Are we having fun yet?

[Silicon Valley Tom]

Some thoughts about using the Blues Solo Construction Kit:


1. Chose a key of interest.

2. Obtain a backing or jam track for a Slow or Shuffle Blues, with 12 bars in the key of interest. You may have to edit an existing one if it is more than 12 bars.

3. Use a sheet of paper or software to create what you are going to play, and transpose as required.

4. Play the backing or jam track and play what you have written down, with your guitar.

You can record what you have accomplished, add embellishments, create more than 12 bars, (24, 36, etc.) modify the Intro to make in longer, add an Outro, and in general, use your imagination.

I am doing the above and I am surprised at how many versions of a piece I am able to come up with. Do not forget to change the position of the notes to a higher or lower position on the guitar neck, to see how it sounds. You should also try some modifications to the existing licks or use your own.

People following the above suggestions may never be seen or heard of again. The fun has only just begun!


Tom

 

[MikeS]

Exactly what I did. I picked a key that most of the licks I wanted to try were already in, I copied them into GuitarPro6 (The playback feature helps a bunch). I learned the solo and I recorded it then posted it here!!!
Tom, I completely agree. It's some really fun stuff.

 

[OG_Blues]

Considering the number of people that publicly declared they were buying this course, I sure thought we'd hear more example recordings posted here.
Where are they all?
Let's hear them!!!!
I hope this course isn't just sitting on shelves all over the world.
Tom

 

[mpaq]

its one of those courses that sounds easier than it is Plus the launch coincided with the spring launch of my landscaping biz so very little time to focus.
Ok enough excuses.....

 

[Silicon Valley Tom]

Exactly what I did. I picked a key that most of the licks I wanted to try were already in, I copied them into GuitarPro6 (The playback feature helps a bunch). I learned the solo and I recorded it then posted it here!!!
Tom, I completely agree. It's some really fun stuff.

Very good Mike. That playback feature is priceless. In my case, I use TablEdit, and it also has a playback feature. It sure lets you know how things will sound before you pick up your guitar! Also, using software lets you quickly change things.

What I did was to create a Template based upon the one that Griff created, and I put the position and lick number over each corresponding segment. I can "plug and play" different position/licks, after transposing them when necessary, and keep the results.

I am considering creating a template with all the positions and licks, and then cut and paste to whatever I am working on. I want to use the transpose feature of TablEdit (right now I do that by hand) and then see what happens. This is a bit like programming. You create modules, and use them where they are needed.

I am even thinking it would be nice to have a library of position/licks in all keys. That will take some time. Also, collecting jam tracks in all keys with the proper feeling (slow and shuffle) and speed is something I am considering. It would be nice if several people could get together and work towards those goals and share with everyone. Perhaps you and I could start things and have a Guitar Pro, TablEdit, and Jam track area. If we do that, we might start off with something small and see how much effort/time it takes and where it will lead. I think that a concerted effort that is well defined would benefit others. Otherwise we might end up with many people contributing with separate posts which would make it difficult to find what you need. It would be nice if we could get others to contribute towards this idea, once a concrete definition is created as to the structure of the project.

Tom

 

[Blocker]

I went through the Shuffle licks and then the first solo. I got confused changing keys so am working on that.

It is a great course, it doesn't finish.

 

[OG_Blues]

It seems everyone is focused on the shuffle feel kit - surprises me a bit - I thought there would be more interest in the slow blues kit for some reason.
So I just took my first look at the shuffle feel kit, and see right away that it is "easier" (in a sense), because the positions and example licks are all non-overlapping, with each position's lick being the same number of measures. The only exceptions seems to be position 3 lick 2 that has a single pickup note from the previous position's last measure. Also, some position 1 licks have a short partial measure intro. This allows a person to cut and paste stuff together pretty readily, as Tom and Mike are suggesting and doing.
The slow blues is a bit more complicated, with more positions (7), and some of them overlap the same measure for the end of one position and start of the next. This makes cutting and pasting more difficult, because blindly doing so will result in a solo more than 12 measures long, i.e. incorrectly structured. Also, some licks will "run together" or actually overlap at the end / start point, so lick selection is a little more critical, or may require slight modification. As expected, not all licks sound great together when randomly sequenced. I find I get better results by doing a little bit of advance analysis of which licks will fall in the sequence best.
Like anything, it requires some effort to get the benefit - there's a lot to like here!!
Tom

