Donna

I'm gearing up for my first open-mic sort of, this week. Lots of firsts: doing an original, playing solo, playing guitar. Recently I brought the axe to the home of a couple I know, to play this song for them. I am eager to maximize comfort level in this new endeavor. Playing to two and their children seemed a good warm up for staff talent show (aka, open-mic sort of). I did it cold, no warm up whatsoever. The man of the couple is a vetran with a capital V. Drummer forever, soundman for regional acts, guitarist, etc; He does not complement unless he means it. And he complimented me. That meant a lot. Plus, another kudo for my Seagull acoustic, he really liked the sound of my guitar ......................................................................................................................... SOLO/PRACTICE UPDATE Currently doing whatever I can think of to make things comfortable for me. I began playing in the dark, for one, during practice, just to have a dif. experience of trying not to be overdependent on looking at the fretboard. That habit won't work while trying to sing into a fixed-spot microphone! The practice sessions (no longer everyday of late) are jam packed. I've been picking 2 pieces, working w/ metronome on guitar alone, and guitar/singing together. Whenever there's an issue, I work at the spot in a continual loop. Because I'm getting closer to being ready to audition a 45 minute set at the local watering hole, it's now time to record (just on a minature blaster) and listen ..to become aware, while playing, what it sounds like. A weird form of detachment really. A little practice (ie play/record, listen, tweak it, then repeat) can go a long way. I have been also slowing passages way down and instead of strumming, picking the chords. This is helping me to change chords right on the money, cause I've been lazy with that. I'd love to do the whole catalog and work it up to speed, but barely have the luxury of doing passages. That's cause I wish to stick to a timetable of auditioning in June. Time for me to most of all, get thru each song in toto. Some lines I still have trouble with and have decided a change must be made, it's not working and I need it to work. I want to do more picking within the songs, but the main point is to be able to play with conviction, clearly. The bar chord song is a toughie. Too bad, I guess that'll be my humilty bead, cause no way I'm dropping it. The amp is in the shop, sadly. Playing and singing mic'd is a different kettle of fish completely. The Shure has been popping P's real bad. I never recalled that happening before! But then again, my attention has never been so divided as now while singing. I used to be a singing drummer, I'm talking all night, 1/2 leads and substantial back ups on every other song. But it was easier than playing guitar and singing. For this open mic sorta thing, they'll be plugging me in and I've no idea how it'll sound out there, or to me, or how disorienting it could be. But I'm not worried either. It feels clean. I've invited people to come. When I played for the couple, I felt so relaxed. Did no picking...except for a false intro recently devised so I can "ooh" a high, main riff note. That note has been hard to find, harder to hit, the first time out. So now I have a warm up shot. My mind is eased to fix itself upon all these kinds of things. To work it out and find solutions.

