what other jazz intruments translate well to guitar?
van
found that sax lines (tenor & alto) don't translate that well to (my)
guitar fingers. i did notice that a great deal of trumpet lines (ex.
joy spring-clifford brown) translate quite naturally to the guitar.
although working on any proficient artist's lines can be an eye/ear
opener, does anyone know of a particular instrument or artists work
that *physically* translates and feels at home to the guitar?
side note: at a recent jazz workshop bruce forman recommended studying
the phrases of hank mobley and ron carter for a good workout on
outlining chord structures/defining the progressions.
JP
Of course it would all depend on the piece or work your looking at.
Certainly some clarinet, sax, trp ranges fit will...but whether the lines or
music played by great artists on these instruments will sit comfortably
under the fingers is questionable.
However, I always thought it was not intended to. I think we start to
transcribe, analyse, these instruments in an effort to achieve a number of
things.
To open our ears to other insrtuments. Often as guitarists we become
insular.
Also, it opens us to lines or note applications that arn't guitaristic by
nature.
Theres many other reasons but these two above have popped to my mind. The
challenge is to be able to have the musical line determine our playing and
not the physical attributes of the instrument..or the methods we learn
based on our instruments.
For me, when i hear someone play something that i just love..i want to work
it out.
Whether its sax, guitar or anything.
Whilst im writing, i might add, that there is no shame in becoming too
guitaristic..whatever that really means. I recent poster here, who became
oh so popular with his ref to Barney...commented on guitarists, their music
etc
I think that was total rubbish. I think all instruments lend themselves to
be played a certain way. Somethings are easier..some harder.
Its great to listen and study from other players on other instrments..but
also dont neglect the guitar and the history of music assoc with it.
Quick example....Look a t the styles of Christain and Pass.
Both are heavily influenced by the physical characteristics of the guitar.
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JP
i'd certainly listen to Bruce Foreman.
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Craig
the guitar. Alto gets a bit high on the guitar at the top end. Ditto
trumpet. Piano can of course be much lower and much higher than the guitar,
but some piano music can be adapted well because the notes have a similar
envelope, ie; the notes decay. Bass is great because the fingering can be
the same, and therefore you can get the phrasing really precise, just play
it all up an octave or two. When Jim Hall plays a line in unison with the
bass, he gets the fingering the same as the bass player's.
Craig
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Dallas Selman
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funkle
a good deal of time transcribing horn players. Horn players often have
good phrasing, and may use intervals and dynamics that are tough to
attain on guitar. I think it is a really good way to get you thinking
in new directions. I like Early Miles, Chet Baker and Joe Henderson,
among others.
Jurupari
synth is that it sort of automatically skews my thinking into phrasing and
staying within the compass of the instrument imitated. It's not anything I
really consciously put much effort into, but hearing the sound seems to do
something to my thinking. If that happens with most people, it's another good
reason to consider having a synth.
Clif Kuplen
Thom_j.
on my Strat a few years ago. I definately feel it when I use a
keyboard synth & I thought it was only a quirk on my end? :)
cheers thom_j.
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