Steve Kimock Discussion

Steve's music :: Long Form IV Tab - HELP NEEDED!!!

Author: esteban
Subject: Long Form IV Tab - HELP NEEDED!!!
Posted: Fri Sep 03, 2010 6:46 am (GMT 0)
Topic Replies: 0

Code:

-------------------------------------------------------------------------------
Long Form IV - Steve Kimock
-------------------------------------------------------------------------------
Tabbed by: Esteban Colon
Email: Estebancolon@hotmail.com

Steve Kimock Crazy Engine - Long Form Part IV - 07-11-2009

Tuning: Standard

e|-11-10-8-------------------------------------------------------------------|
B|---------10-8--------------------------------------------------------------|
G|--------------9-7-5--------------------------------------------------------|
D|--------------------7-5----------------------------------------------------|
A|------------------------7-6-5-3---3/4--------------------------------------|
E|--------------------------------5------------------------------------------|

e|-11-10-8-------------------------------------------------------------------|
B|---------10-8--------------------------------------------------------------|
G|--------------9-7-5--------------------------------------------------------|
D|--------------------7-5----------------------------------------------------|
A|------------------------7-6-5-3---3-5-/3\----------------------------------|
E|--------------------------------5------------------------------------------|

Does this seem right??? Asking you guys with good ears out there????
Or if your the guy who wrote this song, your answer will suffice also... :D

Thanks in advance,

Esteban

************************************

| / slide up
| \ slide down
| h hammer-on
| p pull-off
| ~ vibrato
| + harmonic
| x Mute note
| b Bend
| pb Pre-bend
| br Bend release
| pbr Pre-bend release
| brb Bend release bend

************************************

Performance and Improvisation :: RE: Accoustic root of a minor chord?

Author: Swain
Posted: Thu Sep 02, 2010 3:59 pm (GMT 0)
Topic Replies: 1

I don't know!

Let me think on this for a little while. Hopefully, others here will chime in with some more experienced thoughts.
But, I haven't really worked things out in this way, and I'll need to sit down later when I have more time, to really listen and think about what you are saying, and then, what you are asking.

Either way, looks like you're digging in! Nice.
_________________
"Real Tomato Ketchup, Roy?"

Performance and Improvisation :: Accoustic root of a minor chord?

Author: huw
Subject: Accoustic root of a minor chord?
Posted: Thu Sep 02, 2010 11:06 am (GMT 0)
Topic Replies: 1

Long post!

Okay, here's something I'm been musing about recently.

Disclaimer - I've come up with this by myself so I could be way off base, and I could be miss-using terminology that really means something quite different. Fingers crossed...

SK mentioned (very briefly in some thread on TGP) about how sometimes there will be a difference between the harmonic root of a chord & the accoustic root.

I've searched a bit for this subject but keep getting results about accoustic roots music...

So anyway, after some thought I'm assuming that the thing to look at here is difference tones:

Take a major chord CEG (Harmonic root C). That's the 4th, 5th & 6th partials, so the ratios are 4:5:6.

Difference tone from the C & E = difference between 4 & 5 = 1. That's the fundamental of the series, so C.

Diff tone from C & G = diff between 4 & 6 = 2. The 2nd partial so also C.

Diff tone between E & G = diff between 5 & 6 = 1. C again.

So the accoustic root agrees with the harmonic root. Cool.

Now let's look at a minor chord. For sake of argument, E minor. I'm sticking to the harmonic series from C, & I didn't want to use D minor as I'm still having trouble with that F. But that's another story. So I'm looking at the iii chord.

E G B. The E & G could be either the 5th & 6th partials or the 10th & 12th, but the B doesn't happen until the 15th.

Diff tone E & G = C (already done that one)
diff tone E & B = diff between 10 & 15 = 5 so that gives E
Diff tone G & B = diff between 12 & 15 = 3, giving G

So this suggests three different possible "accoustic roots" of my E minor triad, one of which, C, isn't even in the chord itself!!?!

But it gets better: Let's try A minor, the vi chord

A C E = 13th, 1st & 5th partials. Actually the C could be 1,2, 4, 8 or 16... which leads me to:

Diff tone from A & C = diff between:

13 & 1 = 12 = G; or
13 & 2 = 11 = that not in tune F#/F thing; or
13 & 4 = 9 = D; or
13 & 8 = 5 = E; or
13 & 16 = 3 = G

Diff tone from A to E = 13 & 10 = 3 = G (interesting, as being a harmonic interval of a 5th one would assume the root to be A??)
or 13 & 5 = 8 = C

Ok - I need an outside perspective here, please.

Am I:

a) current favourite for the Olympic "grasping the wrong end of the stick" race;

b) on to something, but it's not that important;

c) just seeing how deep the rabbit hole goes?

I'd appreciate any thoughts on the subject folks, thanks for reading!

Performance and Improvisation :: RE: Harmonic Experience

Author: Swain
Posted: Mon Aug 30, 2010 6:06 am (GMT 0)
Topic Replies: 22

That is a cool site!

I have to take it in small doses, and come back to it though. It's a big bite to try and take in all at once!
_________________
"Real Tomato Ketchup, Roy?"

