From production to writing to tone, the guitarist/producer extraordinaire breaks down his creative strategies and talks about his guitar collection, including the Hitmaker.
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Nile Rodgers On Writing the Hook for "Get Lucky" | Wong Notes Podcast
- Develop a better sense of subdivisions.
- Understand how to play "over the bar line."
- Learn to target chord tones in a 12-bar blues.
Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It's "grooving" or "swinging" or "rocking." Nobody ever says, "I really enjoyed their use of inverted suspended triads," or "their application of large-interval pentatonic sequences was fascinating." So, whether you're playing live or recording, time is everyone's responsibility, and you must develop your ability to play in the pocket.
So, what is bad time? It's when people rush and speed up the tempo or drag and slow the tempo down in an unmusical way. If your quarter-note pulse is uneven, you can't lock in with what the band is doing because the time keeps moving. If somebody's fills are all wonky and don't land right, that usually means they are not subdividing and are just stuffing notes into the measure haphazardly. These players don't realize what is happening. Don't be one of these players. To develop your own pocket, you will need two things: your guitar and a metronome. A better groove, and a better ability to subdivide the beat, will lead to better phrasing and more control of what you want to play.
The first three examples are designed to eliminate your reliance on the first beat of the measure. Practicing with the metronome on all four beats of the measure is a very common way to practice scales and chord progressions. Remember that in most styles of music, the snare drum is on beats 2 and 4 of the measure. Practice with your metronome as if it's a snare, where the click is on 2 and 4. (A note about tempo markings: Usually the tempo is listed at a quarter-note level, but with the metronome on beats 2 and 4, it's marked as a half-note. So, if the half-note tempo is listed as 120 bpm, the quarter-note tempo would be twice that, or 240 bpm.)
Ex. 1 is a G7 arpeggio played in 3rd position, with half-note tempos of 100, 125, and 150 bpm. The recording of this example has a count off with the clicks on 2 and 4. If these tempos are initially too fast, start with a slower tempo where you can play the example cleanly, putting each note directly in between the clicks of the metronome. You can even start with just a single note at a comfortable tempo, getting used to what it sounds and feels like to put a note directly in between the metronome clicks.
Ex. 2 is the A minor pentatonic scale (A–C–D–E–G) in 5th position, played first in half-notes and then again in whole-notes. This example is designed to help you switch gears between different rhythms.
Ex. 3 is the C major scale (C–D–E–F–G–A–B) in 7th position played in half-notes and whole-notes, but at faster tempo. If you practice different types of scales and arpeggios in this way, you'll discover spots where you may rush or drag the notes.
The last three phrasing exercises are intended to eliminate your need to play on the first beat of the measure. Played over a 12-bar blues in A, each example uses a different rhythm or phrasing structure where you will need to count a lot of empty space to play these rhythms correctly. Ex. 5 is deceptively simple, where you play only on beats two, three, and four of each measure. It takes more concentration than you would think, so be careful that you don't fall back into playing your usual stuff.
Ex. 6 will develop your ability to play over the bar line, which is simply not starting or ending your phrases directly on beat 1. There's a lot of space to count, starting each small phrase on the "and" of beat 3, and finishing on the "and" of beat 1 in the next measure.
Ex. 7 aims to expand your phrasing, creating longer lines by playing a two-bar phrase almost entirely in eighth-notes. The challenge to this exercise is beginning on the "and" of one in the first measure and ending on the "and" of four in the second measure. In each of these examples, practice each rhythm by itself on a single pitch with a metronome, focusing on counting the spaces and playing that specific rhythm. Then, try adding different chord tones or scales when that rhythm becomes internalized.
After working on these examples, play over a track and focus on one concept at a time to see if you really have it under your fingers and in your ears. Always remember to keep things simple to begin with. There's plenty of time to make things complicated later on. Cheers!
ESP Guitars' signature series adds LTD signature series additions for Sammy Duet of Goatwhore, Alan Ashby from Of Mice & Men, and Javier Reyes of Animals As Leaders.
ESP Guitars is debuting the first LTD signature model for veteran ESP player Sammy Duet of New Orleans, LA-based extreme metal band Goatwhore with the LTD SD-2, and adding new signature models for Alan Ashby, guitarist from Of Mice & Men with the LTD AA-1 and for Javier Reyes of Animals As Leaders with the LTD JR-7.
The LTD Sammy Duet Signature Series SD-2 is based on Sammy’s own ESP Custom Shop model, made famous by its identifiable Random Star shape. It offers sturdy neck-thru-body construction at 24.75” scale, and a bound Macassar ebony fingerboard with 24 extra-jumbo stainless steel frets, diamond-shaped white pearloid inlays, and glow-in-the-dark side markers. Components on the LTD SD-2 include a Floyd Rose 1000 SE double-locking tremolo with stainless steel screws, and a single Seymour Duncan Blackout active pickup, designed to provide the hot, articulate response necessary for modern metal.
The LTD Alan Ashby AA-1 is an update to the Of Mice & Men guitarist’s previous Signature Series model. It adds a Black Satin finish/gold hardware design theme that extends all the way to its 24 extra-jumbo Jescar EVOgold frets. Intended for high-performance modern music, it offers neck-thru-body construction, a 3-piece mahogany neck, Macassar ebony fingerboard, a single aggressive EMG 81 active pickup with a brushed gold cover, and a TonePros locking TOM bridge with string-thru-body design.
The LTD Javier Reyes JR-7 is a 7-string version of the Animals As Leaders guitarist’s well-known 27” baritone scale ESP signature guitar. It offers neck-thru-body construction, a swamp ash body with quilted maple top, and a 5-piece walnut/maple/padauk neck with Macassar ebony fingerboard. Top-tier components on the JR-7 include a Hipshot bridge with string-thru-body, a set of Javier’s signature Fishman Javier Reyes Open Core Humbucker pickups, and a five-way super switch for pickup selection and coil splitting.
Detailed information and specifications for the entire collection of ESP and LTD Signature Series guitars and basses is available at the ESP web site at espguitars.com.