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Topic: Gone With What Wind |
Jean-Sebastien Gauthier
From:
Quebec, Canada
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Mike Neer
From:
NJ
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Posted 11 Aug 2018 7:36 pm |
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How are you playing it currently?
I haven't played this before tonight, but I sat down with it for a few minutes and made you a little video of how I might approach it. I didn't think of it until afterwards, but you can pick every note if you want to for that extra articulation.
| Tab: |
E---------------- -----------------------------------------------
C--------------12 etc. -----------------------------------------------
A---------------- 18--17------13--12------6--5------------------7
G----------12---- --------17----------12--------5--3--2-----5---
E--11--12-------- ---------------------------------------3-------
C---------------- -----------------------------------------------
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Here's the video:
https://youtu.be/iG5k3yabPiY
_________________
http://www.steelinstruction.com/
http://mikeneer.com |
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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 11 Aug 2018 9:00 pm
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Nice one, Mike. Here is my take in A6, across the neck, trying to minimise bar movement.
The lick is a harmonisation but this is the top clarinet line that I hear. The descending line is actually symmetrical with the second half of the bar repeating the first down an octave. Here is one approach but you can't really avoid glisses so you can't duplicate the articulation this way. But that tempo makes it an impressively difficult challenge.
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Mike Neer
From:
NJ
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Posted 12 Aug 2018 6:44 am
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Playing across the strings in triplets like that is impossible for me. I know that even with a ton of practice it would still be a crapshoot.
I found about 5 different ways to play it, and of course my Sol Hoopii sense came up with a really cool one using open strings. But the problem is that at that tempo changing picking patterns midstream is a cruel exercise. Here is what I mean:
| Tab: |
E---------------- ----------------------------------------------—-———
C--------------12 etc. ---------------------------------0-----------————
A---------------- 18--17------13--12------6--5-------------—-——-7—-
G----------12---- --------17----------12------———————-——0——5—-
E--11--12-------- --------------------------------6--5———————-
C---------------- -----------------------------------------------————
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_________________
http://www.steelinstruction.com/
http://mikeneer.com |
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Jean-Sebastien Gauthier
From:
Quebec, Canada
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Posted 12 Aug 2018 11:02 am
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thanks a lot guys to take the time to respond with tabs and everything!!!!
There is the way I found comfortable for me:
E------------8-8-8-8-8-8-8-8-11-10-------------------------
C--------7--------------------------------12-----------------------
A--6-7----------------------------------------13-12------6-5-----7
G-------------------------------------------------------12-------5-
E---------------------------------------------------------------------
C---------------------------------------------------------------- |
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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 12 Aug 2018 4:54 pm
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I'm glad you've got a solution, Jean-Sebastian.
On the subject of cross-string triplets, I've been working on them for some years now using alternate picking and I'm making some sort of progress. No way I can play that lick at anything like the original tempo. The position shifts make it impossibly difficult.
But this is the kind of thing I have been working on, kind of like the Joe Diorio exercises for regular guitar. The plan is to play any pattern two ways, beginning with either thumb or finger. The goal is to eventually forget all about technique and just play.
I am working on the belief that a lot of Murphey's fast licks are across the neck. This comes after much transcription work. Of course, he doesn't stick with one approach but I think he uses it a lot. Looking at his right hand in the few seconds of film clips available, he seems to have no particular method, swopping between three finger rolls, alternate picking and thumb only. Of course, the movie clips are mimed so you never know.
Here is a sheet I did for dobro a while back but it shows the approach. However, I find isolated picking practice to be deadly dull.
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Jean-Sebastien Gauthier
From:
Quebec, Canada
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Posted 13 Aug 2018 7:15 am
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| Guy Cundell wrote: |
I'm glad you've got a solution, Jean-Sebastian.
On the subject of cross-string triplets, I've been working on them for some years now using alternate picking and I'm making some sort of progress. No way I can play that lick at anything like the original tempo. The position shifts make it impossibly difficult.
But this is the kind of thing I have been working on, kind of like the Joe Diorio exercises for regular guitar. The plan is to play any pattern two ways, beginning with either thumb or finger. The goal is to eventually forget all about technique and just play.
I am working on the belief that a lot of Murphey's fast licks are across the neck. This comes after much transcription work. Of course, he doesn't stick with one approach but I think he uses it a lot. Looking at his right hand in the few seconds of film clips available, he seems to have no particular method, swopping between three finger rolls, alternate picking and thumb only. Of course, the movie clips are mimed so you never know.
Here is a sheet I did for dobro a while back but it shows the approach. However, I find isolated picking practice to be deadly dull.
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Im doing this kind of exercises everyday! Very helpful for single note line! |
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Jean-Sebastien Gauthier
From:
Quebec, Canada
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Posted 13 Aug 2018 7:16 am
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| Mike Neer wrote: |
Playing across the strings in triplets like that is impossible for me. I know that even with a ton of practice it would still be a crapshoot.
I found about 5 different ways to play it, and of course my Sol Hoopii sense came up with a really cool one using open strings. But the problem is that at that tempo changing picking patterns midstream is a cruel exercise. Here is what I mean:
| Tab: |
E---------------- ----------------------------------------------—-———
C--------------12 etc. ---------------------------------0-----------————
A---------------- 18--17------13--12------6--5-------------—-——-7—-
G----------12---- --------17----------12------———————-——0——5—-
E--11--12-------- --------------------------------6--5———————-
C---------------- -----------------------------------------------————
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Interesting but definitely to complicated for me!!! |
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Jean-Sebastien Gauthier
From:
Quebec, Canada
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Posted 13 Aug 2018 7:21 am
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I had practice a lot in the week end and the best way for me is really to have simple pattern like your approach in the video Mike and to mix slide and pick. The guitar player will do the articulation job like Mike said about Speedy and Jimmy.
I mixed Mike and Guy approach, like you can see on my tab and it work for me! Thanks a lot again guys!! |
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Scott Thomas
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Posted 13 Aug 2018 12:28 pm
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Off topic, but one their recording of "Gone With The Wind" I always wondered why the Kalima Brothers (feat. Richard Kauhi)on the chorus at the end sing, "gone with what wind" instead of "gone with the wind" as sung elsewhere.
It could be an inside reference to this tune you posted which I had never heard before. |
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Jean-Sebastien Gauthier
From:
Quebec, Canada
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Posted 14 Aug 2018 4:55 am
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Im working on that riff up to tempo and realized that it must be very simple to be playable and I ended up playing mostly like you Mike.
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Andy Volk
From:
Boston, MA
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Posted 14 Aug 2018 6:30 am
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For solely single note runs like you've used above, Guy, have you ever tried a flatpack? You can sweep pick some of those triplets. But then, if you want to go back to a more steel approach you're left upstream without a paddle. Sigh. Sometimes I wish I was a drummer!
_________________
Steel Guitar Books! Website: www.volkmediabooks.com |
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Mike Neer
From:
NJ
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Posted 14 Aug 2018 10:32 am
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Playing across the strings, one note per string, and even skipping strings, has been a regular part of my playing for years after I figured out what Speedy was doing. I've kind of built a whole part of my style around it in wide intervals. It is not a difficult thing to do, but of course work and having good ideas is all of it.
You can use your thumbpick as a flatpick for sweeping downward and your middle finger for sweeping up. Again, takes a ton of practice to get the feel and resistance right, but it's doable. Of course, bar blocking is really crucial in this technique.
_________________
http://www.steelinstruction.com/
http://mikeneer.com |
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