 

[Silicon Valley Tom]

It seems everyone is focused on the shuffle feel kit - surprises me a bit - I thought there would be more interest in the slow blues kit for some reason.
So I just took my first look at the shuffle feel kit, and see right away that it is "easier" (in a sense), because the positions and example licks are all non-overlapping, with each position's lick being the same number of measures. The only exceptions seems to be position 3 lick 2 that has a single pickup note from the previous position's last measure. Also, some position 1 licks have a short partial measure intro. This allows a person to cut and paste stuff together pretty readily, as Tom and Mike are suggesting and doing.
The slow blues is a bit more complicated, with more positions (7), and some of them overlap the same measure for the end of one position and start of the next. This makes cutting and pasting more difficult, because blindly doing so will result in a solo more than 12 measures long, i.e. incorrectly structured. Also, some licks will "run together" or actually overlap at the end / start point, so lick selection is a little more critical, or may require slight modification. As expected, not all licks sound great together when randomly sequenced. I find I get better results by doing a little bit of advance analysis of which licks will fall in the sequence best.
Like anything, it requires some effort to get the benefit - there's a lot to like here!!
Tom

Tom, thank you for your insight. There are over 50 forms of “The Blues”, and to honest, the Shuffle is my favorite. You made important observations about the Slow Blues Construction Kit. To be honest, I have not opened the Slow Blues Construction Kit book or DVD. Your comments have inspired me to do so and soon.



Tom

 

[MikeS]

The GP6 transpose is really easy to use. Highlight the portion that you want transposed, click on a menu, tell it how many half steps and it's done. the only thing you have to worry about is where on the neck it puts the lick (Assuming you are looking a the tab). Since there can be more than one place to play exactly the same tone, it may or may not pick the one that is in the same neck position as the lick that you entered before it.

Very good Mike. That playback feature is priceless. In my case, I use TablEdit, and it also has a playback feature. It sure lets you know how things will sound before you pick up your guitar! Also, using software lets you quickly change things.

What I did was to create a Template based upon the one that Griff created, and I put the position and lick number over each corresponding segment. I can "plug and play" different position/licks, after transposing them when necessary, and keep the results.

I am considering creating a template with all the positions and licks, and then cut and paste to whatever I am working on. I want to use the transpose feature of TablEdit (right now I do that by hand) and then see what happens. This is a bit like programming. You create modules, and use them where they are needed.

I am even thinking it would be nice to have a library of position/licks in all keys. That will take some time. Also, collecting jam tracks in all keys with the proper feeling (slow and shuffle) and speed is something I am considering. It would be nice if several people could get together and work towards those goals and share with everyone. Perhaps you and I could start things and have a Guitar Pro, TablEdit, and Jam track area. If we do that, we might start off with something small and see how much effort/time it takes and where it will lead. I think that a concerted effort that is well defined would benefit others. Otherwise we might end up with many people contributing with separate posts which would make it difficult to find what you need. It would be nice if we could get others to contribute towards this idea, once a concrete definition is created as to the structure of the project.

Tom

Jam tracks are fine, but putting Griff's course out there in GP6 format would be stepping on his copyright. I've sent him the pieces that I have gotten into GP6 and, once he has time to review them, I think he will put them into the customerhub.

 

[Silicon Valley Tom]

Mike, I have been using TablEdit since it first came out and never tried the Transpose function until today and it is easy to use. Good point about copyright! We had better check with Griff before we do anything like I suggested.

I see that there is software that will transpose MP3's to a different key. That may be a good idea to use that with Griff's 12 bar jam tracks.

