| Author |
Topic: “Color†|
Christopher Woitach
From:
Portland, Oregon, USA
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Posted 10 May 2019 4:07 pm |
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I’m very interested in Brett’s reply, Curt, but from my reading of the statement, plus my own knowledge of Frisell’s thinking, I think it’s less specific than a particular technique - I believe he means that your own perception of what you’re doing and how it sounds has an impact on the listener’s perception of it. Obviously I could be way off base here, but regardless of Bill’s meaning, I do think that idea is interesting and thought provoking.
When I play solo guitar, I am thinking very orchestrally, with various textures providing different moods or simply a variety of sounds. Weirdly, one of my go to influences is Carl Stalling, who did much of the music for the old Merrie Melodies cartoons, because of the variety of sounds. More than once, even though I wasn’t playing silly or purposely funny stuff, I’ve had comments from listeners about enjoying the humor of my playing when I had played something that sounded to me like a Bugs Bunny soundtrack, minus the joke parts, perhaps because of my perception influencing theirs...
I have recently been trying to apply the basic idea of orchestral variety of textures to steel guitar, since there’s such a limitless variety of textures available, much more than guitar. In fact, I’ve been working on this approach much more since this thread began, since that thinking might help me solve my problem, and hopefully make me mindful of better musical choices. We’ll see
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Christopher Woitach
cw@affmusic.com
www.affmusic.com |
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Brett Lanier
From:
Madison, TN
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Posted 11 May 2019 4:45 pm
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| Christopher Woitach wrote: |
| your own perception of what you’re doing and how it sounds has an impact on the listener’s perception of it. |
That is very well put, Chris. Sounds spot on to me.
Although, I think Curt may have been responding to the first bit I wrote...
| Brett Lanier wrote: |
| One thing I feel like all the great players do (on any instrument) is leave room for the instrument to breathe, or resonate in the way it will do so naturally. |
| Curt Trisko wrote: |
| Are you talking about allowing strings to stay ringing, playing sparsely, or more so about how you pick and hold the bar? |
And I think you're also right...
| Christopher Woitach wrote: |
| I think it’s less specific than a particular technique |
I've picked the brain of a few classical pianists about how they hold their shoulders and arms, their posture and breathing. I think it's fascinating how all of these little things play a role in getting the best tone they can from a piano. Since a steel player is more or less sitting in the same position as a pianist, I think there are things to be learned from them. There's no doubt they are working with the piano, letting it do it's thing, rather than smothering it or bossing it around. |
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Christopher Woitach
From:
Portland, Oregon, USA
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Posted 11 May 2019 5:09 pm
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I must say - bossing a pedal steel around is most likely a losing proposition, since, at least in my case, they always win!
I have always felt there’s much to be learned from other instruments, and with the amazing variety of techniques and possibilities on the steel guitar, so many instruments apply directly, certainly more so than my main instrument, jazz guitar. I do apply a lot from my studies of other instruments to guitar, but steel even more so.
I used to play with a cellist, Hank Roberts, who plays off and on with Bill Frisell, and he talked a lot about Bill’s thinking, which is clearly very deep indeed. You’re fortunate to have had a conversation with him, Brett - a very unique voice on the instrument indeed.
_________________
Christopher Woitach
cw@affmusic.com
www.affmusic.com |
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Brett Lanier
From:
Madison, TN
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Posted 11 May 2019 5:16 pm
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| Ha. Hank Roberts! That guy is amazing. Your guitaring is pretty ridiculous as well, Chris. |
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Christopher Woitach
From:
Portland, Oregon, USA
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Steve Cattermole
From:
California, USA
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Posted 12 May 2019 12:18 pm
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| Rick definetly plays with color,and you do too Christopher.You"re sounding better and better everytime I hear you.I think the color comes from years and years of practice and study.Rick has been playing and studying for 50 years,not to mention his mom was a excellent jazz pianist.If you want to hear some colorful chords listen to her on youtube. I've been lucky to get to hang and play with Rick,he's taught me a ton.He is a real deep thinker who studies Miles and Coltrane and all the jazz heavies,I just listen to the 30's and 40's jazz,so he really helps me.Back to you Christopher,just keep practicing and studying and all that good stuff will come out.You sound great |
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Christopher Woitach
From:
Portland, Oregon, USA
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Posted 12 May 2019 1:24 pm
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Thanks Steve - you sound terrific too, and I look forward to seeing you in Phoenix again!
I’ll just keep working till then..
_________________
Christopher Woitach
cw@affmusic.com
www.affmusic.com |
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Tim Herman
From:
Alberta, Canada
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Posted 15 May 2019 5:00 am
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| I feel a little silly even chiming in here. Just a thought. You teach guitar, so you have to take apart the smallest details to express yourself to students that are very advanced. Have you taught anyone any steel yet? In my very basic guitar teaching (mostly kids and adult beginners) I found myself improving as I had to break down what seemed like instinctive moves for me. Maybe taking on a student will help you see more clearly what you are looking for yourself. Sure hope to meet some of you folks someday! |
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Christopher Woitach
From:
Portland, Oregon, USA
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Posted 15 May 2019 8:16 am
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Tim -
Don’t feel silly - that is a great point! I haven’t taught much steel, but that’s really something to look at!
_________________
Christopher Woitach
cw@affmusic.com
www.affmusic.com |
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