Pat Metheny - Song For Bilbao Analysis + Guitar Exercise
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- čas přidán 23. 03. 2019
- Here's a "masterclass" or analysis video for this week's transcription of Pat Metheny's solo on Song For Bilbao. I try to break it down and give my two cents, plus I share some insights along the way.
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21:14 Guitar Exercise
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Enjoy! - Hudba
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21:14 Guitar exercise starts here
Good analysis. Pat is so melodic thanks for pointing this out. Sounds so natural. Even master improvisers will marvel at say ....someone like Jim Hall. Hitting the good notes very economically.,thats melodic. We usually play too many notes all the time!
metheny and jim hall are my go-to role models for great melodic improvising inspiration!
You are correct. Pat uses the Roland guitar synth on this track. The synth model he uses has a switch that takes the pitch up an octave. He’s quite fond of it 👍🏻
really nice video man, keep it up!
Thanks, brother! ✌🏻
Thank you so much!
Great breakdown and analysis! :)
Thanks Jens!
Hii great video!! Thank you so much !!
Witch version of the song is it ?
Great, great stuff. Question...have you studied Pat's playing in records such as Song X? I find it amazing how he made the guitar stand in such a free context by playing actual lines.
Thanks! No I haven't, but I'll check it out!
Is your rhythmic course accessible for people that are new to studying rhythm and reading music? I just got back into guitar again and had an "epiphany" with music. It is all about rhythm, harmony and melody are simply there to color the rhythm.
Hi Matt, the course starts from the basics, but it does assume that you know how 8th notes, 16th notes and triplets work. I'm going to add a "preliminary" section where I cover those things as well (so it really starts from scratch), which will be added next week.
As far as reading goes, this course is all about rhythm, so you won't be reading any pitches, only rhythmic figures.
I update the course regularly, so if you buy it you'll get a new link sent to you with every new version.
Let me know if you have any other questions or want more info.
What allows him to play b flat over c major. Im a noob and just wondering if there is a certain theoretical concept he is applying
if its just the note b flat then it makes it a dominant, if it is b flat triad then it's what the jazzers call a 'backdoor' dominant but superimposed on the I, or C major, but this isnt a C major, it is a C sus thing abolution.
F *is* a chord tone on a C7sus 4
Don't make me get the hose :P
True! 😂 He does treat the C7sus4 more as a C major though, but I probably should've said "you're allowed to use non-chord tones if you resolve them properly"
I seem to remember a quartet version with Brecker where he plays both F and E a lot while comping, so maybe he is really going for a sort of C7sus4(10) or Gm13/C sound?
@@SharpElevenMusic I don't disagree with your sentiment about avoid notes at all. I just enjoy a good 2am nit pick :D
@@JensLarsen oh cool! that could definitely be the case
@@Squid3d Hahaha you did have a point though :-D
A question for you, #11. Do you think that Pat improvised this solo over changes or scored out his solo? I ask because the analysis is a description of what happened, either deliberately or improvised. It reminds me of a description of a Van Gogh painting. The description cannot capture the magic of the brush strokes. For example description of the scales involved. There is nothing terribly remarkable here beyond Pat's talent and fluency on guitar. And he has his own style which has its characteristics that can be pleasing as well as occasionally grating. Here I'm referring to his use of the synth guitar, which someone here noted has an octave function. Much easier than actually playing in the higher octave from the point of view of reading. This is not a critque of your analysis but rather a reflection. Martin Heidegger, an existentialist philosopher, used to insist on letting the phenomena speak. In this case the music speaks for itself more eloquently than any breakdown.
Hi Jay, I'm pretty sure this is all improvised. Improvising itself is a pretty dense topic and we don't really generate absolutely new material in a vacuum, it's always tied and generated from what we know. That said, these breakdowns are not intended too enhance the experience of the solo, it's really just a way of studying an artist and get into it on a more intimate level. This is a way deeper level of listening and your awareness just increases enormously by doing this. It's like score reading for orchestrators. We study the greats from up close so we can grow and improve ourselves.
The problem with talking about "avoid notes" is, if you think you have to categorically avoid some notes, then you don't see the big picture, or at least you aren't in control - someone else dictates the larger harmonic picture and you only get to play with the leftovers... What sort of jazz is that? As an improviser you should be able to re-imagine the whole chords, the big picture of harmony, not just individual small bits. I have a hunch that this is more of a guitarists and horn players problem. Do pianists talk about "avoid notes"? Why would they, because they have the big picture in front of them and they are able to change the whole harmonic landscape. But guitarists are powerless victims, like individual soldiers with rifles in a ditch, when pianists sit in a tent looking at a tactical map. :)
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