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Red Ant

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Everything posted by Red Ant

  1. I've been trying to get the clav intro to this for what has too be 20 years... and i STILL don't have it quite right Max Middleton is a tricky mofo!!!
  2. Alto, huh? I got two words for you.... Cannonball Adderley. Ok maybe two more: Paul Desmond
  3. Really? I kinda picture Pops Armstrong, Robert Johnson and Lightnin' Hopkins sitting there as the elevator doors open "It change when Lightnin' say it change!"
  4. My picking hand has always lagged behind my fretting hand... it's one of the things I will be attempting to correct. I learned to alternate-pick everything early on, and whenever I attempt to economy pick or, gawd forbid, sweep, my time falls apart. As for strumming... I don't 😂
  5. Not sure I understand this. You mean, The Eagles, as in the band? Cause its nigh impossible to "own the 7th dimension" when you consider that the Blues, foundational as it is for every genre thereafter, is nothing BUT 7th chords.
  6. That one is pretty much hard-wired into my brain, it's pretty much the only thing I still have under my fingers Seriously though, it's been really interesting - I still have all my scales, patterns, chord shapes, etc.... what I dont have is speed, accuracy and stamina. But I am looking at this as a great opportunity to correct a lot of bad habits and techniques that were ingrained in my playing, and now aren't, by virtue of not having played for so long.
  7. I have just become physically able to play guitar after over 2 years away from the instrument. I feel your pain.
  8. Always a challenge. And I highly recommend you stop referring to your own music as "stupid". Self-deprecation can be funny, but isn't useful to an artist, or even a craftsman I suspect your music isn't stupid at all - it would actually be quite a challenge to write "stupid" music for a person of your intelligence It may not be everyone's cup of tea, but that's down to taste, a completely different value judgment.
  9. In practice it's the same thing. But theoretically speaking "B natural minor" is just the Aeolian mode of D. It's a simplified way of looking at structure - 12 keys, all major, full stop.
  10. You might have a problem there.. if your "one" is B Aeolian, then the corresponding Dorian would be E, and D would be Ionian. You're in the key of D (there are no minor keys ) Not that there's anything wrong with trying to play C over D (which is what you'd be doing), but you're gonna run into some tension, that's a very altered sound
  11. Its straight 4/4, the 1st piano note comes in on 1 &, an 8th note behind the bar line.
  12. Same thing I'm always working on... expanding my ears and my vocabulary. Lately, I've been tackling Wayne Shorter and McCoy Tyner tunes. I'm currently at the "I suck" stage with them, but I'm slowly starting to get comfortable with a few of them.
  13. Its the exact opposite for me, since the advent of digital I focus even more on the input side - that's your last chance to make it warm and musical.
  14. I've got an autographed copy... I used to work for Loud, Inc. which had Ampeg as one of its brands, and part of my gig was doing Ampeg clinics with varuous people, Vic being one of them. I've spent many, many hours on drives talking music with Vic, and more than a few hours jamming, sometimes in the course of the clinics. Was a great experience, and Vic is a sweetheart of a person... though his mysticism does absolutely nothing for me
  15. While I've certainly witnessed my share of this, I have to call bs on the assumption that this is general practice.
  16. I think its absolutely essential - vital, even - to practice with a click. So that you don't need one to record And in my experience, if you want to "learn time" its equally essential to keep the click on 2 and 4, only.
  17. My "music sensei" (guitar/theory teacher, mentor, close friend) insists that everything changed - and not for the better - with the introduction of the click track. The musicians may still be human, but they're locked into a temporal straightjacket, if you will... it robs the music of its breath, which is essential for imparting human feeling. Im not 100% sold on his theory, but it does make a great deal of sense. Having made hundreds if not thousands of recordings, both with click and without, i can certainly attest that the results are different, and not just in how tight the performance is. Its always easier for an engineer if the musicians use a click, but whenever I record musicians who have "good time" I will usually lobby for them to forgo the click and play "free". And I never use a click on any of my own group recordings.
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