One Man Jamming - The Art of Improvisation

For many of my students working on improvisation, I suggest that they learn to jam by themselves some of the time. The reason why I suggest this is that many guitar players are immediately disconnected to the chords of a song once they go to single note runs or solos. If you have to supply both the chords and the solo, your going to connect the two much better and think more in a conversational way: chord - notes -chord - notes - or statement - response etc... type of thing.

So, in a typical blues progression I can hit the first chord and respond with a run that takes me to the next chord then another run that takes me back to the first chord, and with each change I am challenged with fitting not only the timing of things but leading the notes in the direction of the next chord in the progression. This type of exersice not only helps me get a good balance between chords and notes, it brings out chords in my runs and the runs in my chords: it integrates all the elements of playing together, like what naturally happens on an instrument like piano.

Taking this skill into a band situation can bring out a very lyrical approach to lead playing. I can weave through the chords seamlessly, blow off a classic rock run, add a blues cliche, and finish off with a rapid scale passage for the climax. I become multi-dimensional and more connected with the musical surroundings or settings because of the awareness of the musical backdrop of a song.

The two main features ( music as conversation and music in unity ) of this approach are present in every great soloist I've ever heard. You can clearly trace or analyze the unity of chords and notes in players like Eric Clapton, Jimi Hendrix, Slash and John Mayer as well as hear the obvious conversation going on between support musicians and soloist throughout the music of guitarist such as Jeff Beck, David Gilmore, Jimmy Page, Eric Johnson, and Angus Young.

Practicing jamming by yourself can be difficult at the start and needs some acquired skills of being comfortable with some air (space) between chords and notes: but it can help you achieve some great results in the improvement of your solo playing.

Music expresses that which cannot be said and on which it is impossible to be silent.

Victor Hugo

Music : "Something to do" or "Something you do?"

Is music 'something to do' or 'something you do?' 

Pause for a moment and think about it before you read on...

To grapple with this question is both important and thought provoking; and to approach an answer will shed some light on the state of modern society and the health your own artistic pursuits. I used the word 'grapple' because it suggest a struggling or wrestling with the idea instead of a passive pondering approach, and because it rhymes with 'apple.'

An apple is a thing known for it's colour, flavour, texture, and health benefits. It's red, sweet, juicy and good for you: it's what an apple is. So when I think about the question above, my mind tends to leans toward the basic characteristics of 'who I am' (central or focal) instead of 'what I do'  (peripheral or subsidiary). 

Let's move on...

When music is 'something you do', it becomes a part of your identity and tends to grow in concert with the rest of your character, soul and natural creativity. When music is 'something to do', it's like fashionable clothing: in style one day, out the next, and something very much superficial.

What does this mean?...

If you want to play music and enjoy fulfillment in the journey like the great players you hear on your favourite albums you have to let the music become a part of 'who you are' and letting it sink deep into your soul. It's about developing taste and a hunger for the practicing, studying and playing of your guitar by making it part of your everyday experience of living, and knowing that by doing so, it will build a more whole and healthy person.

"Music is a moral law. it gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything" Quote: Plato

Take your "PICK"

The choice of the right guitar pick can enhance the quality of your tone and improve articulation and clarity in chords, solos, riffs and single note melodies. Many students make their choice of picks on which ever is the most easy and convenient to use: which usually is a thin pick. A thin pick is generally the worst for tone reproduction, dynamics, and musicality. My advice for my students is to move to thicker pick as soon as possible to help grow their tone alongside their technique.

A good example from a different discipline is that of the microwave oven. I know of no chef who would use a microwave oven to cook fine food because the end result would be culinarily unsatisfying and universally frowned upon by his peers. A chef could use a microwave for certain uncritical and minor cooking events but would ultimately keep his or her's keen eye on the making of quality food using instruments that enhance flavour as opposed to 'zapping' the soul out of the food.

