Category Archives: art

R.I.P. Glen Campbell (1936-2017)

I’m writing too many of these. Am I nostalgic? Or was there a truly golden period, filled with stars who so much that their passing inspires grief in even the most removed and passive music fan?

This morning, I leaned of the Glen Campbell’s passing. He was 81 and has only recently retired from performing following a diagnosis of Alzheimer’s Disease in 2011.

Beyond the country-pop hits Campbell enjoyed in his long career (‘Rhinestone Cowboy’ to ‘Gentle On My Mind’, as well as the classic ‘Wichita Lineman’, in the video below), he was also an accomplished session guitarist.

Campbell’s early influences included gypsy jazz legend Django Reinhardt and one of my own guitar heroes, session guitarist Barney Kessel. Campbell’s career would see him in the same first-call bank of musicians as Kessel (now referred to as ‘The Wrecking Crew’ – I highly recommend you read up on these amazing musicians and the inumeroua hits they helped to create). In this role he performed on records by Phil Spector, The Monkees, Frank Sinatra, The Beach Boys and countless others. In fact, he was the live replacement in The Beach Boys for Brian Wilson, who was not up to touring by the mid-sixties.

Aside from and indeed above his beautiful singing voice, I will remember Campbell as a highly versatile and talented guitar player. I hope you enjoy the video below.

R.I.P. Glen Travis Campbell (1936-2017).

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Works Update: #6×5

Good afternoon, all!

I’ve been working on new music for my debut jazz ensemble. That is, one in my own name, playing all of my own compositions. With everything else going on, progress is slow but steady, not to mention home to some unexpected plot twists…

Amongst all of my recent editing & rewriting, I have revisited a piece originally intended for a very different setting: #6×5.

#6×5 is part of a larger multi movement minimalist work which is still in progress (you can read the original blog post here). However, in trying to find a suitable frantic, angular repeated motif for bass to play under a rapid drum break, a particular theme kept coming back. One which I’d heard before… And then it finally dawned on me that I’d already written the very part I was looking for!

Fast forward another week, and after several rewrites & edits, the original piece has all but vanished. What I am now left with is shaping up to be an amended version of #6×5 adapted for a small jazz ensemble.

The main elements remain – six motifs of five notes each. However, I have relaxed my own self-imposed rules regarding this composition. While I am aiming to only use notes from these six motifs, I have opted against using whole phrases in some places, meaning new lines come out of the old. Given the nature of how this piece has transformed from a minimalist piano miniture into a jazz ensemble number, I think the idea of new notes from old phrases is entirely appropriate!

Rehearsals with the new group will hopefully start soon so stay tuned for a video snipet of this new/old tune.

Why not try the same idea yourself? Go look back through your old drafts & notes for inspiration, and be prepared for the surprises which may jump out at you!

Until next time…

Tim x

‘Lagrima’ (Francisco Tarrega)

Hi all, here’s recording of my interpretation of ‘Lagrima’ by Francisco Tarrega, a popular piece in classical guitar repertoire. This was recorded at Nemix studios in Newcastle, using my Admira classical guitar. ‘Lagrima’ means ‘teardrop’ and the piece was written by Tarrega while homesick for his native Spain.

I feel this close-to recording captures an environment as intimate as Tarrega’s lodgings in London as he wrote this. You can hear my fingers in contact with the strings here. Personally, I quite like this. It makes an interesting contrast to how the classical guitar is heard in a concert context. However, I’d argue that the instrument is not naturally suited to the large auditorium, and a more intimate setting better highlights it’s harmonic qualities – but what do you guys think?

If this video above does not play, you can access the YouTube video here.

Enjoy xx

What’s your biggest guitar issue?

ATTENTION GUITAR FRIENDS!

This is a call for submissions!

One aim of my blog is to offer guitar & music-related advice and for the next few posts, I’d like to pass the power in dictating the topic of discussion to YOU. So tell me: what is the is the biggest issue you face in learning the guitar?

I’m happy to examine any relevant queries which have been bugging you. They could be technical (finger tapping, getting the right tone out of an amp), or more vague (who do you feel the best guitarists to listen to when learning Afro-Cuban jazz, etc). You might want to ask about bass guitar, ukulele or band performance/management in general. Feel free!

You can message me here, leave a comment in this post, or drop me a DM/tweet via my Twitter account: @tim_guitarist.

I look forward to hearing from you & talking your queries over the next few weeks!

Tim x

R.I.P. Chuck Berry (1926-2017)

R.I.P. Charles Edward Anderson, AKA ‘Chuck’ Berry (1926-2017).

To say that Chuck’s guitar playing was an influence on mine would be to do him quite a large injustice – he influenced everyone!

Building on the foundations of the early blues and jazz single-line players (such as T-Bone Walker, for one), and making great use of double-stops (two notes played at once throughout a phrase) to emulate the horn sections of larger bands, Chuck Berry created rock’n’roll as well know it today.

I could have picked any number of Berry’s songs to share here, but opted for ‘You Never Can Tell’. Best known from it’s inclusion in Pulp Fiction, I sang this tune with Switch as a first dance request for one of our wedding gigs last year. Great fun & a guaranteed floor-filler whenever we’ve played it since…

https://youtu.be/qK5N2LavUZQ

The live version by Berry & band in the video above below features some pretty cool soloing by the big man (not featured on the original 45rpm recording). Enjoy! x

Music that made me (part one): Early years

“Music expresses that which cannot be said and on which it is impossible to be silent.” – Victor Hugo. 