Mon Capitaine, thank you for inviting us and me to blog ............................................................................... TOY DRUMSET and FIRST SONG I began drumming when I was a little child, not much older than six, if memory serves. Began on a toy drumset which included a snare-like-drum, with a little cymbal attached to an L-shaped metal dowel, which affixed on drum's rim. The drumsticks were a deep red (brushes also included). I remember learning I'll Be There by the Jackson Five...I was elated to figure out the intro - especially the crecendo "whoosh" using brushes on the cymbal. I was bummed I could not duplicate the "ch" sound on verses (it was a high-hat keeping time, but I didn't know what that was). I recall the feeling I got when the song went into the bridge I guess, it's not really a chorus. The part where drums came in proper and Jermaine sang "I'll be there to comfort you..." It was a feeling of almost ecstacy, it was beyond joy I think. Once I learned that part, and could go back into the quiet sparse verses, I felt exactly like I was driving something. Tho of course I'd no notion of what it felt like to drive. But I did love to zip around on my bike, which was the closest comparison my little mind could make. I loved the motion of the music, the storyline not really lyrically, but the progression of song. I always loved the song the most. I knew what I was doing was not melodic, but it was to me in some way. But beyond that, the drumming to me always felt like leading the band. That was quite a surprise, because before actually playing, I had no clear knowledge that the drummer is the driver, at least in non-classical modern musics I was exposed to. LESSONS My parents decided to let me have lessons. They were very expensive. My first teacher was a hippie with kinky long hair and a beard. I know he taught me stuff, but the 2nd and 3rd teachers were the ones I really remembered. I was about 8. The 2nd and 3rd were old dixieland guys, well known locally, regionally and possibly nationally. They played w/ Harry Blons and others. Red Mattock was a bundle of fun. All the teachers made me count notation out loud. I counted out loud forever it seemed. "El-e-phant, EL-E-PHANT", Red would chant in order to teach me triplets. I began on big honking 2B sticks, traditional grip. At the lesson's end, they would play a piece for me. Red was a clown and in time, tap the stick to his mouth and out would come his false teeth. We played in a tiny practice room in the music store, each having a practice pad attached to a stand. I think it was under hippie Mark that I learned the drum roll. I recall that morning in the kitchen for the millionth time, trying to bounce those fat sticks in a controlled manner. Man I was so happy to learn the drum roll. Then I worked on the five stroke and other rolls, to do them in time. SENSE OF SEPARATION; BOB BYRNES The 3rd teacher, Bob, could get stuff out of me that the others couldn't. A real love bloomed between us. He was the only one in my life who could understand that I was an artist, that was just who I am. As I progressed musically, a sense of separation round the family and all my closest friends became apparent to me. This was an issue til I became an adult, tho almost everyone was accepting and supportive. But very few I was daily close to were artists. Bob knew what to do with me. My parents I think were kind of shocked at the progress reports he gave, he never had anything but the highest praise for me. Lessons ended up being for two or three years toto. At one point we were heavy into drum duets, difficult pieces I thought, with bright tempos. He was strict about accents and all. It was difficult at first for me to even try to read the bottom line (stems down), difficult to play the part, listen to his and keep it together. Plus, to be playing with the best drummer I had ever heard, my hero. I know I felt intimidated - what's that about when you're only 9 or 10? In some ways I was more scared when I could finally keep up with him on these pieces and the music let fly. The duets taught me to listen and comprehend the parts as a whole. I got to a point where I could hear what I was reading without playing a note. I badgered my parents for a year to let me use 'Grandma' money given to me, to buy a real drumset. I reckon it was Bob who turned the tide. By then his assesment of me could not be downplayed. Soon after I got a real 3 piece drumset. And then promptly broke my arm in a bike accident. The cast was on from fingertips to shoulder for weeks, then a smaller cast on the forwarm. It was murder to be without playing. But I tried anyway. Here's to my angel, Bob.

Hey Finn, what axe are you going to get? The way you put it, "instrumentals with lyrics", in my mind anyway, could be another way to approach writing.

Your understanding comforts me... That's right, John! No recording before! No score, no inkling of how Loo put that piece together, either. It seemed that the majority on here would write, record and have the MP3 up in the same month, ya know? But that's not my deal, tho it was in the past - I mean an engineer/musician wiff good gear and we'd crank out the songs. The help is different now w/ you all. But you know I'm grateful, esp. since the present is the rougher road. Prometheus, how ya been old soldier? Thanks for the upbeat...I'm actually talking about a dif. song which hasn't been posted. No matter + I'll remember this endorsement 'for' ph. cancellation.

It's been a few months now since I quit playing with this toy (the song recording). Phase cancellation was the last straw Last night I had a desire to listen to the master, which I've yet to find, but did listen to some mixes. And I think now I am too hard on myself. I'd forgotten how far I'd got with it! The song deserves to be tried again and simply done, to my best capability. But I don't yet know if I will follow through. It seems a victory tho, to want to play with my toy again - or at least look at it.

Mon Capitaine, 4 melodies sounds good! Your plan does, too. Cheers~ -D-

I've a small collection of snippets - instrumentals which are either unfinished or only one theme is set down. The most imp. part is a motiff imo. It has to be; an opening statement melodic and complete to stand alone, an anchor which the song keeps resolving to. Is your piece just one guitar, I'm assuming, John? Yeah, that's where the chops come in, and the writing. Sounds like a worthwhile endeavor.

Dude! It hit me a few days ago... To do the Dick Grove routines with voice, Lesson One begin. Think of it, the training of the voice in melody, accents or inflections + rythym. The confidence tool gained thru sure foundation of (if one stuck with it), knowing what middle C or whatever is, without having to check. This would be a perfect compliment to gaining speed in scoring lines, to reading or perusing any kind of (somebody else's) written stuff, including gregorian chant (which is often unusually notated, in my book). It'd help me nail stuff in choir. You'd be surprised how often I'm sight reading during High Mass itself! Usually it's not disasterous cause I listen well to those who do know the music, and have learned () to back off when I can't deliver. I know I'm come to the table late in this, Finn's spoken of it many moons ago and given lessons as it were. To be truthful, that kind of stuff always scared me...lol, that is I knew I'd fear sounding like hades trying to do it. But now that I'm getting pretty warmed up w/ the liturgical stuff - esp. chant which is modal or scale oriented, I think I'm up to try scales and traids proper. And I'd do it following Grove in cycles of 5ths and 4ths, chromatic ascending and descending. Gee whiz, even 1/2 a routine singing, done per guitar session, would yield a lot over time. I am still on Lesson One. But the triads are beginning to flow, and I have used them in crafting one bridge and two, two- bar interludes in another song. It's working! PS: And y'all, do you remember in the bar once, posting Ray Charles' version lyrically of "Oh What A Beautiful Morning?" I've an old jazz cronie who actually has a vinyl version of it...it's out of print. I am really hoping to use that recording, once he gets it to me, as a lesson...try to figure it out in some manageable version. And I'd unashamadly copy Ray's vocals note for note. The thought of being able to get any young people to hear it, the emo boys and even the Bowie boys...is a good one.