Gear talk :: RE: Calling LXP-1 Users

Author: tonejunkie
Posted: Wed Aug 25, 2010 3:03 am (GMT 0)
Topic Replies: 6

Hey guys got my LXP1 from Audio Upgrades. The preset I prefered is the Large 2 preset with the delay turned to about half and the decay a little under half. The verb is much better than my G Major in my opinion and I thank everyone who helped. It is off to a reggae gig where I may go a little wild with the reverb tonight.

Performance and Improvisation :: RE: Deep breath - first question...

Author: huw
Posted: Mon Aug 23, 2010 10:18 am (GMT 0)
Topic Replies: 6

Cool.

Thanks for the replys guys. - I'll digest... and probably come back with more questions.

35:32 isn't one that I've taken much notice of so far. That's 155 cents, right? A kind of "mid-way" 2nd?

57tele - interesting that the programme you've got there reads those first couple of notes as so close to ET. I would have guessed at being further away - but like I said, I'm very new to this...

Performance and Improvisation :: RE: Deep breath - first question...

Author: 57tele
Posted: Fri Aug 20, 2010 2:43 pm (GMT 0)
Topic Replies: 6

Here's what I get with my transcribe program, which gives pitch frequency and cents deviation from ET tones:

The first line sweeps from 330 up to about 351 at its peak then down to 335.

The root under the first two tones is D. There's nothing too exciting about the 330 or 351, they're pretty close to the ET E (329.63) and F (349.23). The third tone, however, is 335. This is about 35 cents sharp to the ET E of 329. (The root also changes to A for that third tone).

The 7th later on in the line is about 539, or 40 cents flat of the ET 7th, C.
_________________
Mike Babyak
http://www.myspace.com/monkeynavigatedrobots
http://www.myspace.com/mikebabyakstriplefret

Practice, practice, practice :: RE: right hand

Author: esteban
Posted: Fri Aug 20, 2010 8:45 am (GMT 0)
Topic Replies: 2

Thanks partner...

Like you, I also use a heavy pick.. but a blue fender waterbased pick.

http://www.fender.com/products/search.php?partno=0987351950

I Find that the usual celluloids are too quick on the strings ... the pick i use (the blue one) has more friction in its response or whatever you want to call it verus the classic celluloid pick... more control . but slower cutting through the string...

anyhow, thanks again and i figured as much... JUST GET THE JOB DONE...

Esteban...

Practice, practice, practice :: RE: right hand

Author: kimock
Subject: Re: right hand
Posted: Fri Aug 20, 2010 7:26 am (GMT 0)
Topic Replies: 2

esteban wrote:

question to all...

lately ive been paying much more attention to my right hand...
working with software such as guitar spped trainer and the like...
anyhow. i stumbled across a few books on the internet regarding right hand technique.. and what is mostly taught is to keep fingers off the pickguard and not using it as an anchor...

so this being said...
Using this techinique i noticed does allow me to pick faster (mind u i always sit when i practice) but since adopting this new method, it has been a struggle everytime i play live...

SHOULD I CONTINUE TO ADOPT THIS METHOD OR JUST LEAVE GOOD ENOUGH ALONE?

Basically my playing ability has gotten worse playing live I think because its something new and kind of "foreign" to me ...
Basically im not consistent at all. I dont know if its this planet waves grip master finger strengthener thingy i use or what..... im just plain sloppy missing notes most of the time..

The book i am talking about is The Principles Of Correct Practice For Guitar

i can shoot off anyone who wants one a PDF through email if wanted......

Thanks in advance,

esteban

estebancolon@hotmail.com

http://www.facebook.com/theother1

A couple of things, more about attitude than technique, but that's the nature of the question, right?

The first thing is: Never let technique get in the way of the music.
Get the idea out any way you can, screw the execution.

It's totally fine to anchor your hand on the guitar if that helps you play certain stuff. It's not the only way to get some things to happen, but neither is any other technique.

This shit takes forever. If you keep working on it, it'll find it's place, but that's not gonna happen overnight.
I don't know about anybody else, but for me, specific changes in right hand technique takes YEARS to show up as integrated, internalized part of live performance.

It's only recently that I've noticed one specific picking approach that I've been working on for at least 10 years finally creeping into a useful place.

Maybe partly due to using a bigger pick, so it's possible that you could see improvement overnight in your picking technique if you're not using the best pick for the job already.

Still best to be patient tho!

Practice, practice, practice :: right hand

Author: esteban
Subject: right hand
Posted: Fri Aug 20, 2010 6:39 am (GMT 0)
Topic Replies: 2

question to all...

lately ive been paying much more attention to my right hand...
working with software such as guitar spped trainer and the like...
anyhow. i stumbled across a few books on the internet regarding right hand technique.. and what is mostly taught is to keep fingers off the pickguard and not using it as an anchor...

so this being said...
Using this techinique i noticed does allow me to pick faster (mind u i always sit when i practice) but since adopting this new method, it has been a struggle everytime i play live...

SHOULD I CONTINUE TO ADOPT THIS METHOD OR JUST LEAVE GOOD ENOUGH ALONE?

