How about doing one (or even a series...?) of classical pieces, where this might not be a problem ? That Mozart you did recently is awesome... I expect a lot of players would find learning some simple classical pieces (Anna-Magdalena style, or similar ) to be excellent and helpful study material in a number of ways, and you could copyright the arrangements for Stick, maybe ? Just a thought...

That's a great idea, Derek. I always like the video to have a specific technique angle, so I'll find one the works for a simple Classical piece.

I must admit I'm really think of more rock-oriented pieces for now, as most of the people who come to The Stick are coming from that angle... time for some serious rumination...

by now almost gratuitous thread page re-embedding:

[youtube]http://www.youtube.com/watch?v=q1IJpL6zoXM[/youtube]

Please keep your thoughts coming. However you think I can make this kind of video better, it would be great to hear.

Classical pieces, especially ones that would be recognized by a broad audience would be good in that it would allow a fledgling Stickist to build a performance repertoire of pieces that people would identify with. And even simple classical pieces have a certain wow factor, that when combined with the unique nature of the stick would really get a player up and gig ready in a short period of time. This would not only give the player a solid musical foundation, but would be a strong motivator to get even better.

Thanks, Randy, it's a good recommendation. Makes me want to do a survey....

Anyone else have any thoughts on the lesson video? Your feedback about the presentation is really helpful to me in planning the next one.

Here's a poll your can respond to that will help guide the process:
viewtopic.php?f=25&t=5974

Just bumping this in the hopes that if there is anything in this video that does not work for some of you, you would please let me know.

Thanks.

Greg's new approach to video instruction is a valuable middle ground for Stick students (experienced players too). It occupies that "sweet spot" between formal structure and live classroom presentation. It also sits somewhere between exercise (with natural live sound) and inspired performance.

Cindi Lauper's song slowly and inevitably develops as the phrases fit into sections. (Everybody knows the song.) At the end comes Greg's complete performance. Much satisfaction here as all facets integrate into the whole.

It's a great song arrangement too, and Greg's subtle and moderate voicings could of course be applied to many songs. To see the unprocessed Stick used to such musical effect by way of chord choices, intervals between melody and bass sides, finger dynamics and other purely musical devices, makes me proud of my instrument (and its player).

Then there are all those views - player's view, students' view, and tab graphics. This video lesson is open and clear, hallmark characteristics of Greg's work, and yet Cindi's mystery remains with the song.

I like that the full performance happens at the end, but I wonder if a snippet at the beginning wouldn't have been even more effective (just a single pass through verse and chorus).

Best, Emmett.

PS: On the previous thread about this video lesson I wrote:
"I liked everything about that - the loose feel, the finger dynamics, the double-stopped 4ths for punctuation, the darker lighting, the upside-down player's views, the haircut, the clothes (I could go on). I think of Cindi Lauper as an exceptionally tasteful artist and enjoyed this soulful cover arrangement for that reason too. Many thanks to Greg, Emmett."

Many thanks, Emmett,

I'm happy not to have quashed the mystery of the tune for you, a real danger when dissecting something to this degree. What you say about everyone knowing the song is true. When I played it recently in a noisy Irish pub the crowd joined in on every chorus...

The tabs are a direct descendent of your work in Free Hands. Though the strings run horizontally, all of the clarity of finger symbols and geometric patterns in uniform tunings is there for us all to see. I can't help but think of the laborious process of putting that book together compared to how easily we can create such animations today. Thanks for putting in the time then and now.

For those of you who are big fan of Reader's Digest Condensed books like "The Crying Game""... its a man! the end."

here is a shortened version of my next post, but I encourage you to get your favorite beverage and please read it since it has an insight analysis of all the key points which will benefit you no matter what style, music or instrument you play.

here's the skinny-

This YouTube goes beyond just "Time after Time" and applies to all songs. I would like to see a series of these DVD’s which you could buy and have as reference points and reminder points of how to spruce up arrangements on songs especially for all the harmonic capabilities available on our wonderful instrument, the Stick. Not to mention proper technique to facilitate good playing. The benefits of pausing the DVD, and reviewing a part are priceless. We all learn at differing paces and the DVD’s make allowances for that.

The only thing I would like to see included would be printable pdf files of the "chords used in this song" with the inversions noted, and a printable pdf file of a Keymaps (tm) guide for the melody scales used.

So, Greg I hope this is the beginning of a new educational DVD series which this listener would definitely pre-order!

Take care,
Dave Brosky

I had to revisit this post by Greg because I feel it is a landmark in instruction for the Stick and actually for all instruments on arrangement, building diversity and making a song come alive for the audience and you.

The Stick allows for a more complex, arrangement than would just a guitar, which a 6 space tab would work. So a multi media DVD with multiple camera angles, on screen info and graphics is perfect to teach the varied dimensional ways to approach arrangements on the Stick.

When I teach my Stick students, often you are almost doing Yoga to show “how’d you get that chord” or “how are you positioning that to reach all the notes”

Here Greg handles that expertly with camera angles and StickTab™ graphics. This was a natural progression from his Free Hands DVD. You’ve got the technique – now let’s put it to practical use.

I was thrilled when I saw this post and what Greg had done. It is always a wonderful opportunity to see Time After Time performed, but to see it explained and the reasoning behind it was priceless.