Tom

 

[HotLks]

When you guys use Guitar Pro to document a riff or a song that you created, does the program help you to get the note timing correct or do you have to count it out and nail it correctly right from the start? This is the most difficult part for me when trying to use software of this type and it makes the process very slow.

Thanks!

See you down the road!

 

[Silicon Valley Tom]

I use TablEdit, which is similar to Guitar Pro. What I do is to copy the notation (using my keyboard and mouse) to TablEdit, and then you can play it back. When the notation duplicates the original you can be sure that the timing is correct.


You will see the duration of the notes and rests, so you know it will be correct and emulate the original.


Tom

 

[OG_Blues]

I use TablEdit, which is similar to Guitar Pro. What I do is to copy the notation (using my keyboard and mouse) to TablEdit, and then you can play it back. When the notation duplicates the original you can be sure that the timing is correct.


You will see the duration of the notes and rests, so you know it will be correct and emulate the original.


Tom

hmmmmm Tom, I don't think that is what he is getting at or asking. Asked a bit differently, if you are entering notation from scratch, i.e. something new, not copying existing notation, as you enter the notes, how "intelligently" will it handle what you put in a single measure? Does it automatically handle measure boundaries based on the value of notes entered? I think HotLks is struggling with knowing what time value each of the individual notes in a particular lick really are. The more complex a lick gets, and especially if strict time is not observed when it is played, this can definitely be challenging. If you look at some of the notation in the solos in SBS for instance, you will really see what I'm talking about. There are as many as 36 notes in a single measure, and they are not all the same time value, and that's only part of the lick. It's an approximation of what is actually played. Tied notes can be especially difficult to notate in some cases. Standard notation cannot possibly capture the nuances of actual playing, as we all know. Can you easily notate things like 5 or 8 notes to a single beat?
Tom

 

[MikeS]

With GP6, it will let you know if you have too may or too few notes (It will expect the number of beats indicated in the time signature that you have chosen (Usually either 4/4 or 12/8 for blues) (It won't tell you which though you have to figure out if you have too many or too few).
So the short answer is that it helps a bit but not a lot, so you DO need to be able to count out the notes in the measure. Of course if you are having trouble knowing note durations, then creating a tab is probably a bit beyond you skill level at this time and you will just get frustrated. Better to wait till you are comfortable with note duration.
If you can avoid the frustration though, it's a great way to learn duration.

I've never been able to enter a solo and, in the software, have it sound as good timing wise as when I play it. I think (could be wrong) that that is the nature of the beast.
I've entered Griff's solos note for note and they do not sound EXACTLY like when Griff plays them.
I think I'm glad of that. IF a computer could play the notes as well as I can, who needs me?

 

[HotLks]

Yes. I find when an idea is hot and I try to capture it I get bogged down in playing around with the software trying to fit notes into measures and this threatens me with losing the idea. I suppose for a first draft putting in the tab, disregarding timing and trying to put in some kind of text note describing the beat, the feel might be helpful. Actually, I should really play around with recording instead. That way I can exactly capture what I've created and bypass the tinkering with the software that slows me down. Making good notation is not my priority at the beginning, if ever. I find it a major distraction.

Perhaps when I get much more familiar with the beats, measures and note values from seeing them in Griffs notation I will have a better sense of how the riffs and rhythms fit into each measure and all 12 measures total without having to get sidetracked with putting them on paper. I'm sure there are very clear patterns to a lot of what we do. I just haven't clearly identified them yet. I will be aware to look for the patterns now that we've talked about it some.

See you down the road!

 

[Silicon Valley Tom]

When I was 6 my parents bought a player piano, and I began taking piano lessons. When you played a piano roll, the playing sounded very mechanical. A few years ago I began an association with Stanford University Library Department of Music and Archive of Recorded Sound. It turns out that very sophisticated player pianos were built and recordings made of famous artists. These piano rolls included the dynamics, note duration and phrasing used by the actual pianist (George Gershwin, Ravel and many others). When you hear these piano rolls you are hearing the actual playing of the artist who made them.