Hey John, I have two right now (it changes, what I like best). For both, because they stand alone well, follow a storyline or concept (in order!!) and the choice of phrasing etc; is kind of original. They also stand a test of time, I think. Maternal Arms vs You and me and the power divine, I'd think about in a youngling mind Seen left field with emerging eyes, heard history tell damning lies Thoughts and gems, hearts revealed; jewels a maiden armed can steal Wind and rain, touch that heals; patience an old woman yields ch In her old grey arms Maternal arms She feels everything In her old grey arms Maternal arms vs Woman flows dark on through the gloom, depth in one more aging moon Your being holds me vague but tight, where's the balance dark and light I bought her off, but she borne me; I lie await to look and see Grandma in me: countess, foal; springtime my story grows old ch br The gift is received when the old remain young I've got to speak to you tonight in our secret tongue A sense of wrong can lead me to right Answers lay behind a cunning fear and a burning pride In these arms Her old grey arms Maternal arms Have become my Maternal arms © DM Fellows 2006

'Loverly' (Rogers and Hammerstein?)

hee hee

I now understand this question. Mark, it's unthinkable...to go without

Hey Rudi~ Yeah, that's kind of puzzling. I'd think with the increased callouses the fingers wouldn't get sore, but mine still do, or can. Thanks for letting me know what's normal! Re: dedication - just going with the flow....grateful for the motivation. Maybe this is the channel to help right the vacuum of recent deaths. But I must say I also credit Lazz for me re-visiting this kind of study. "Hope this work is useful for compositional musical ideas" I'm glad you mentioned this. I know for a fact that it will be, and probably already is. Can't quite explain all those connections - suffice to say it's a gold mine of related things. Even stuff like beginning to understand "is the key C# (with constant B natural) - or is it Db - why or why not?" That sort of thing, which is a tremendous help for me scoring existing melodies. It's another tool for me - if I can see the song in written beads and stems, it's easier to then make up others. I like to think about musical abstracts, I like the relationships (female thing helps here). There's something current I'm working on, and it's taking shape much more easily because of the study. In finding right chords (often substitutions) + now I've a fighting chance to run some descending melodic thing for a measure...my fingers are knowing where to go, both position wise and knowing-the-scale wise. I think this song is becoming beautiful and complete. Somehow figuring out the notes ("that's a Dm 9 chord")and becoming familiar with the cycle of 5ths + traids is helping me craft this song. Which I always loved to do, but could get so stuck when the well of intangible inspiration dried. Knowledge seems like a surer foundation.

Let Me Roll It - Wings

Thanks, y'all. The callouses are getting harder. I'm up to doing routine 5 in scales for "review", though R. 1 is still at the almost-doing the whole cycle of 5ths, with rythym cards, fluidly. Wow - the traids are beginning to make sense! I can play each of them, and getting to know 'em by memory. The Ab triad is a great pinky stretch/exercise. It's easy to see how thoroughly the first 5 frets of the neck could be mastered, just like Dick Grove claims. The book is called The Encyclopedia of Basic Harmony and Theory Applied to Improvisation on All Musical Instruments Volume I. It is what the title says!

Hi you guys! Thanks for chiming in every one, it's helpful. I continue to experiment w/ thumb position. Nick, that breakdown is really cool. And I find it hopeful that's it's possible to use the thumb for fretting. Maybe not this season anyway, for me. It's just so weird to use digits at all, in this way. I had some deft drum teachers and myself too, you'd realize after a point that the fingers did play a big part in drumming. But the stick itself wielded strength. Oh! Little progress here. That Eb Ma7 (?) xx1333, starting to get it; the thumb, fingers and hand all began forming their own comfortable (or at least not killing me) position. From there to the F barre, it went the same kinda way, a way I'd never done the F barre before. It makes one want to keep with it, just to see if one will completely turn the corner.

Yeah - I'm gonna try that, Skinny.

