song

In Gary’s latest submission we continue the focus on songs that use breaks.

The common way to count a song in is to just count 1 2 3 4 and away you go. If the bandstand is loud and you need to get the attention of the band, use a pre-count. The pre-count is 1 (skip a beat) 2 (skip a beat) and then proceed with your standard four count. The end result is 1 . 2 . 1 2 3 4.

The pre-count is also useful/needed when the tempo is very fast and 1 2 3 4 is too quick for all of the musicians to get ready to play (the drummer to sit up on their throne... bass and guitar players to turn their volumes up... harp player to get their harp to their lips, etc.). continue reading...

A common question I get asked is how fast 4/4 time is. The 4/4 at the beginning of a line of music doesn't indicate the tempo of a song, it indicates how many beats are in a bar (4 in this case) and which note value receives the beat (quarter note in this case). This 4/4 is what's known as the Time Signature.

Tempo is up to the player, even when playing a known song. continue reading...

"Rock This House" was chosen as the swing to be on the list. It has the typical ii-V-I found at Bar 9 (replacing the V-IV-I) and guitar fills by Hollywood Fats that's so integral to the West Coast Blues sound. You can find this cut on the classic "Hollywood Fats Band" CD and has some great vocals and harp by Big Al Blake (there's an interview with Big Al on BluesHarmonica.com if you want to learn more about him and Hollywood Fats).

Interesting analysis of Over the Rainbow. Thanks to fellow student Steve for sharing
http://www.pbs.org/newshour/bb/rainbow-takes-us-magical-musical-place/

John Lee Hooker's "Boom Boom" uses the same device as Slim Harpo's "Baby Scratch My Back"... the main lick happens before the bar, with the final note landing on the downbeat of the bar. There are two more cool elements in "Boom Boom"...

1) The main lick only changes it's resolution note, to match the chord change.

2) There's a call-and-response happening. In the opening, the band responds to the main lick on the guitar. When the vocals enter, the band and guitar play the main lick and they go back and forth. continue reading...

Now take a listen to the head of Little Walter's "Off the Wall." Your clue is that A (the main theme) is two bars long. Note how it's treated on the IV Chord (Bars 5 and 6), this is important to our discussion tomorrow.

When students reach the last stage of dialing in a song for performance they work on memorization. The common tool used is to list the first lick, or just the first couple of notes of the first lick, for each chorus. The goal is to have a quick bullet-point list of each chorus, but just enough written that it helps you to recall what that chorus is. It doesn't take much, and the goal is to be very brief. Instead of using hole number TAB, you can also use a shape (we tend to remember objects better than abstract numbers). continue reading...

Another great value of having a recorder handy is to document your progress when songwriting. After a session of working out ideas for a new instrumental I'll grab my iPhone and use the memo app to do a quick recording of my performance (solo or with a jam track). It's common for many days to go by between writing sessions and it's very easy to forget prior progress. I start a new session listening to my past recording, sometimes even playing along to it. I stop the playback and then get to work. continue reading...

It can be a great challenge to study an artist's song and remember the order of the choruses and the fine elements they contain. It's common to hear complaints by students that songs take a tremendous amount of time to memorize well enough not to have a simple mistake lead them astray and cause a wreck. continue reading...