Dusty Wednesday

[Wyatt]

Got this one done just in time last week..

..hehe, it's been raining all this week.

Hope you enjoy it.



Wyatt

[Oren]

Good stuff, Wyatt!

One suggestion (made here on the forum so other pickers may benefit): Your chord selections and backing tracks are becoming advanced to the point where you might want to venture away from that major pentatonic (blues) scale to bring the guitar action to the level of the rest of your composition. (keep in mind - if I can do it, it ain't that hard... ) Even a minor pentatonic scale will help take things where you seem to be naturally headed. On the other hand, if the five-note blues scale is "your voice", then stick with it...

 

[Wyatt]

Good stuff, Wyatt!

One suggestion (made here on the forum so other pickers may benefit): Your chord selections and backing tracks are becoming advanced to the point where you might want to venture away from that major pentatonic (blues) scale to bring the guitar action to the level of the rest of your composition. (keep in mind - if I can do it, it ain't that hard... ) Even a minor pentatonic scale will help take things where you seem to be naturally headed. On the other hand, if the five-note blues scale is "your voice", then stick with it...

 

Good morning Oren..this is so ironic to me..

I was intentionally making it a point to venture away from the minor pentatonic blues scale that I use so often. I avoided the flatted 5th by sliding up past it..so I didn't have to do it cold turkey.   

I have been working in recent months to blend two different scales in a piece, with varying degrees of success. I did flub it @ 2:55 though..darn finger still wants to bend the C up a half step if I'm not watching it like a hawk.   

If I re-record this, I will probably lean toward playing a different variation on this chord scheme. That might make it fit better.

I appreciate you pointing this out. It gave me an interesting perspective.



Wyatt

[Oren]

I was intentionally making it a point to venture away from the minor pentatonic blues scale that I use so often. I avoided the flatted 5th by sliding up past it..so I didn't have to do it cold turkey.   

I have been working in recent months to blend two different scales in a piece, with varying degrees of success. I did flub it @ 2:55 though..darn finger still wants to bend the C up a half step if I'm not watching it like a hawk.   

If I re-record this, I will probably lean toward playing a different variation on this chord scheme. That might make it fit better.

I appreciate you pointing this out. It gave me an interesting perspective.

All in the interest of this little "group learning" thing we have going on here at K-M....

What sets the electric guitar in somewhat of a class of it's own is the ready ability to play subtle "between-the-notes" notes, create distinct harmonic overtones, play chords as well as single notes, de-tune specific notes of a chord (by applying more than normal finger pressure on that string), or "bend" the whole chord sharp or flat with that tremolo bridge.

It's a wonder we ever manage a spot-on note....

[Wyatt]

I was intentionally making it a point to venture away from the minor pentatonic blues scale that I use so often. I avoided the flatted 5th by sliding up past it..so I didn't have to do it cold turkey.    

I have been working in recent months to blend two different scales in a piece, with varying degrees of success. I did flub it @ 2:55 though..darn finger still wants to bend the C up a half step if I'm not watching it like a hawk.  

If I re-record this, I will probably lean toward playing a different variation on this chord scheme. That might make it fit better.

I appreciate you pointing this out. It gave me an interesting perspective.

All in the interest of this little "group learning" thing we have going on here at K-M....

Always a good thing to look through a new looking glass. Too easy, working in a vacuum, to become derivative of yourself.  

Just for a change of pace, sometimes I will start playing some pads to a drumtrack, without any plan or structure..then come in afterward and see what my strat has to say about the chords. That makes for a little different challenge.

It can be hit or miss, but even a miss is better than stale.

What sets the electric guitar in somewhat of a class of it's own is the ready ability to play subtle "between-the-notes" notes, create distinct harmonic overtones, play chords as well as single notes, de-tune specific notes of a chord (by applying more than normal finger pressure on that string), or "bend" the whole chord sharp or flat with that tremolo bridge.

It's a wonder we ever manage a spot-on note....

Thanks for a good belly laugh this morning.

Reminded me..

Several years ago, I put myself through a  "guitar boot camp", as I had been away from it for a while. I was studying chord-melody, and really giving my left hand a workout, building hand strength, and at one point I was manhandling the strings so badly that my "Guitar Professor" suggested I get a set of  [absurdly heavy]  .013 - .58 strings!  

[..yeah,  he had a poster of SRV on the wall.]



Wyatt

[folderol]

When you guys go all technical you tend to lose me somewhat (I just play what sounds nice), but having said that, I just found this a very enjoyable relaxed composition.

The only curiosity I noticed was something very strange at the start. On AlsaPlayer there is 7 seconds of silence, on Audactious (an XMMS derivative) there is a burst of sound (like someone shouting). Audacidty shows about a half second of silence, but otherwise a perfectly normal track

[Wyatt]

When you guys go all technical you tend to lose me somewhat (I just play what sounds nice)

I can relate..that has always been my most least favorite part.  

 

but having said that, I just found this a very enjoyable relaxed composition.