Now, the general modern household on the other hand uses the microwave oven for quick and convenient heating and cooking of "food" and "food-like" substances but... it's usually means convenience over quality and a quick fix as opposed to a satisfying event. Let's exit that mind-space for the sake of our guitar playing as an art as well as the longevity of our pursuit of beauty and goodness in music.

Back to guitar picks...

So, if we hear (and we can) that tone, clarity, and dynamics are all better when we change from a thin pick to a medium or heavy pick, we should plan to inch towards that goal in even the early stages of our guitar playing. By doing this we will soon realize that it's all about developing the touch within our hands and fingers that will help add that professional tone we are missing.

So, if we wouldn't hit a real nail with a toy hammer then we
shouldn't hit a real string with a toy (thin) pick.

Keep your tone the best it can be with a 'medium' to 'heavy'

pick and enjoy the pure gourmet tone.

'AMP' or 'NO-AMP'?

A Big Rig: Nice if you have roadies

Small Rig: Can work in most situations

The move towards smaller guitar rigs has gained much momentum in the last few years. I personally use a small pedalboard and an amp simulator for my main guitar rig; so everything I need for a gig fits in my hard-shell guitar case or at most a guitar gig bag and a small duffle bag. I have in the past spent most of my life as a guitarist carrying around amp-heads, racks, pedalboards, guitars and cabinets, but I now welcome the change that my wallet, my back, and my ears thank me for. My change to a less expensive, smaller, and less ear-splitting rig that has worked extremely well in every situation from studio to stage.

I will breakdown the metamorphosis of my change to a small rig. In my time in the studios, touring, and jamming at home I have done many A/B comparisons (sometimes out of necessity) with different guitar rig combinations and I've often experienced very little loss of quality by using amp simulators either in software, rack or stomp box form. I have also taken tips from other players I have met along the way that get big tone out of small rigs.

The results:

LIVE: With the added baggage costs, and wear and tear on amps when I fly I usually just bring my guitar, a Line6 Pod and some assorted pedals. The promoter of the concert will usually rent and supply an amp for me which can be anything from a nice surprise to a nightmare. The results with the amp simulator have been consistency of tone, a nice low stage volume,  and added sound control for the front of house engineer. Sometimes I end up using the rented amp for a personal monitor but my main tone will be generated by pedals and the Line 6 pod.

STUDIO: The studio is very different from the live or touring situation because I do most of my work at home, where I don't necessarily have to lug around the gear. I can set things up and keep it ready to go at a flick of a couple of switches. In my studio I generally use the small rig out of the economic realities of a shrinking music business and a trend towards smaller lower budget productions. The session scene for the majority of players right now does not support having the big and crazy rigs of the past and small rigs are being used more effectively these days as a viable option to keep quality high on a budget.

The Verdict:

In my experience, portable rigs can replace big rigs in most studio or live situations. The quality is definitely comparable and is closing the gap quickly. For the added benefits to your budget, saving your hearing, and being easier to carry around I would recommend trying a small amp modeller or preamp with some assorted pedals in every situation from jamming at home to playing concerts.

Staying Connected - Cables and Connections

Every electric guitar player has experienced his or her fair share of cheap and easily broken down guitar cables. No matter how many times we're reminded that, "we get what we pay for", we like sheep, head to that same discount bin of 'soon to be useless' cables at our local music store.

So, many many years ago I decided to stop the cycle of 'waste and frustration' by purchasing professional quality cables for every connection in my guitar rig, home studio and home theatre. The result was happily true to the labelled 'lifetime warranty' on the majority of professional cable packages. In 30 years of plugging in and out I have only had one cable issue that was immediately remedied by the fine folks at Fender. So the lesson for the day is:
              
              Don't buy cheap cables!

Here's a list some brands that you can look for quality cable that will last and produce good overall tone reproduction. Planet Waves, Monster, George L's, Spectraflex, Elixir, and Whirlwind.

