Other people show pictures of their kids. I go on about my three ‘workhorse’ gigging guitars…
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).
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…
This is a short video from TED Talk on how to practice more effectively. It includes some useful tips & really interesting information based on what we know about the brain & how we learn tasks.
This ties-in with my previous blogs on rehearsal & my own (admittedly rather limited) research on music and the human brain [see previous posts]. Let me know what you think!
If the above video doesn’t work, here’s a link so you can access the short TED Talk video on YouTube.
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!
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…
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 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
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!
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