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Discover your sound in Session 13

Blues Russell Malone EBand Fretboard

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#1 3rdwaverider

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Posted 29 September 2012 - 05:08 PM

The material in Session 13 is deceptively sparse. But there is much to do here if you want to dive deep. I worked on the five blues pentatonic scales until I could play them backwards, forwards, sideways down. And I could spend a lot more time with them. But today I’m turning off my amp on Session 13 and moving on. Before I do I thought I would share some of the discoveries I made that helped me discover my sound.

Edly’s Music Theory continues to be a great resource and I referred to it often. The chapters on diatonic intervals, diatonic harmonies, chord inversion, and the twelve bar blues helped put both the blues pentatonic scales and triads in context.

I started working with Barrett Tagliarino’s Guitar Fretboard Workbook. I have done the exercises in Chapter One a half-dozen times so far. Tagliarino teaches a set of five simple patterns as the “Rosetta Stone” of the fretboard and I believe him.

One jazz player that I’ve been listening to on Pandora for more than a year finally earned a place in my iTunes library. His name is Russell Malone. One of his songs – simply titled, “Malone Blues” - gave me a number of ideas for the melody I worked out for Johnny’s E Blues.

Of all the things that came into my musical life during Session 13, the Boss eBand JS-10 had the greatest impact. I created my own backing tracks for both songs taught in the Session 13 using the JS-10. Since memorizing 12-bar blues rhythm is one of the objectives of the Session, it seemed like a good idea.

For Jammin’ the Blues, my goal was to play the melody as it was written in the music, but to use a different form of pentatonic scale for each phrase. In the first pass, I did that in the octave given. In the second, I played it one octave higher. In the third, I played it as duo-tones.

For Johnny’s E Blues, I laid down a rhythm track over a drum loop in the first pass. In the second pass, I recorded the melody as written, but I in the second reprise, I began playing the notes as unisons, as Steve does in the Bonus Resource DVD. In the third pass, I recorded the lead track. It is a mash-up of the Blues 6ths lesson Steve shared in the September newsletter, plus two simple licks. It took me about a week to create and polish it.

Here’s a link to my L&MG Session 13 Set on SoundCloud.

That’s all I’ve got for Session 13. JLO Swede – make room for me in Sesh 14. I’m coming in!

#2 JLO_SWEDE

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Posted 29 September 2012 - 05:56 PM

First of all, nice work with the session 13 materiall!
You show that you manage to keep the tempo, strumming is nice as well as note selections.
The thing that was the highlight for me was the 6ths, I have to look up that lesson because it was very tasty.

One problem you share with me is recording quality.
To be honest, it is rather crappy.
I have no idea how to make nice clear recording, but the one thing I can give you advice on is to watch the level.
Especially in Johnny's E blues it is a bit high and gets blurry a couple of places.
Fretless has offered his help to me and I would be happy to share any knowledge I'll gain.

We seem to walk hand in hand in this course so lets get the skills to give Tom and Kurt a run for those challenges.
Would be nice to competeters instead of cheerleaders :applause:
Coming up for us is bending, hammer-ons, pull-offs, tapping, harmonics and jazz octaves.

Welcome to session 14, it is fun.

Jan

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#3 JleoLegacy

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Posted 29 September 2012 - 06:28 PM

The material in Session 13 is deceptively sparse. But there is much to do here if you want to dive deep. I worked on the five blues pentatonic scales until I could play them backwards, forwards, sideways down. And I could spend a lot more time with them. But today I’m turning off my amp on Session 13 and moving on. Before I do I thought I would share some of the discoveries I made that helped me discover my sound.

Edly’s Music Theory continues to be a great resource and I referred to it often. The chapters on diatonic intervals, diatonic harmonies, chord inversion, and the twelve bar blues helped put both the blues pentatonic scales and triads in context.

I started working with Barrett Tagliarino’s Guitar Fretboard Workbook. I have done the exercises in Chapter One a half-dozen times so far. Tagliarino teaches a set of five simple patterns as the “Rosetta Stone” of the fretboard and I believe him.

One jazz player that I’ve been listening to on Pandora for more than a year finally earned a place in my iTunes library. His name is Russell Malone. One of his songs – simply titled, “Malone Blues” - gave me a number of ideas for the melody I worked out for Johnny’s E Blues.