I'm pleased to hear that Will, and thank you for listening.



Wyatt

[MarioD]

Wyatt, this is very tasty.  Excellent music here.

I found it very interesting reading all of the messages here.  It appears as though many of us are experimenting out of our comfort zone.  I’ve been trying some new lead work myself.   Not easy.

Oren, you made some very valid points for all of us pickers.  Learning new scales and such is harder as you get older as your fingers always try to go back to the old "tried and true” patterns.  At times it is a real challenge to change!  One question for you from a fellow guitarist; what is a spot on note?

Wyatt, we work much the same way as at times I also put down a pad, add a drum track (or visa-versa) then try to figure out a guitar part. I really liked both your guitar work and your tone on this one.

One last thing, I find it very refreshing that one can post an “out of your comfort zone” and experimental works that may not be your best stuff here at Kara-Moon and not get blasted for it.  You always get positive constructive criticism.  I think that says tons about the musicians on these forums.

[Wyatt]

Wyatt, this is very tasty.  Excellent music here.

I found it very interesting reading all of the messages here.  It appears as though many of us are experimenting out of our comfort zone.  I’ve been trying some new lead work myself.   Not easy.

Oren, you made some very valid points for all of us pickers.  Learning new scales and such is harder as you get older as your fingers always try to go back to the old "tried and true” patterns.  At times it is a real challenge to change!  One question for you from a fellow guitarist; what is a spot on note?

Wyatt, we work much the same way as at times I also put down a pad, add a drum track (or visa-versa) then try to figure out a guitar part. I really liked both your guitar work and your tone on this one.

One last thing, I find it very refreshing that one can post an “out of your comfort zone” and experimental works that may not be your best stuff here at Kara-Moon and not get blasted for it.  You always get positive constructive criticism.  I think that says tons about the musicians on these forums.

Thank you Mario for your thoughtful comments. I have been aware of your efforts, outside your comfort zone, fellow traveler. 


I also have found the comments here to be the most useful of any of the many sites I've been to over the years. Kara-Moon is an easy place to call home. Good people make all the difference.
\


Wyatt

[elwoodblues1969]

Wyatt,

This is great stuff and it's quite indicative of your far-out style which I dig very much!From a structural stand-point though,it runs a bit wild here & there,where the interplay between the 2 different guitar tracks need to be rearranged & tightened up a bit though(in my opinion).

I would very much like to do a collab with you on this one for two reasons-one of which,is your a fountain of creativity & I'm running low on that and secondly,I'd like to present to you,my ideas for tightening up your song and possibly adding my own spin on things as well.

Are you game,friend?  

-Thom

[Wyatt]

Wyatt,

This is great stuff and it's quite indicative of your far-out style which I dig very much!From a structural stand-point though,it runs a bit wild here & there,where the interplay between the 2 different guitar tracks need to be rearranged & tightened up a bit though(in my opinion).

I would very much like to do a collab with you on this one for two reasons-one of which,is your a fountain of creativity & I'm running low on that and secondly,I'd like to present to you,my ideas for tightening up your song and possibly adding my own spin on things as well.

Are you game,friend?  

-Thom

Yeah, I'm up for it..

..as for those guitars..actually they are exactly the way I wanted them,
but I know you will come up with something interesting 

I am knee deep in carpentry at the moment..

..I'll send you the tracks soonest.   



Wyatt

[Oren]

Oren, you made some very valid points for all of us pickers.... One question for you from a fellow guitarist; what is a spot on note?

 ....You always get positive constructive criticism.  I think that says tons about the musicians on these forums.

[Oren]

...I was intentionally making it a point to venture away from the minor pentatonic blues scale that I use so often. I avoided the flatted 5th by sliding up past it..so I didn't have to do it cold turkey...

Oh yeah, "minor pentatonic"...

My grasp of music theory is ultra-tentative...
Rather than scales, I work with fretboard "shapes", and apply them at a spot on the neck that sounds appropriate to the accompaniment.

This makes discussions of composition and technique very difficult, unless we're sitting in the same room with our guitars...
Sure do love to pick and grin, though...

[Wyatt]

...I was intentionally making it a point to venture away from the minor pentatonic blues scale that I use so often. I avoided the flatted 5th by sliding up past it..so I didn't have to do it cold turkey...

Oh yeah, "minor pentatonic"...

My grasp of music theory is ultra-tentative...
Rather than scales, I work with fretboard "shapes", and apply them at a spot on the neck that sounds appropriate to the accompaniment.

I so understand that. I have struggled to add theory to my skills.

For me the joy of music is in feeling, not conceptualization.  Once I don't have to think about it anymore, it's just me. There are things about music you just have to learn..but you don't have to learn *everything*.    

I wouldn't know how to learn scales without patterns.

This makes discussions of composition and technique very difficult, unless we're sitting in the same room with our guitars...

Now there's a great idea, picker..  

Thanks for your comments.



Wyatt

[Wyatt]

Wyatt,

Are you game,friend?  

-Thom

Files sent.