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arppegios...

 
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lydian_slave



Joined: 17 Sep 2008
Posts: 6

PostPosted: Wed Sep 17, 2008 6:40 pm    Post subject: arppegios... Reply with quote

Steve is my musical messiah......and out of everyone i listen too, including Anastasio....steve uses arpeggios on a level that i just cant even begin to understand...

is there any articles or old postings...(or maybe steve himself can respond if i would be so lucky....) on steves use of arpeggios, and how to approach them, and break out of the cliche maj, min shapes.

i am really into improvisation....and i feel very fluid with my phrasing, but i would LOOOVE to bring my arpeggio'in up to par with all my other weapons...ive got the mechanics down, i just need that lil bit of wisdom on how to open the door, and not just sound some noodlin arpeggiating ass...heh


if anyone could give me any kind of wisdom...i would be very much appreciative.
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kimock



Joined: 20 Aug 2004
Posts: 441
Location: Lehigh Valley

PostPosted: Thu Sep 18, 2008 7:54 am    Post subject: Re: arppegios... Reply with quote

lydian_slave wrote:


is there any articles or old postings...(or maybe steve himself can respond if i would be so lucky....) on steves use of arpeggios, and how to approach them, and break out of the cliche maj, min shapes.


I know this is gonna seem simplistic, but just play one note on one string, and then two notes on the next, and sometimes just skip to the next string, etc.
Don't worry about the notes, or if what you're doing is even called arpeggios, just throw out some shapes and sounds, and see where it takes you.

Be as generous with your definitions as you possibly can, it's just as likely that "arpeggio" means different things at different times than one thing all of the time. Could be an ornament, could be a framework. What else?

OK good luck!
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Frankenstrat



Joined: 11 Dec 2006
Posts: 170
Location: San Francisco

PostPosted: Thu Sep 18, 2008 4:36 pm    Post subject: Reply with quote

Personally, one of my favorite Steve arpeggio uses is when he makes a basic D chord shape, with the added pinky note on the high E string. But, he has the gritty gnarley overdrive tone, using the eBow. Man, that is some cool sounding shit right there! It has a sort of futuristic, breathing robot kind of thing going. Really neat stuff. Oh, and Lydian Slave if you don't already have Steve's NYE DVD from the Gothic, get it. It has some really great close-ups on Tangled Hangers that show you fantastic examples of what Steve typically does with the one note, two note per string thing.
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lydian_slave



Joined: 17 Sep 2008
Posts: 6

PostPosted: Thu Sep 18, 2008 4:42 pm    Post subject: Reply with quote

thank you for you kind responses....i will def pick up that DVD from amazon.


steve you are my here, i saw this year at Mexicali with your son, Porter and Seals....and holy shit....greatest musical night of my life...and then your lil handshake at the end of the nite, with the fingersnap made it all complete.....thank you


now...back to making myself better
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57tele



Joined: 29 Jun 2004
Posts: 714
Location: Durham, NC

PostPosted: Fri Sep 19, 2008 1:49 pm    Post subject: Reply with quote

Related thread with some tab demonstrating the general idea Steve is talking about:

http://www.online-discussion.com/SteveKimock/viewtopic.php?t=266
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kimock



Joined: 20 Aug 2004
Posts: 441
Location: Lehigh Valley

PostPosted: Fri Sep 19, 2008 7:39 pm    Post subject: Reply with quote

Thanks Mike.

I liked the "is it really an arp. if I'm not thinking of a chord?" question.
That's the way you do it!

So, a low string hammer-on followed by a sweep is gonna sound "arpy"
Or a sweep up with a 1/2 step or whole step double stop on top will sound "arpy" too, but you don't have to be thinking strictly in terms of chords to make those sounds.
Sometimes it's just physical combinations of techniques, right?
No need to go hard to the theory for that.
Y'know? Some things that fall naturally to the hand are just gifts, take 'em and enjoy 'em.

ok cool!
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lalaland



Joined: 21 Dec 2006
Posts: 197

PostPosted: Fri Sep 19, 2008 7:59 pm    Post subject: Reply with quote

I've recently been working to try to create arpeggios that are resolved on the bottom, and become less resolved/more altered as they extend upward. I guess it could just be any two sounds, but that's what I'm starting with.

I have not really come up with anything yet, but I keep playing around with the concept.

Or maybe same sound at both ends, with a couple of notes awry in the middle?

What do you guys think?
I'll post some if I come up with them...
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kimock



Joined: 20 Aug 2004
Posts: 441
Location: Lehigh Valley

PostPosted: Fri Sep 19, 2008 10:41 pm    Post subject: Reply with quote

lalaland wrote:
I've recently been working to try to create arpeggios that are resolved on the bottom, and become less resolved/more altered as they extend upward. I guess it could just be any two sounds, but that's what I'm starting with.

I have not really come up with anything yet, but I keep playing around with the concept.

Or maybe same sound at both ends, with a couple of notes awry in the middle?

What do you guys think?
I'll post some if I come up with them...


I wouldn't get too excited about micro-managing interval sequences around the more/less resolved idea.
The whole lick winds up behaving a little differently depending on where it is in the measure, as well as varying with harmonic application, and subject to interpretation (how out/in are we here?) relative to what comes before and after, right?
Seems like you can only really nail some of that kind of thinking with the lick isolated or out of context.
Perfectly natural to want to try to organize everything somehow, and you will start to create your own little families of sound with their own unique relationships, it just probably won't resemble anything as cut and dried as the idea you're starting with, know what I mean?

I'm such a frickin' super genius that I started down that path thinking that I would begin with expanding and contracting diatonic sequences.

Y'know, major 3rd, minor 3rd, whole step, half step and back again.
C E G A Bb A G E C.

Yeah right! Oh well. . .

eh eh eh hoo hoo. .
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lalaland



Joined: 21 Dec 2006
Posts: 197

PostPosted: Sat Sep 20, 2008 12:40 am    Post subject: Reply with quote

kimock wrote:
I wouldn't get too excited about micro-managing interval sequences around the more/less resolved idea. *snip*


Well what I was thinking was more along the lines of using that resloved/unresolved idea to generate some more interesting arppegios than just the same thing in two seperate octaves...
I was/am just using that to come up with the ideas, then using that sound as a whole.

Again, I haven't really come up with much, so who knows, but that's what I was thinking.

That make a little more sense?
Any thoughts on any more directions to go with that?

I'm off to a gig,
Jamie
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kimock



Joined: 20 Aug 2004
Posts: 441
Location: Lehigh Valley

PostPosted: Sat Sep 20, 2008 1:36 pm    Post subject: Reply with quote

lalaland wrote:
kimock wrote:
I wouldn't get too excited about micro-managing interval sequences around the more/less resolved idea. *snip*


Well what I was thinking was more along the lines of using that resloved/unresolved idea to generate some more interesting arppegios than just the same thing in two seperate octaves...
I was/am just using that to come up with the ideas, then using that sound as a whole.

Again, I haven't really come up with much, so who knows, but that's what I was thinking.

That make a little more sense?
Any thoughts on any more directions to go with that?



I'm off to a gig,
Jamie


Triad pairs. right?
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