Of all the things that came into my musical life during Session 13, the Boss eBand JS-10 had the greatest impact. I created my own backing tracks for both songs taught in the Session 13 using the JS-10. Since memorizing 12-bar blues rhythm is one of the objectives of the Session, it seemed like a good idea.

For Jammin’ the Blues, my goal was to play the melody as it was written in the music, but to use a different form of pentatonic scale for each phrase. In the first pass, I did that in the octave given. In the second, I played it one octave higher. In the third, I played it as duo-tones.

For Johnny’s E Blues, I laid down a rhythm track over a drum loop in the first pass. In the second pass, I recorded the melody as written, but I in the second reprise, I began playing the notes as unisons, as Steve does in the Bonus Resource DVD. In the third pass, I recorded the lead track. It is a mash-up of the Blues 6ths lesson Steve shared in the September newsletter, plus two simple licks. It took me about a week to create and polish it.

Here’s a link to my L&MG Session 13 Set on SoundCloud.

That’s all I’ve got for Session 13. JLO Swede – make room for me in Sesh 14. I’m coming in!


3rdwaverider congrats on moving on from session 13 and congrats on your recordings I liked Johnny's E Blues.

#4 3rdwaverider

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Posted 29 September 2012 - 07:07 PM

One problem you share with me is recording quality.
To be honest, it is rather crappy ...

We seem to walk hand in hand in this course so lets get the skills to give Tom and Kurt a run for those challenges. Would be nice to competeters instead of cheerleaders ...

Jan


Thanks for your thoughts, Jan. Two quick thoughts:
  • Listen to the first 12-bars of Johnny's E Blues - the rhythm and melody track alone. Does that sound distorted to you?I recorded that with the Roland JC-120 Amp model, and Jazz Clean + Chorus. On my stereo, I'm hearing it come through very crisp and clear.
  • For the lead track - I switched to a Vox AC30 amp model plus a Blues Crunch effect. I was going for a dirty, distorted sound on the lead. Perhaps it was too much. I think I'll redo that track with a clear Twin Reverb amp model without Chorus and see what it sounds like.
  • Regarding the competitor-complimentor thing - dude - I have enough competition at work and everywhere around me. I'm here for comraderie and support. If I lose that, I'm outta here.
David

#5 Fretless

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Posted 29 September 2012 - 07:23 PM

Fretless has offered his help to me and I would be happy to share any knowledge I'll gain.

Indeed, I have offered.

#6 3rdwaverider

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Posted 29 September 2012 - 11:57 PM

3rdwaverider congrats on moving on from session 13 and congrats on your recordings I liked Johnny's E Blues.


Many thanks, JLEO. Appreciate your taking a moment to listen to the tracks! I have been listening to yours on SoundCloud and appreciate your sharing those, as well.

#7 sleepingangel

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Posted 30 September 2012 - 12:43 AM

Hey 3rd Wave,
First I have to say that I am in session 13 and you are giving me encouragement to get MORE out of it. I haven't done what you did with the songs and it's probably a good idea. I have tried just to use it to jam with or just played the rhythmn playing the melody is a really good idea. #2 I can't believe you mention Barretts's book because I probably bought it two years ago and just literally took it out about 3 days ago when I went for a ride to visit a college with my son and husband. I didn't have a guitar but I had my iphone so I just found a fretboard app and tried to feel and see the patterns he speaks about. It does seem to make sense and in a way marry the techniques I have read about in learning the notes on the fretboard. I guess I should continue to work with that book. and then lastly I wanted to comment on your recordings. I'm not really in agreement with the Jan's opinion on the recording being crappy especially the part about the gain. I noticed that the waves actually are not distorted at all. With soundcloud you can see the waves and believe me when I have posted something that has distortion or clipping you can see the waves actually spill outside the lines. I thought the first one was completely fine and in fact thought it sounded pretty good. During the solo of the second one that is where I heard the clipping or distortion but I don't think it was the whole recording I think it was just the effect you were using on the guitar.
You did a really good job though and you should be proud to move on to session 14....keep a door open for me but it might be a while...so put on a sweater! lol
Take care
Maria

#8 Dan Brown

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Posted 30 September 2012 - 12:44 AM

I liked Johnny's E Blues as well and will be checking out the lessons on the 6th's as well !
Good job. I have the JS-8 and record on it. Truthfully, I haven't even begun to use all the features of the JS-8.
Same thing with the Fender Mustang II Amp I just bought, there is so much you can do with that amp,
I have really just been using it pretty clean so far, someday, I'll get to messing around with all the
extra features,
I enjoy listening to your recordings ...

