Our lupine columnist’s recent single holds an example of a captured experiment yielding excitement in a recording. Check it out on YouTube via the search term “Making the Faith” or via the link in this story.
Our columnist shares the benefits of recording those moments where you’re just improvising and experimenting with ideas. If you make a practice of it, you’re more likely to strike gold.
Welcome back to another Dojo. To date, I’ve somehow managed to write over 50-plus articles and never once addressed the importance of recording your experimentations and early rehearsals in the studio (and of course, your live performances as well). Mea culpa!
This time, I’d like to pay homage to one of my greatest teachers and espouse the joy of recording the unedited, “warts-and-all,” part of the creative process. Don’t worry, you’re still beautiful!
Many times, early in the experimental development of riffs and songs, there are episodes where you simply play something that’s magical or particularly ear-catching—all without effort or forethought. It’s those moments when your ego has somehow dozed off in the backseat and your “higher power” takes over (for a moment, a minute, or more) before the ego jerks the wheel back and lets out a white-knuckled scream of sheer terror.
These are the “What was that?!” time gaps that you often wish you had been recording, because it’s usually these moments we frantically chase down by memory so we can capture them again—often with diluted results, where we’re left with a pallid approximation of what occurred.
Here’s another common scenario. As you work your way through developing rhythms and melodies, there are many gems that fall by the wayside because they don’t exactly fit the prevailing emotional ethos at the time. Without recording them in real time, these nuggets may be forever lost in the creative cosmos.
Both examples are coming from the same sacred place, where we give ourselves permission to try new things and step outside our ingrained, habitual patterns of composing and playing.
“It’s usually these moments we frantically chase down by memory so we can capture them again—often with diluted results.”
For several years I had the good fortune to study with one of the great maestros of jazz guitar, Joe Diorio. Simply put, he was the Yoda of jazz guitar for me and influenced many great players over the years through his virtuosity, creativity, and mystical improvisations.
One of the things we used to do on a regular basis was what he called “gestural playing.” Meaning, we would try and copy the rhythmic and melodic contour of musical passages we’d never heard before. Often, it wasn’t jazz, but world music, where the goal was to condense a symphonic work down to be playable on solo guitar (Stravinsky’s The Rite of Spring, Lutosławski’s Symphony No. 1, etc.). The point wasn’t note accuracy, but gestural similarity and committing to the emotion it invoked. Inevitably, it led both of us to play something unplanned, and jump-started our creativity—stumbling upon diamonds in the rough just waiting to be polished and cut.
There were always “Oh, that was cool! What was that?!” moments, and as we were recording a lesson, we could stop and play back the licks to investigate further. These examinations, in turn, led to other licks, and before we knew it, we had pages full of new melodic material to digest that all started from simple gestures.
To hear this process in action, listen to the bridge section of my song “Making the Faith,” into the guitar solo starting around 2:22. There are lots of odd meters and modulations that lead to a very gestural-inspired solo. Just to pique your interest even further, the chorus’ words are also gestural, and they form an acrostic puzzle that reveals a hidden message that I’ll leave you to figure out.
What I’d really like to do is to encourage you to try this the next time you are feeling creative, and, hopefully, on your next recording. With computers having more and more storage and hard-drive prices ever falling, there’s no excuse to not try the following:
1. Open your DAW and get a drum groove going.
2. Create a guitar track and allow yourself to simply improvise and make gestures for an open-ended period of time.
3. Afterwards, go back and listen.
4. Highlight the moments that pique your interest, and finally....
5. Compile these moments into a new track by mixing them up into edited “mini gestures.”
6. Listen to the results.
This type of experimentation will definitely lead you into new musical territory and then you can start to add harmonic implications, as well as refine things along the way.
Until next time, namaste.
For the first time in his career, John Mayer launches solo acoustic tour, kicking things off in March 2023.
20 years in the making, this trek features solo performances by Mayer, leaning heavily on his acoustic guitar work with special performances on piano and electric guitar, in arenas throughout the U.S. and Canada. Produced by Live Nation, the tour kicks off Saturday, March 11th, in Newark, New Jersey, at the Prudential Center and will run through Friday, April 14th, in Los Angeles at the iconic Kia Forum. Tickets go on sale starting Friday, February 3rd, at 9 AM local time at Johnmayer.com. A full listing of tour dates can be found below.
The 2023 tour will feature rare, full acoustic sets from John Mayer performing these songs, and many more. Singer-songwriters Lizzy McAlpine, Alec Benjamin, and a special guest to be announced at a later time will open these concerts. Presales start Wednesday, February 1, at 9 AM local time and run through Thursday, February 2, at 10 PM. Fans can sign up to access presale tickets via seated now at Johnmayer.com.
A limited number of VIP packages will be available including premium tickets, exclusive merchandise, and more! Two pairs of front-row tickets will be auctioned off for each show on the tour through charityauctionstoday.com. All proceeds from the ticket auctions will go to the Back To You Fund, which has supported many charities, including John’s Heart & Armor Foundation, as well as programs supporting at-risk youth and the homeless.