Basically my playing ability has gotten worse playing live I think because its something new and kind of "foreign" to me ...
im not consistent at all. I dont know if its this planet waves grip master finger strengthener thingy i use or what..... im just plain sloppy missing notes most of the time..

The book i am talking about is The Principles Of Correct Practice For Guitar

i can shoot off anyone who wants one a PDF through email if wanted......

Thanks in advance,

esteban

estebancolon@hotmail.com

http://www.facebook.com/theother1

Steve's music :: RE: Thing One Tab

Author: esteban
Posted: Thu Aug 19, 2010 6:34 pm (GMT 0)
Topic Replies: 1

e|-----x-------|
B|-----8-------|
G|-----6-------|
D|-----7-------|
A|-----x-------|
E|-------------|
i meant this[/code]

Performance and Improvisation :: RE: Deep breath - first question...

Author: kimock
Subject: Re: Deep breath - first question...
Posted: Thu Aug 19, 2010 10:14 am (GMT 0)
Topic Replies: 6

huw wrote:

Ok.

Very tentatively I'll ask my first, simple, question.

Bear in mind that a month ago I couldn't have asked this question, because I didn't have the vocabulary. In fact the question is almost as much to reassure myself that I'm using the right names as it is about the "answer"...

Anyway, I've been making my first steps at picking up on the variety of intervals that are "between the cracks" of 12TET, particularly the 3rds, and I've been looking out for examples of them in music that I hear.

So - Paris, Texas, Ry Cooder: main theme, the one every body knows. The initial melody (over the drones) is basicaly (in 12TET): b3 2 b3 1.

I'm thinking that the b3 in this case is what we'd call a "sub-minor" third, a septimal third, or a 7:6.

Right on all counts, some, or not at all?

(Yeah, I know - that was an anti-climax after the build up I gave it, but I'm just starting out here folks... )

Yeah, close enough to how I would call it as far as where he's putting the slide on the string goes.
Everything but the root and fifth are flat consistent with 7th partials, the second is flat, vibrato taken into account, with 35:32, and the b7 is pretty clearly 7:4.
The half step that he quits that b7 thru still sounds like the 3rd of the IV chord to me, but it feels like the same move as the 7:6 - 35:32 on the string above, so maybe I'm just not hearing it the same way he is.
He does quit that sub minor third ascending at one point at least though, nice contrast.

Either way, yeah, that's some 7th partial stuff.

Good ears on that Cooder fellow, and good ears on you too!

Steve's music :: Thing One Tab

Author: esteban
Subject: Thing One Tab
Posted: Thu Aug 19, 2010 3:28 am (GMT 0)
Topic Replies: 1

Code:

-------------------------------------------------------------------------------
Thing One - SKB
-------------------------------------------------------------------------------
Tabbed by: Esteban Colon
Email: Estebancolon@hotmail.com

Tuning: Standard

Intro

e|----0----0---------0-------------0----------0-----------| Play variations based off of this for your HEAD
B|----0---------------------------------------------------|
G|----1--1---1-----2-------------2---------2--------------|
D|----2---------------------------------------------------| repeat as necessary
A|----2-----------------0h2---4-----------------0-0h2-----|
E|----0---------2----------------------2------------------|

To the funk part riff section as seen below

1 2
e|------------------------------5---------------------------------5------|
B|-----------------------------------------------------------------------|
G|---------------------------5/6-------------------------------5/6-------|
D|---------------------------4/5-------------------------------4/5-------|
A|--------0-3p2p0---0-0----------------------0-3h4-0---0-0---------------|
E|----0h2---------2----------------------0h2---------2-------------------|

3 4
e|-----------------------------5-----------------------------------------| the 1,2,3 and 4 you see above tab show were the one count is on the beat
B|-----------------------------------------------------------------------|
G|------------------------5/6---------------------------------5/6--------|
D|------------------------4/5---------------------------------4/5--------|
A|-----0-3p2-3-2--0-0-----------------------0-3h4-0---0-0----------------|
E|--0h2---------------------------------0h2---------2--------------------|Repeat as necessary then go into jam which is basically the previous with ryhthms with sk

playing this chord shape seen below...

A7

e|-----x-------|
B|-----8-------|
G|-----6-------|
D|-----5-------|
A|-----x-------|
E|-------------|

listen to rest of song for the remaining arrangement...

eSTEban

Performance and Improvisation :: RE: Deep breath - first question...

Author: Lee
Subject: Paris, Tx-Blind Willie Johnson
Posted: Wed Aug 18, 2010 4:01 pm (GMT 0)
Topic Replies: 6

That tune is reported to be based on Blind Willie Johnson's "Dark Was the Night (Cold Was the Ground)".

http://www.austin360.com/music/content/music/blindwilliejohnson_092803.html

Life, according to Dr. Google.

Performance and Improvisation :: RE: Deep breath - first question...

Author: huw
Posted: Tue Aug 17, 2010 10:37 pm (GMT 0)
Topic Replies: 6

Ok, thanks anyway.

In general though, am I right in thinking that the three types of third I mentioned are different ways of saying the same thing?