Free yourself of the worries of cable problems and embrace the high fidelity of professional quality cables and connectors... and always remember:

              Don't buy cheap cables!

Are Guitar Pedals Too Expensive?

'

When you look at the price of guitar effects pedals these days ranging from $150 to $550, putting together even a modest pedal board with a few pedals might seem too steep for your budget. How can these tiny little metal boxes filled with tiny circuit boards and a few dangling wires hit my wallet so hard? My opinion, for what it's worth, is that for the most part putting together a padalboard of any size is much cheaper than the rigs of the near and distant past. I do admit that many pedal companies prices are too high; mostly due to the "hype" of the particular pedal or the "trendiness" of the particular company name on the pedal, but you can get a great rig happening for a fraction of the cost of rigs in the 1980's or 90's.

A Comparison worth Consideration

NOW                                                               

• $300  Strymon Blue Sky Reverb                              
• $450  Strymon Timeline Delay                             
• $450  Strymon Mobius Modulation                         
• $400  Analogman King of Tone Overdrive        
• $125  Xotic EP boost                                        
• $200  Wampler Pinnacle Distortion                  
• $200  Wampler EGO Compressor                      
• $200  Voodoo Labs Pedal Power 2                     
• $200  Pedatrain Pedalboard                                  

THEN

• $2500  T.C. Electronics 2290 Delay                     
• $1200  T.C. Electronics 1122 Chorus                                       
• $2000  Lexicon PCM 70 Reverb                            
• $1000  Yamaha SPX 90 multi-effects                    
• $500    DBX 160 Compressor                                 
• $150    ProCo Rat Distortion                                   
• $100    ADA Midi Switcher                                      
• $200    Furman Power Conditioner                       
• $500    Anvil Rack for effects

This comparison between the 'NOW' state of the art pedal board with a price tag of $2,525 and the THEN' rack of effects with a price tag of $8,150 is a fair estimate in my experience as a professional player using gear in both eras of the music industry. One rack effect of the 80's/90's can exceed the entire price of your whole boutique pedalboard. This example breaks down a little with the thought that you could have used a pedalboard in the eighties and rack effects now but it's still a reminder to me that one can get great gear these days at a very reasonable price, even if you buy the top of the line stuff.

S.H.A.P.E. Your Guitar Playing

Spirit

We experience music as spiritual or metaphysical element

 that transcends the mere natural world. It's a common gift to all

mankind of uncommon power on our souls.

Heart

Our hearts are pulled towards enjoyment and participation

 of making music as recreation or vocation. 

Ability

We take practical steps to improve, expand and strengthen

our abilities by study, practice and perseverance.

Personality

A musical identity, style or sound develops.

Emotion

An emotive and dynamically quality

add vitality to the musical performance. 

Many guitar players and students never seem to S.H.A.P.E. their playing into something

 unique, special or dynamic. They remain happy with having what I would call a "S.H.A." 
and stopping at the ability part of the "S.H.A.P.E." an acronym" and never finding a style 
or dynamic to their playing. A culinary example of this would be like forgetting to add the yeast
to the dough - everything then tends to come out flat. 

To journey through music being a beautiful gift, (spirit) to dreaming of playing, (heart) and then on to participation (ability) is a good thing, but music is a dynamic and subtle language in need of added elements to communicate the spectrum of sounds and rhythms necessary for a meaningful interaction.

In plainer words: we love bands like U2 for their unique style and sound (personality) and the way their concerts excite the listener in a screaming, fist-pumping, dancing state of euphoria (emotion).

The solution for a musician is to go beyond a S.H.A. by adding some personality and emotive qualities to what they do on their instruments. You can start this by trying to add some unique or quirky qualities you see in some of your favourite artists, and by emoting some of the lyrical or dynamic content of the song in the way you strike or pluck the strings; bending your thoughts toward these things as you play will alter the music even without feeling much of a tangible difference.