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| Tap Theory - Don't Know Why by Norah Jones https://stickist.com/viewtopic.php?f=15&t=12382 |
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| Author: | The_Afro_Circus [ Mon Jul 24, 2017 11:04 am ] |
| Post subject: | Tap Theory - Don't Know Why by Norah Jones |
Hey everyone, here's another Jam Session Series. In this one, I'm using a combo muting/plucking technique to capture an "upright bass" kind of sound. This is a good arrangement for new players, especially those of us coming from the bass. As always, tabs and more at http://www.patreon.com/jgoldbergmusic. |
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| Author: | sagehalo [ Tue Jul 25, 2017 9:23 am ] |
| Post subject: | Re: Tap Theory - Don't Know Why by Norah Jones |
This is an effective sound, but how does it fit in the greater context of the Stick? Said another way, if this is all you are trying to do, why not pick an easier instrument to do it on? Can you rapidly shift into other techniques off of this technique? Or does this mainly cut down on gear at a gig when playing multiple roles? I am not trying to attack, I am just confused on the value. |
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| Author: | The_Afro_Circus [ Tue Jul 25, 2017 9:40 am ] |
| Post subject: | Re: Tap Theory - Don't Know Why by Norah Jones |
That's a good question and I'm glad you asked! It is an easy technique to switch in and out of and I picked this tune to demonstrate the technique throughout the whole song. I had mentioned that my "Jam Session Series" is designed to fit the Stick right in with bands of any size, starting at the bass role. This is just another example of that. Let's say you're at a gig and this song gets called, so you play it like this. The next song to get called is a Stevie Wonder tune and there's no horn section. Good news! You switch to a tapping technique and cover the horn section yourself! In an original music context, it's just one more sound to add to the arsenal. You'll hear this technique pop up in a few places on the upcoming GEPH album as well as on the upcoming Body English album (whenever we finally manage to get the ball rolling on that). To me, one of the biggest positives of the Stick is that it's a musical Swiss Army knife. Just like a Swiss Army knife, one doesn't unfold every tool the knife has for every situation, one picks and chooses the right tool for the job. This video was a demonstration of this particular tool. |
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| Author: | gpoorman [ Tue Jul 25, 2017 10:45 am ] |
| Post subject: | Re: Tap Theory - Don't Know Why by Norah Jones |
I use this technique somewhat often when adding a bass line to a loop. Specifically a bass line that I want to sound more like a traditional bass. Very easy to switch in and out of and the timbre is definitely different. |
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| Author: | sagehalo [ Tue Jul 25, 2017 12:54 pm ] |
| Post subject: | Re: Tap Theory - Don't Know Why by Norah Jones |
Thanks to both of you for the clarity! |
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| Author: | Jayesskerr [ Fri Jul 28, 2017 9:09 pm ] |
| Post subject: | Re: Tap Theory - Don't Know Why by Norah Jones |
Y'know, stuff like this is so useful. The benefit of just jumping on the instrument and playing something, even if it's simple is so huge! Simple music is not "dumbed down", it's just as valid as the complicated stuff. I really believe that distilling things to their simplest building blocks is an important step in learning. Mine anyways... With the Stick especially, I find it really useful to sometimes play single note lines. Sometimes you just need a win... Sometimes the tune calls for something with some space... Put your favourite song on, and play along. You don't have to be Beethoven, you just rock out, easy as that. So what if you are only using one side; the important thing is that you're playing. Plus, when you play along with the record, well nothing beats that feeling... and you could probably learn, like 20 riffs in that way in one night. Cool. Or... you could spend hours, days, weeks, months maybe even years playing the instrument the way we think it's supposed to be played. The instrument doesn't care, and your audience doesn't either; play what you want, just sound good. Nirvana sold a record or two, as has Johnny Cash... Now one thing to keep in mind when one is playing in an ensemble is how important it is to have space. The Stick could very easily be that instrument that takes up every frequency; bass, minds, and the highs; effectively stepping on every other musician in the group's toes. I know I've been in at least one group where the keyboardist can't seem to understand that the bass player wants to play those bass notes... haha gotta "support the soloist" , sometimes it's a guitarist, or a violinist, maybe a singer, etc etc. And I gotta say, playing Stick with another guitarist is certainly my least favourite situation heh, I think that the pick attack has a really overpowering percussive effect that can really drown out aspects of the Stick (Melody side) So I'm thinking we have to experiment... Anyways, in my opinion stuff like this opens up a new dimension for the instrument, we don't see the Stick I'm many ensembles, not like bass, drums and guitar; New stuff has to start somewhere, so thanks for posting this stuff, Josh. Swiss Army knife indeed. Cool. Peace, out. |
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