Dan Brown :electricguitar:

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#9 JLO_SWEDE

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Posted 30 September 2012 - 08:51 AM

Thanks for your thoughts, Jan. Two quick thoughts:

  • Listen to the first 12-bars of Johnny's E Blues - the rhythm and melody track alone. Does that sound distorted to you?I recorded that with the Roland JC-120 Amp model, and Jazz Clean + Chorus. On my stereo, I'm hearing it come through very crisp and clear.
  • For the lead track - I switched to a Vox AC30 amp model plus a Blues Crunch effect. I was going for a dirty, distorted sound on the lead. Perhaps it was too much. I think I'll redo that track with a clear Twin Reverb amp model without Chorus and see what it sounds like.
  • Regarding the competitor-complimentor thing - dude - I have enough competition at work and everywhere around me. I'm here for comraderie and support. If I lose that, I'm outta here.
David


Hi again David,

It was not my intention to diss you, but I think you know that.
What I ment with crappy sound is the overall sound quality, especially in the first one.
Hard to describe, but I guess it is kind of like hearing you play behind a wall.

I had a go and listened today again.
It is the lead that I ment with distorted.
Today I did not find so much, mostly just after one minute.

Regarding the competition, there is none.
How is it possible to compete in music?
My point was merely to be able to express our inner voices on those backings, we need more tools to do that.
I agree with you about the comraderie, it is a wonderful forum to be in.

Jan

Gibsons Learn and Master Guitar, Session : 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Fender American Stratocaster Deluxe

PRS SE Bernie Marsden signature model
Ibanez RG 170
Takamine Jasmine acoustic steelstring
Peavey Vypyr 15 amp
Roland Cube 15 amp

Line 6 UX2


#10 3rdwaverider

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Posted 30 September 2012 - 01:13 PM

I can't believe you mention Barretts's book because I probably bought it two years ago and just literally took it out about 3 days ago when I went for a ride to visit a college with my son and husband ... It does seem to make sense and in a way marry the techniques I have read about in learning the notes on the fretboard.


I agree! I set out in earnest to learn the notes on the fretboard in Session 10 and I've used various approaches. Barrett's book has come highly recommended. He says it will take about a year to learn the fretboard using his method, practicing about 15 minutes twice a day.

#11 3rdwaverider

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Posted 30 September 2012 - 01:16 PM

I have the JS-8 and record on it. Truthfully, I haven't even begun to use all the features of the JS-8.

To tell the truth, Dan, I haven't plugged into my amp since I bought the eBand. The JS-8 is loaded with tools that you would really enjoy, especially the amp modeling and effects. It's a very creative way to find your sound. And speaking of that, thanks again for sharing yours with us here and on SoundCloud. I am a dedicated listener!

#12 AndyL1

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Posted 30 September 2012 - 04:43 PM

Sounding good.

L&MG Session 1 2 3 4 5 6 7 8 9 10 11 12 13/14 15 16 17 18 19 20


#13 3rdwaverider

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Posted 30 September 2012 - 08:03 PM

What I ment with crappy sound is the overall sound quality, especially in the first one.
Hard to describe, but I guess it is kind of like hearing you play behind a wall...

Jan


Aha! Now I know what you mean. Another way that I would describe it is that it sounds like the music is under water ... and actually, Jan, that woody, muffled tone is what I'm trying to achieve. You get it partially with a hollow-body electric (an archtop) and partially with the pick-up. I recently installed a DiMarzio 36th anniversary PAF. The combination get you to the tonality that typifies the jazz guitar sound of the 1950's and 1960's - and players like Wes Montgomery. Pat Metheny is getting that same tone today. I agree that I have work to do to get that tone perfected so I'll keep working on it.

Meanwhile, I watched the Sesh 14 DVD today. What a gas!

#14 3rdwaverider

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Posted 30 September 2012 - 08:04 PM

Sounding good.


Thanks, man!





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