth the common expression Jazz study.
Saying the note names of every note you play is great for theory and excellent in the long run but I soon realised that pivoting off of Major, Minor, Dominant, Dim & Aug is WAY MORE important.
Pivoting helps you find your way. i.e.. If i'm at the doing a M7 I can quickly find a m7b5 or Dom, Dim etc. All note layouts can be related to each other.
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Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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