Music notation is not the end all to music. It is a path that one follows. It is up to you to make it breathe. Even the most famous classical solo musicians have mentors who guide them as to how to play a piece of music. That is something that I learned early in life.

One person that I met who was a flamenco guitarist passionately disliked anyone attempting to emulate the sound of his playing. His name was Sabicas, and he insisted that everyone should have “his own sound”. So when you play any kind of music, I would suggest that you play the music the way that you feel. Give it the emphasis you wish to express. First you learn to play the notes then it is up to you to give it life.



Tom

 

[OG_Blues]

Yes. I find when an idea is hot and I try to capture it I get bogged down in playing around with the software trying to fit notes into measures and this threatens me with losing the idea. I suppose for a first draft putting in the tab, disregarding timing and trying to put in some kind of text note describing the beat, the feel might be helpful. Actually, I should really play around with recording instead. That way I can exactly capture what I've created and bypass the tinkering with the software that slows me down. Making good notation is not my priority at the beginning, if ever. I find it a major distraction.

Perhaps when I get much more familiar with the beats, measures and note values from seeing them in Griffs notation I will have a better sense of how the riffs and rhythms fit into each measure and all 12 measures total without having to get sidetracked with putting them on paper. I'm sure there are very clear patterns to a lot of what we do. I just haven't clearly identified them yet. I will be aware to look for the patterns now that we've talked about it some.

See you down the road!

HotLks, I think you have nailed your answer to your situation, and that is pretty much what I do. On the rare occasion that I play something that I think sounded cool, I put it in tab without any standard notation or timing, AND I record it. The recording helps me recreate it accurately 15 minutes later after I have already forgotten it. The "untimed" written tab is also useful for playing around with the same phrase with different timing or slight variations of the notes, in order to create additional derivative licks, like in Bob Murnahan's Tore Down course. At some point, I might add approximate timing notation to the tab but I don't stress about it being exactly accurate.
I am finding that over time, the actual note timing values have become more evident to me, and I get closer and closer to being able to write it out in standard notation, but, while it is good to know how to do that, it is in reality, kind of an academic exercise when it comes to being able to play the music I want to play.
Tom

 

[HotLks]

Well said Tom!

I would suggest that you play the music the way that you feel. Give it the emphasis you wish to express. First you learn to play the notes then it is up to you to give it life.

Well said Tom!

I am finding that over time, the actual note timing values have become more evident to me, and I get closer and closer to being able to write it out in standard notation, but, while it is good to know how to do that, it is in reality, kind of an academic exercise when it comes to being able to play the music I want to play.

See you down the road!

 

[mountain man]

I started with the Shuffle Feel. I selected it simply because it has 5 different sections. The Slow Blues has 7 which just sounded like more to deal with for my simple brain. I will get to the Slow Blues next. The other thing that I am currently doing is working on all three course that mix the Major and minor scale. So last week I was working on Steve Trovato's Building a Better Blues Solo. Last weekend I was working on Major minor Blues Shapes. Before that and now again I'm working on the Blues Solo Construction Kit Shuffle Feel. Why am I doing all of these? I can't just do a once through and make it an instant part of my play. I need to review and review in order for it to sink in and make it part of my improvisational play. I find that when I play I am pulling different riffs from all of these resources. But it's hard to remember them all. This process takes months and months.

For me the challenge is understanding where these riffs start (think Blues boxes) and how they combine the Major and minor scales. With the new course Blues Solo Construction Kit we are changing to the Major and minor shapes from measure to measure from new chord to new chord. Not only is that difficult I think it is the key to really being free to express what you hear in your mind and be able to translate it through the fingers to the guitar. Just for the typical 1, 4, 5 Blues. So if you are playing in the Key of G and you move to the C and then back to G and then to the D and then the C and back to the G and finish on the D......... Well you are interchanging 6 different Pentatonic Blues scales freely from measure to measure........ It's not adequate to memorize these riffs and play them. For me it is necessary to understand how they are built and then freely play.