At this disorienting moment in our age of digital exchange, they can sometimes seem like the only ones who've gleefully cracked the code.Ī few months ago, pianist and composer Vijay Iyer coined a good handle for this new musical phenotype. Like him, they're known for jaw-dropping technical ability, jazz-inflected genre fluidity and an irreverent yet allusive savvy regarding image and platform. Many of these musicians have at least a tangential connection to Thundercat, the bassist and falsetto warbler whose interstellar jazz-R&B has been a defining Brainfeeder trademark. Together with virtuoso oddballs like MonoNeon, an electric bass whiz and vocal funkateer, and DOMi & JD Beck, a sly keys-and-drums duo repping mayhem in the rhythm matrix, Cole stands at the center of a cohort whose identifying traits are easy to recognize and harder to define. He's been a major player in the musical online attention economy for the better part of a decade, as a solo act and as one-half of Knower, with singer-songwriter and producer Genevieve Artadi. ![]() But that doesn't mean you're immune.Ĭole is a stupefyingly proficient multi-instrumentalist, singer, producer and trickster whose bracing new album, Quality over Opinion, releases this Friday on Brainfeeder. Now, if your answer to the prompt is "What the hell are you talking about?" - then congratulations, you don't appear to have been seriously exposed. What's your favorite dance move from the " I'm Tight" video by Louis Cole? Perhaps you're partial to the simplicity of the "RIDLEY SCOTTZ," or its more kinetic variation, the "STEPPIN' RIDLEYZ." Or maybe you're more of a conceptual "HEIMLICHZ" type. Once you have this under your fingers, take one of the variations below and work on that for a while.Here is a litmus test for anyone looking to gauge their exposure to viral jazz. The main groove can be altered in loads of interesting ways, so make sure you have mastered that first. This line is over an E7 chord – E G# B D – and we are going to be using a cross between an E blues, an E Dorian and an E Mixolydian scale. Now we can look at another funk example that we can build on. Follow along with the notation and video to get a grasp of the part, then slow it down and focus on perfecting the ghost notes and rhythm. The riff in this song is based around the Db major scale and uses ghost notes to add a funky edge. Here are two variations you can try using sixteenth ghost notes:ĭecember 1963 (Oh What A Night!) – Frankie Valli and the Four Seasons Eighth NotesĪdding ghost notes to scales is a great way to practice two techniques at once. After playing the first note, keep the finger resting on the strings to perform the next ghost note. A good way to start with learning this is to take a simple chromatic pattern and repeat it whilst adding a ghost note before each tone. An alternative approach to this is to mute using individual fingers on the left hand – this can be more precise and handy to have under your belt. ![]() Up until now, we have been muting with all of the fingers on our left hand laid across the strings. When you add them back in, you will hear that the main body of the groove doesn’t change, but they add a feeling of propulsion by filling in some of the dead space between notes. Tip: Try playing the groove excluding the ghost notes. These grooves are similar to the eighth note rhythms, except the ghost notes are half as long and therefore shorter. When you are confident that you can put ghost notes into a groove, try the next couple of exercises. Have a go at playing a few ghost notes on each string to get a feel for each one. Playing closer to the bridge where there is more tension will make your ghost notes louder and easier to play. ![]() ![]() To play a ghost note, you simply need to rest the left hand over the string to deaden it and pluck with the right hand. They are often used before a note to give a funky feel to the line. Ghost notes are notes that are muted while they are plucked to give a percussive sound.
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