Ich denk jeder, der das selbst macht, kennt das, diese Landschaft durch die man laufen kann. Eine eigene Welt. Und doch können die anderen dabei sein, kann man die Schönheit teilen. Ihr wollt es doch auch…
I am after a certain forced break back in the studio, writing songs and we try to implement them with the band. I have never been a friend of fixed structures. In my opinion, music doesn’t work that way. Good music is there to create islands of order in chaos or even just to show an idea of order. There is, after all, harmony. Harmony is a strange thing, it exists outside of music and it exists outside of human experience. If it didn’t, we would have a real noise problem with the songs of birds, for example. Birdsong scrupulously adheres to the harmony sequences, only warning signals are inharmonious and then annoy us. Harmony therefore seems to be an a priori fixed form of order, which even a musician can never reach, but can only try to reach (if that is desirable at all).
All instruments at our disposal produce nonlinear, chaotic sounds. No matter if voice, strings or vibrating bodies. Even an electronic signal is never linear. Especially if, like me, you amplify a stringed instrument (i.e. my guitar) through a tube amplifier, you have a thoroughly chaotic signal. The art now (and this is an art) is to transform this signal to one, to a place of order comprehensible to the listener. True order never arises in this way, nor is it desirable.
If you look at exceptional voices, e.g. Billie Holiday, you notice that they are by no means ideal-typical, but rather “wrong”. So they give us an impression of order, they point to order, and if they are good in a way that we as listeners can understand. So music shows us how to deal with chaos rather than achieving harmony. Nevertheless, harmony, but that one must strive for, knowing that it can never be achieved and that the achievement also cannot be desired.
The achievement of harmony would be the end of beauty.
There’s nothing more I care to own nothing left to feel – All I ever wanted was this piece of wood and steel
ich halte nicht viel von reiner Musiktheorie. Rock’n’Roll benötigt vielmehr Feeling und Leidenschaft und das Wissen um ein paar grundsätzliche Figuren und Harmonien und die lernt man am besten, wenn man die Musik anhört und liebt.
Will man Lieder schreiben oder aus den Standards ausbrechen, kann ein Quintenzirkel und ein paar Scalen durchaus sehr nützlich sein.
Mike Hadlow hat mit Guitardashboard ein interessantes Tool geschaffen, wenn es doch mal irre werden soll. Natürlich Open Source und auf Github zu finden.
Unfortunately, I have a bit of a guitar fetish. The guitar hasn’t been played in at least 40 years. I’m going to start with some jazz first so she can get used to it, after all this time. After all, that’s what she was used to.
I have a lovely old Otwin guitar (Otto Windisch) and I had it restored to a beautiful young lady at the place of its birth, which was 90 years ago.
I think every halfway good guitarist has Chet Atkins as a idol. No matter what genre you come from. He is simply a genius, unmatched.
Short Tutorial for simple Blues patterns in the key of E Major.
Playing blues has a lot to do with feeling. You don’t need to learn too difficult fingerings. In this video, only the simple, open E major chord is used. Use the pinky for some color and two hammer-ons to make it look complex. The rest is rhythm. Rhythm baby!