Humans are a musical species. Throughout our history we have created such beautiful sounds which are simultaneously abstract and intimate. You could say we are the music we listen to. If that’s true, then that first music we absorb as children must play a large part in informing our futures, a least to some extent. If nothing else, it helps form your musical tastes for the future! 

As I sit here typing this, ‘Deacon Blues’ by Steely Dan ha started playing on the radio. I’m instantly transported back to a younger version of myself, still as moved by this song as I was the first time it fell upon my ears. (if you don’t know it, here’s a live version you can enjoy by clicking here).

As musicians & composers, we should be both mindful & appreciative of this. With that in mind, here is my very own early music

Using that term, I’m excluding nursery rhymes and songs from school. I was also planning to leaving aside hymns & church music. But the more I thought about it, the less it made sense to do so. This was a huge part of my formative years. To ignore the music of my church and community growing up would mean I was only presenting to you half of the music that made the man sat here typing this right now.

I was raised by a family of regular churchgoers in a close Catholic community in the north of England. Music was a large part of our times attending Mass or in Church-related events, and without a doubt my favourite ingredient of the Christiam experience.

Folk & Celtic Music

My community had a strong Celtic connection, with regular social events, often ceilidhs featuring additional Northumbrian dancing. If you’re unfamiliar with these traditional Irish & Scottish dances, here’s a classic, the Gay Gordons (Yes, that was a part of my childhood!)

There were also more reflective songs, performed by certain members of the parish. These included several traditional Irish songs, such as ‘Danny Boy’ and ‘Molly Malone’.

My interest in folk music stems directly from hearing so much of it as a child. As a professional guitar player, I’m often called upon to play these tunes. Here is my own version of ‘Danny Boy’ (called  Londonderry Air here) from my Vimeo site.

…and here’s the traditional Notthumbrian tune Waters Of Tyne

Hymns

While there was no one particular hymn that stood out, I quickly discovered which melodies, chord sequences, and – crucially – their relation to each other, I preferred to listen to and sing along with. Some, especially Christmas Carols, managed to embody powerful music with a soft sweetness many classical composers have struggled to attain. Obvious (non-Christmassy) examples include ‘Abide With Me’ and of course, Jerusalem.

‘Jerusalem’ gets bonus points for being thought of as such a patriotic ode to England here in the UK. This is despite the fact that the words are taken from William Blake’s thoroughly sarcastic prom, mocking the mediaeval belief that Jesus visited these lands as a teenager with Joseph of Arimathea. However, the music by Sir Hubert Parry is sublime. In particular, the downwards harmonic movement towards the end of the second line in both verses never fails to raise goosebumps on my arms!

Finally…

This is just one part of my life, but the music here still stirs memories of growing up, and the sense of community spirit we had. My father is still a regular at my old church, and like me, his favourite part of the experience is the music – the singing together, and belonging.

But that’s not the whole story…

Coming up next: the other side of my early years. Specifically, the albums I first heard as a child. Until then, stay happy and keep making music xx

Albêniz’s ‘Leyenda’- open to interpretation

Interpretation is key to making music more than the robotic sounding of written notes on a page. It plays a large part in ensuring music remain an art, rather than a means of sequencing sound (this too can be a form of art, when done well, but that’s another article altogether).

I was recently asked to perform Spanish guitar music at a friend’s wedding service. Amongst other choices was Leyenda (meaning ‘legend’), one of the ‘big’ pieces classical guitar repertoire. Originally written by Spanish composer Isaac Albêniz (1860-1909) for piano, but transcribed for guitar within Albêniz’s lifetime.

The most famous transcription of this piece is by Andrés Segovia. Hear the great player performing it himself on this YouTube video. You may notice that Segovia’s interpretation is slower than more recent recordings. I’ve had some pretty interesting discussions with guitarists in the last few weeks and months regarding artistic interpretation. In almost all of these chats, the focus has been on the interpretation of the performer

However, what we hadn’t considered is the interpretation of the composer, or the arranger. When I say arranger, I mean one who transcribes music for other musicians to perform, rather than a player making interpretive changes solely for their own performance.

I came across a great article by composer & arranger Stanley Yates about this piece, which I wholeheartedly recommend you read here. In this article, Yates not only provides a large (and most welcome) amount if background information on the piece, but explains why his new arrangement differs more from Segovia’s than you might expect. The chief differences for me are the absence of sixteenth triplets in the opening section, which was Segovia’s invention (be honest, how many of you knew that?!) and a few differences to the interval of certain ‘grace notes’.

You can download Yates’s arrangement of Leyenda for free via this link to his website. I strongly recommend that you do this, in order to see these differences for yourself, and experience a very different side to a piece you thought you knew intimately.

The source for Yates’s arrangement is the original published piano work. He argues that he has attempted to stay true to the original piece without being pressured by the subsequent traditions of this piece which have grown over the last century. To say any more would be to rob Yates’s article completely – take some time to read it for yourself, and as always, please let me know your thoughts. Artistic interpretation has been a keen area of interest to me for a long time, and I am happy to open up a long-running conversation on the topic with readers & fellow music lovers. Get in touch!

Tim x