I believe you can learn from all art forms- writing can be an influence on good song composition and visual arts can inspire music. A close friend and an incredible juried painter, Philip Salvato, graced me when he invited me upstairs into his work area above his gallery. This was one of those times that are good for your soul. I always thought you just got a blank canvas and painted this way and that way, added some light, and some happy trees and you were done. Actually, Phil had multiple canvases all spread out the entire same scene he was trying to accomplish. In each one was a succession of thought, light, definition and improvement. The first looked like an Impressionist with near vision painted it without his glasses. As the canvases progressed, ideas took shape, some things added, some things dropped, and the final version was perfectly balanced. The best part is Phil explained each of the 5 canvasses, what and why he did in each one, and why the final one was complete. Greg does that here in this video and hopefully in more to come.

Right off the bat, Greg covers the most critical part of arrangement- where to “place the verse”. This determines the timbre and area of the fingerboard where you will most play. – Key is a quick review of Emmett’s chord symbols (for nubies, novices and long tooth’s who forgot) for each finger so you don’t have to go to a secondary source to remember which finger is illustrated. Greg then launches into the use of inversions to add movement and excitement to the arrangement. Otherwise, to use the same “block” Stick chords would create jumpy backgrounds and sound like the old Magnus chord organ buttons!

Overhead views are exactly what you see when looking down the Touchboard. Transitions between chords are discussed. Use of inversions to keep the arrangement “light” for the introduction. Technique is interspersed with purpose. Finger placement in relation to the frets- high advanced musical knowledge- told right here. Holding bass notes to create smooth transitions and define the chord transitions-another key concept. Varying the chord formations creates variety to hold the listeners and your attention- another core concept in communication in music. The mixage of a bass line to cause movement and define the chord is applied. Expanded tonality for the left hand and the use of polychords and how to create that line are personified. Making the chorus bigger as a concept and the use of “drone” Root-5th-Root octaves are covered to create more “drama”. Altering voicings between verses gives variety to make the arrangement more interesting. On screen tips add more information to what is being shown and discussed.

The introduction is handled separately. This could apply to all introductions in general. The accompaniment is altered to better enhance richness of the sound through the use of held notes while continuing upper melody lines. Higher level substitution of 9ths and 6ths for substitution of 3rds in the melody side + technique tip on how to execute it more easily. Use of slides, pull offs and hammer-ons for color. Note positioning for timbre and “harmony possibilities” is related forth. Note shifting through use of slide to get between note areas is touched on here, and more fully in Greg’s other DVD.

Melody notes are highlighted and the scale recommended is given. Choice of note through position shifting gives a longer range of timbre choices. Great advice not to park your hands or play the note where your hands just happen to fall at a particular time.

Listening with “both hands” and “both ears” lead to better sounding arrangements where both sides are complimenting each other is discussed to create big chord sounds and not two side men who can’t wait to get out of the gig. ☺ I worked with a musician who we couldn’t figure out how he played the gig with one hand turned so he could see his watch and the other palm outstretched for his check! Body movement is shown how to be able to get the best tonality out of each note and help them ring and extend the sound. Next shown is the use of diatonic harmonies double stops “peppered” in to end a phrase to make it stand out more. This helps to create tension and release.

Critical ending reminder for time base considerations.


Other key areas discussed in THIS ONE VIDEO are: proper hand positioning for comfort while playing relative to where on the board you are; Repeated notes driven by whole hand and arm; Stacking simple three note chords to get complex polychord extensions; Using double stops for dramatic effect and using different fingers for repeated double stops giving control and effective notes; Smoother transition with dynamics which as an additional benefit helps with setting up fingering for the next position.; Open thirds to suggest the chord add to larger sound without doubling the bass chords; Motion in left hand; Use of pull offs and slides; How to mix up the chords from each verse; Use of “drone chords” for ending for heavier emotion and finality; and finally the Use of passing tones to create resolution.

On the performance ending video, Greg uses the most overlooked and yet significant tool in the Stick or any musician’s bag, loud and soft dynamics to pull the listener in and provide a complete feeling during the fade out.

Hey this video isn’t just for Time after Time, but a wonderful reference point not only for arrangement, but for good playing in any style or format, or even a industrial strength “mental block remover” that could make your music soar to new heights. A little movement goes a long way and can be very inspiring.

As a personal preference, I would like to see a printable pdf file to accompany the DVD with “chords used in this song” with the proper inversion i.e. C/E. This helps me reconnoiter quickly a piece to see the lay of the harmonic landscape and to show Ok I only need to know these chords in this song. I would also like to a see a printable pdf file of Greg’s KeyMap tm for the scales used and position recommended.

In closing, you really get your bang for the buck- the internal workings of thought process of tasty proper chordal voicings, proper ways to get to all the notes in a seamless and professional fashion, and years of performance and know how of what works and … maybe doesn’t work so well.
I would like to see a series of these DVD’s which you could buy and have as reference points and reminder points of how to spruce up arrangements on songs especially for all the harmonic capabilities available on our wonderful instrument, the Stick. Not to mention proper technique to facilitate good playing. The benefits of pausing the DVD, and reviewing a part are priceless. We all learn at differing paces and the DVD’s make allowances for that.

So, Greg I hope this is the beginning of a new educational DVD series which this listener would definitely pre-order!

Take care,
Dave Brosky

Wow, Dave!

Thanks so much for digging so deeply into the video. I appreciate all the salient reference points you provide, and will do my best to make future videos equally mutli-dimensional, but not too densely packed.

I do not know if I will do this as DVDs or just find some way to present them online. The graphic quality of HD video is really appealing to me, and the relatively small market for these makes the pressing of a series of DVDs probably beyond reach.

I think the half-hour length is a good one, and not too unmanageable from a production standpoint, though because music happens "in time" presenting it in condensed form can dilute some of its magic.

Cheers to you for being such a great supporter of The Stick in general and my work as a performer and teacher in particular. Looking forward to the next time in Pittsburgh, whenever that may be.