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Originally posted by LiquidMidnight
My biggest complaint is my melodies sound to scalar. When I listen to what I'm playing, it sounds to much like I'm playing scales, rather than melodies. I'm trying to create ideas the flow over chord progressions well. I've studied the relation between melody and harmony and while this has given me the ability to play notes that fit over the harmony, it really hasn't helped to make them interesting. (I know interesting is a subjective word, but I think you know what I mean  ) |
LM,
first thing to do is start breaking up the harmonic material into less obvious chunks - sooo many player practice running up and down scales, and then can't work out why they can't play anything else. You are what you eat, and practice is lunch. So start exploring the notes in a particular key in none linear ways, breaking the notes up using larger intervals, switching direction more often, playing interval sequences - heading up through each mode of a key playing a third, fourth, fifth, sixth, and then back down fourth, sixth, third fifth etc... however you do it, just don't play scales in sequence!
Another one to try is just singing tunes - really simple tunes, sing them, then play them.
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My 2nd complaint is I HATE my phrasing. I think this problem stems from me trying to phrase more like a double bass player, rather than an electric player. Maybe I need to listen to more electric players? While guys like Adam Nitti and Victor Wooten are amazing in there soloing, right now, I'm trying to concentrate more on guys like Stanley Clarke, and Michael Dimin. Guys that just have a very good ear for melody.
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How about not listening to bassists at all? Not that those guys can't play tunes, but just that if you're listening to bass, you're going to be listening to 'how' as well as 'what'. And as a general rule, bassists aren't the greatest melody players. Here's something to try - get hold of a copy of Paul Simon's greatest hits, and try and play his vocal lines, note and phrasing-perfect, every last inflection, every note ahead or behind the beat where he sings it. You'll suddenly see how much detail goes into a REALLY GREAT tune. Paul Simon is, IMHO one of the finest phrasing musicians I've ever come across. He makes a line work, makes it speak. Try it, it'll floor you.
Then, take some of that phrasing and inflection and try applying it to a really really simple phrase. Make it speak. Don't add more notes, add more soul, try making what you have work. Truth is, most things can be made to fit, if you phrase it right...
hope that helps - as always, come back with more if none of that makes sense...
Steve
www.stevelawson.net
VERY nice. Can we expect a(nother) duet CD anytime soon?