SPRING 2023 TOUR DATES
- Saturday, March 11 Newark, NJ Prudential Center
- Monday, March 13 Boston, MA TD Garden
- Wednesday, March 15 New York, NY Madison Square Garden
- Saturday, March 18 Pittsburgh, PA PPG Paints Arena
- Monday, March 20 Toronto, ON Scotiabank Arena
- Wednesday, March 22 Detroit, MI Little Caesars Arena
- Friday, March 24 Nashville, TN Bridgestone Arena
- Saturday, March 25 Cleveland, OH Rocket Mortgage FieldHouse
- Monday, March 27 Atlanta, GA State Farm Arena
- Wednesday, March 29 St. Louis, MO Enterprise Center
- Friday, March 31 Chicago, IL United Center
- Saturday, April 1 St. Paul, MN Xcel Energy Center
- Monday, April 3 Denver, CO Ball Arena
- Wednesday, April 5 Phoenix, AZ Footprint Center
- Thursday, April 6 Palm Desert, CA Acrisure Arena
- Saturday, April 8 Sacramento, CA Golden 1 Center
- Monday, April 10 Vancouver, BC Rogers Arena
- Tuesday, April 11 Seattle, WA Climate Pledge Arena
- Friday, April 14 Los Angeles, CA Kia Forum
Check Johnmayer.com for full tour and ticketing information.
A back-to-basics approach to crafting a 12-bar solo.
Beginner
Beginner
• Learn the basic elements of a 12-bar blues.
• Understand the essential techniques that go into a well-crafted solo.
• Develop a deeper appreciation for the playing of B.B. King, Muddy Waters, and Michael Bloomfield.
Most musicians of our modern era have been influenced by the blues in some way. The blues is an important source of study that can add impact and depth to your music. Simply listening to players like B.B. King, Muddy Waters, Michael Bloomfield, and others will not only give you a better understanding of the genre but it will help to shape your own style as well.
Playing blues guitar is largely based on feel, but what exactly is it? Words can't adequately describe the blues, since it's invisible until a player animates him or herself with it. Some people seem to have it in abundance. As an 18-year-old guitarist in the early '70s, I saw Muddy Waters at the Golden Bear in Huntington Beach, California. The band worked their way through many of Muddy's most well-known songs and I thought to myself, "I guess these are just popular songs?" I didn't get it.
Then the band went into a slow blues near the end of the set and Muddy finally broke out a solo. Oh man! His red Tele came to life through that Super Reverb, and he just lit the place up. I'd never heard anyone play remotely like that. Everyone went crazy—even the other musicians on stage. It was as if the sound came from out of the clouds. The way he connected with the audience was something special. It was that night that inspired me to learn as much as I can about blues guitar. In this lesson, I'm going to share some foundational techniques to get you on the right path.
By far the most common blues song form is the 12-bar blues. You can go anywhere in the world and call a "blues in G" and everyone will know exactly what's happening. In Ex. 1, I've written out a way to comp through a 12-bar blues with a mixture of simple and complex chord voicings.
Each of the following examples progresses through a slow 12-bar blues in the key of C. I would work on one riff or exercise until I had it down, sometimes for hours. A classical guitarist I know said he practices with the goal of playing it twice as good as needed in a performance. That way even if he's having a bad night it still sounds good.
Ex. 2 is a must-know intro riff. Everything that goes into this is important to give it its distinction. Country sounds like country, jazz sounds like jazz, so blues has got to sound like blues. Practice and listen closely to as many players as you can. This riff will kick off a blues in C, but learn how to move it around so you aren't stuck in one key.Ex. 2
Bending in tune is an essential skill no matter what style you play, but it can make or break a lick like Ex. 3. When going from the 10th fret on the 4th string to the bend on the 10th fret on the 3rd string, use different fingers, like the second finger to the third finger. Then, put the first, second, and third fingers all on the 3rd string for the power bend.
Ex. 3
This next riff (Ex. 4) needs great technique in order to use it. Notice the big wobble over the last sustaining bend. Good vibrato is a very hard thing to develop. Some people rely on the whammy bar for this, but we should use our left hand. It takes arm and finger strength. Grrr!
Ex. 4
Extended blues riffs are mostly combinations of short riffs played in succession and connected to each other. Piano players can't bend notes, so they construct melodic ideas instead of relying on the kind of guitar tricks we use. There's a lot to be learned from that kind of thinking. Notice it's a simple eighth-note rhythm over the triplet hi-hat figure, which makes it tricky to get, so lay back and don't rush (Ex. 5).
Ex.5
Ex. 6 demonstrates how to play over changes. In other words, over the G9 chord I use a G minor pentatonic with a natural 3 (G–Bb–B–C–D–F) and instead of sticking with that over the F13, I move it down a whole step (F–Ab–A–Bb–C–Eb).
Ex. 6
Turnarounds usually occur in the last two measures of a 12-bar blues. It's a theme that signals to everyone that we're on our way back to the top of the form. In Ex. 7 I've written out a riff that uses a series of sixths that descend chromatically.
Ex. 7
These are some cool ideas to get you started in this rich tradition. Once you're comfortable with these licks, make sure to move them to other keys. Take your time and really focus on the feel. The blues is simple, but that doesn't mean it's easy!
This article was updated on September 10, 2021