FRANK GAMBALE BLUES PDF

I have covered a lot of that material and so now, for those of you who think, well, what other stuff can I do in a Bluesy way that is not necessarily straight up Blues? This and successive chapters are for you folks! One of the first slippery and outside things I like to do is based on something that happens all the time while playing in the standard blues chord progression, but very few musicians act upon what the chords suggest when they play the single lines in a solo. What I am talking about happens between the 1st chord of the Blues and the second chord of the Blues namely between the A7 and the D7 chords.

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I like to find cutting-edge, musical solutions to the guitar. It took a few listens to Natural Selection before I realized there were no drums on the record. But music these days, especially pop and jazz, are sonically very drum heavy. They take up a huge amount of the audio spectrum. With Natural Selection, I wanted the guitar, bass, and piano to have more space in the music. Your tone is also clean throughout the record. I used a Yamaha AES jazz box strung up with a. For jazz, flatwounds sound the best.

To my ears roundwound strings sound completely wrong on a jazz guitar. Did you use your Gambale Tuning on Natural Selection? That tuning is particularly suited for chord melody playing, not single-note improvisations, which are what I do on the new record.

Live, however, I play a doubleneck so I can have both tunings available. The tuning has been a revelation. I gave up on harmonically dense cluster voicings for the guitar because they were a physical impossibility.

But I was messing with a Nashville tuning patch on a Roland VG a few years ago and I got the idea to develop this tuning, wherein the whole guitar is tuned up a fourth, but the top two strings are down an octave. What string gauges do you use for your tuning? I use a. So gauge-wise, low-tohigh, it is.

It takes a moment to get used to, but within a few minutes, everyone I show it to loves it. Do you feel that your association with sweep picking sometimes overshadows your music? Yeah, I get frustrated when people think of me as just a technician and disregard the musical content.

I never set out to be a technician. I never just practiced technique. Sweep picking was an evolution born out of a desire to play licks from other instruments like piano or saxophone. For me personally, sweep picking has broken through the physical barrier of the guitar. I no longer have a limit on how fast I can play. Conversely, sweeping is like having a fifth or sixth gear, going fast without any drama. Most of the time the biggest problems with acquiring speed are not holding the pick at the right angle, and using a pick that is too heavy.

Did you experiment with picks? Yes, and I found bigger picks to be more ergonomic.

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FRANK GAMBALE BLUES PDF

I like to find cutting-edge, musical solutions to the guitar. It took a few listens to Natural Selection before I realized there were no drums on the record. But music these days, especially pop and jazz, are sonically very drum heavy. They take up a huge amount of the audio spectrum. With Natural Selection, I wanted the guitar, bass, and piano to have more space in the music.

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