Hey John, About 80% potentials become finished songs for me. Which is comforting to realize. How long? Tis truly all over the map. One good song, the lyric came out almost exactly as finished in one fell swoop, a matter of minutes. The music was done in less than an hour. Recently, I used a section of music written over 15 years ago, to a newly started song (finished pretty much soon as I inserted the long unused missing section). But other stuff...it takes longer now than it used to. Four months, I think. Nightwolf's little open/closed I can relate to.

Hi you guys~ Today I noticed anew my calloused fingertips - now there's a slight string indent atop most of 'em as well. I guess this is just par for the course? Never played enough that this happened before. I told someone (a writer, not of songs) that I have so many guitar irons in the fire right now, what did he think about that? He said the same thing is going on w/ him and he hadn't a clue. I said that I think I'm supposed to be working on everything, maybe more attention to certain things at certain times, but keep hitting most of the spokes, as it were. Many of the songs I'm working on, I really have to work! I'm learning new chords/progressions and experimenting a lot with thumb position and how things can fit together w/ the least physical strain. Began working on a 3rd cover (Sail on Sailor) when the other two I've far from mastered. Yet the progress is there. My own stuff, I have added simple and sparse things, either fingerings, motiffs, chord inversions or so on; working on these changes - plus starting to add the singing. Plugged into an amp is another new thing to get used to. Obstinately working on scales - via a Dick Grove book. Lesson One is "complete mastery of major scales as applied to your instrument." There are 6 "routines" (w/ choice of 2 starting points) in Lesson One: like starting at C, playing an octave of the scale, going thru the cycle of 5ths. You do these to "rythym cards A & B" - 4 measures toto - which include accents, tie, triplet (and one stacatto note). One routine of cycle of 4ths, and then the other 4 routines are chromatic or chromatic/cycle of 5ths. The goal is to go smoothly thru the entire 6 routines w/ strict accuracy, increasing fluidity/tempo. I almost got thru R. 1, and immediately said, "baby! You're set to work on triads now!" Cause he says review each time, so the review will be what I almost did, once. Soon I'll get it whole. Then the review will be routine 2, and so on. So yeah, next the guy has major triads; then chromatic triads (ascend in C, descend in Db major [same measure] onto ascend in D, descend in Eb major, etc;); then major 7ths, then maj 7th chromatic. All done in the 6 routines, to "rhythym cards A & B". So...I figure lesson one will be my pal for roughly two + seasons, if I still care by then! I hope I stick with it, though. What a foundation that would be! It's been 6 weeks I've been playing about 5 days a week, lotta hours. It's to the point where I can see if I keep on, there will be a bar of consistency. Anyway, that's where I've been. It's good too in that trying to make my stuff more interesting than simply strumming chords, is another way to songwrite. The tunes and passages go thru my head and I write (embellish or add) while thinking...then try to play it as I hear. SFSG Cousin Bruce and I should be getting together in a month or so. I'll be interested in his opinion about any progress made.

Good thread. About everything said I can relate to as a lyricist. I tend to think in lyrical form (I think! ). Reckon that sometimes include melody too. Lyrics for me are tied to rythym so I tend to think lyrics in structured forms. And also craft them that way. I actually like threes (not 3/4 time) but ch. or verse in threes. John Moxey's method of direction and all: he's winning me over to this! It's almost like transferring knowledge of say clarinet, to learning sax - so it's not like starting from scratch. It's a more conscious way of being a craftsman. But I can still use stuff that has just come to me in spontaneous thought, as it were. OR reject that same stuff, which I might reject anyway! Editing is also what we're about, I reckon, whether we know it or not.

John, this is probably different from what you want, but I'm going to buy an American made amp called Centaur. It's a mini PA...female mic input, one instrument channel, one line in channel. I know little about amps; am getting this as an affordable playing out companion. It sounds good to my ears. It is 125 watts (300 for input?), 15" (?) horn w/ a tweeter (wrong word, some other similiar word is used now). It's 400.00 used. They let me try it for 3 days at home. Spoke to cousin Bruce about this brand recently and he hadn't heard of it, though. For each musical channel (one mic, one 1/4 " jack) there's a built in reverb and low, mid and hi tone control + of course, separate volume controls. It's somewhere between 15-25 pounds. There's a newer Centaur model, 800.00, a tiny cube only 6 pounds.

John...center line meaning? Also, hadn't thought of the thumb as being a reference point, makes sense.

Interesting thread! (Let us know how things turn out, funkee)

Cowboy - Three Dog Night

Ah, but now I'm wanting a guitar amp first! One of those folk things, where acoustic and mic can be plugged into, sorta PA-like. It's a change of direction, to be sure. I'm working to play out, that feels right, and oddly enough more do-able than recording at this point.