Rudi

How often do you change your strings? (prompted by Mary’s question about string breakage) I had to change strings on my Jackson Elite yesterday. It took 75 minutes! (I hate Floyd rose systems) as the 6th E kept pulling out at the bridge. It was the first time I had needed to change these since buying it. As a teenager, I used to change my acoustic strings at least every couple of weeks. But in those days I was always changing the tunings from concert to open D or C or G. That’ll wear them out in no time of course. These days I detest changing strings, and wont do it unless it’s absolutely necessary. I keep one (electric) guitar for gigging, and another for recording. I do all my daily practice on a beat-up Washburn that should have had new strings 2 years ago. This arrangement allows for minimal string changes. My Spanish guitar needs restringing next. I have never changed these either and I am not sure I have suitable replacements. On Spanish guitars (Classical & Flamenco – nylon strung) you have the additional variable of string tension to consider. I have heard of one player who changes his strings after 6 hours of play. To me that equates to 3 times a week for the beat-up Washburn alone. Rudi

The bassist in my band has an enviable collection of basses. I just bought one from him (he needed the space following another acquisition). I’ve never seen anyone else use these, but he has 3 (well, 2 now…). Dillion seem to make copies for the most part, but I can’t see what this has been copied ‘from’. The through neck (double splice) is like a JD Supernatural, but the body is quite different. Unusually, it has a switch to change from active to passive pickups. Rudi

I was first aware of it in late 60’s rock (eg: Jack Bruce’s songs in Cream) with a guitar solo being transformed by a bass line ‘suggesting’ chords. The drone of a sitar certainly belongs in the broad description, though bagpipes don’t, as that music is much simpler. Though Robert Hunter used bagpipes in ‘Child’s Lament’ creating a great example. That’s for your insights R Rex

Conscience Killer - Black Rebel Motorcycle Club

When Brian Wilson (Beach Boys) heard ‘Be My Baby’( –the Ronettes) for the first time, he was utterly staggered. He knew harmony very well indeed, but what he had heard in that famous chorus was new, unexpected & wholly surprising to him. He would never forget the moment he heard that song on his car radio. Here it is: The chorus is the ‘Be My Baby’ refrain. Essentially it’s a ‘pedal point’ http://www.britannica.com/EBchecked/topic/448440/pedal-point I’m not aware of a more modern term, but we hear lots of in in various sorts of music. One way to think of it is when a note (or notes) bleed into another harmony, producing unexpected results. You could of course figure out the relationship of these notes and give a name to the chord. But knowing what to call the chord is not that helpful. The effect is entirely dependent upon the musical context. The same harmony from the perspective of a different piece of music will be entirely different. What I am getting at is that the effect of such ‘harmonies’ are not well understood. We can all try out the effect, but is there any documented understanding of how this works really? I’m not aware of any. It’s a bit like visiting an interesting place, but there are no maps of this place. There are no street signs or road numbers. A surprise can be around any corner. When Brian Wilson heard Ronnie & the Ronettes that day on the radio in 1963, he experienced something some us can identify with. A spine tingling moment? I think so. I am working on a guitar solo over a song with lots of chords occurring in quick succession, there are a couple of modes I can switch between to keep it sounding in tune, but no single scale will fit. Furthermore I can’t think fast enough to keep up with the changes as they occur. I’m aware though, that certain notes ‘work’ in there that shouldn’t. They are normally discordant, but somehow work within the framework of this particular composition. Why? I have no idea. Are any of you writers any wiser about this ‘extra’ dynamic in harmony? Rudi

Harmonies can be suggested with just an incidental note leading from one bar to another. Harmonies can reinforce what you already expect or anticipate. Harmonies can surprise. When unexpected, they can disappoint, making you feel regret, thinking 'NO, I dont want it to go that way!). When a surprise is welcome though, It can sound fantastic.

I struggle with this. I can do it in the lower end of 'chest' baritone register, and at the higher 'head' falsetto end. In between, it just doesnt want to happen. Mary, what follows is personal experience only. Experiment with vocal volume. It seems to work best at higher volume, as if you are trying to be heard over a noisy crowd. I recommend recording yourself to try this out. The reason is you rarely ever hear yourself correctly without recording (or possibly plugging up one ear as the folkies do). Try to sing as loudly as sensibly possible. If overdone (too loud) you lose voice control, but that difference can be subtle, hence the reason for recording. It doesn’t even need to be a good recorder. The internal mic & software in your PC will do at a pinch. If you can crack that, then hopefully practice will enable further development.

And you might live on a mountain top Or maybe out by the sea You might live in a great big house You might live up in a tree Everybody needs rock and roll Better than diamonds better than gold Everybody needs rock and roll -Stray Cats (Everybody needs rock and roll) except my Dad

Cat Squirrel (the squirreling must go on) - Blodwyn Pig

Jack Ass Ginger - Poi Dog Pondering

Run Paint Run Run – (Captain Beefheart and the Magic Band) Here by: Best Batch Yet - Captain Beefheart Tribute Multiple Sclerosis Benefit - Bowery Poetry Club

Good jh, Not as pithy as Roger Millars, but good. I wonder what they taste like? The French would know all about that of course.

there are links & tutorials on this site. Look at these 1st. I can recomend at least a couple of books, but a teacher will need to be local to you.

There are guitar tutorials here on SS too.

Best Suit - Clark Hutchinson http://www.youtube.com/watch?v=SdeeZbF_-lQ

"The human brain is a wonderful thing. It starts working before you are born, and doesnt stop until you sit down to write a song" Roger Miller said this (King Of the Road, England Swings, etc) Its good, but paraphrases SIr George Jessel's... "The human brain is a wonderful thing. It starts working the moment you are born, and never stops until you stand up to speak in public."

Glad to hear it gia. Always nice to hear feedback

Plain speaking is not hostility Oli. Of course it can be taken that way, but all I did was to hold up a mirror. With John & Mike's advice you have some solid information. Good luck with your plan.

Oli What you are really asking is 'how do I realize my plan?' Mike is trying to help by suggesting you step back and take a harder look at your plan. It much easier for you to check out what you are asking for than anyone esle. It sounds like you are expecting someone else to do your research for you and hand to you on a tray. Like you said, I'm not really interested.

Nice. Enjoy that Mike.

Saint Behind the Glass - Los Lobos http://www.youtube.com/watch?v=-6MR619knhg

The benchmark for pitch could have been 'almost' anything. That is, a small variation in Hz. Once the Hz is established though, all other notes are relative. In fact a change did occur in JS Bach's time, and intervals were averaged out for the keyboards of that time. We have inherited that 'averaging out' ever since. Perfect pitch may be an ability that people are born with, but they still have to learn the scales once they are born. Otherwise we would have pre and post baroque perfect pitch.

My relative pitch was pretty good. I could also always find 'E' on demand. That was useful for tuning a guitar. Then my pitch abilities were wiped out due to an odd 'association'. It is still rebuilding now. I can no longer hear 'E' in my mind, but can accurately recall (sing) the key I was working on the day before.

began recording of "It Doesnt Matter What I Sing" . Mostly just establishing markers for Verses etc. Finding right tempo for percussion and laid down a rhythm guitar track (that will be redone. Its just a marker at the moment). Written up bass & 2nd guitar settings.

stuck inside of mobile with the memphis blues again - bob dylan http://www.youtube.com/watch?v=60k3fhp9kpY