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Efficiently using chords and harmonic intervals.

Discussion in 'Ask Michael Dimin' started by CrawlingEye, Dec 11, 2001.

  1. Dec 11, 2001 #1
    CrawlingEye

    CrawlingEye Member

    Mar 20, 2001
    Easton, Pennsylvania
    I think it always sounds awkward when I do a harmonic interval, or chord, then go into something fingerstyle, because of the lack in volume.

    Is there any trick to this?

    I think I find it easier to slap, then go into a chord, since I tend to pop a lot, along with slapping (so i get the melodic interval effect).

    Thanks, in advance. :)
     
  2. Dec 11, 2001 #2
    Angus

    Angus Supporting Member

    Apr 16, 2000
    Palo Alto, CA
    Why is there a "lack in volume"? There really shouldn't be, in either notes. Just practice your dynamics.

    What is a "melodic interval effect"?
     
  3. Dec 11, 2001 #3
    CrawlingEye

    CrawlingEye Member

    Mar 20, 2001
    Easton, Pennsylvania
    No, no- by "lack of volume" I don't mean loudness, I mean actual volume. Less notes = thinner sound = less volume

    Slap root, pop... say... a major 7th, while the root's still ringing.
     
  4. Dec 11, 2001 #4
    Mike Dimin

    Mike Dimin Inactive

    Dec 11, 1999
    Mark,

    I do notice the same thing when switching from harmonic playing and fingerstyle or slap. There are 2 things that I consider:

    1. Using the harmonics at a place that calls for a quieter moment in the music. Harmonics, especially when used in a chord have such a dramatic effect that taking musical advantage of that is a great thing. Use them to call attention to a particular thing.

    2. Check out the setup of your bass and it's EQ, boost the frequencies that the harmonics reside in to give a bit more balance. I find that really great basses seem to be able to balance the sound a bit more.

    Hope this helps

    Mike
     
  5. Dec 11, 2001 #5
    CrawlingEye

    CrawlingEye Member

    Mar 20, 2001
    Easton, Pennsylvania
    Thanks, Mike.

    My main problem, though, is that I think I'm having trouble going with the transition.

    I just get stumped when I try to think of a way to lock my chords in with other parts (problem coming up with a filler between playing chords and going back to just finger style).

    I think adding a small slap part between, using melodic intervals could help this. Any other thoughts?
     
  6. Dec 15, 2001 #6
    Mike Dimin

    Mike Dimin Inactive

    Dec 11, 1999
    Transitions between styles is one of the most difficult things. I am amazed at players like Michael manring who can switch seeminly so effortlessly.

    I think it takes a bit of planning. You want to try to limit the anount of changes in at any given time. If you are changing fretting hand position while you are changing plucking hand technique as well as changing the feel, you are asking for trouble. here are some ideas:

    1. If possible, create the change during a rest. Even one or two beats will give you plenty of time to readjust.

    2. If that is not posible, change your plucking hand technique but leave your fretting hand position, then create a line or series of lines that move you into the position you originally desired.

    3. Create the new feel first than ease into the other techniques that you need

    4. Think about a way that you can make the transition musical. For a few moments, drop the idea of your ability to technically create the change and think only about a musical change. That might open up some room for you.

    Mike

    let me know how it goes
     
  7. Dec 20, 2001 #7
    CrawlingEye

    CrawlingEye Member

    Mar 20, 2001
    Easton, Pennsylvania
    I think I've just found my answer to going from regular playing to chords/double stops or from regular playing to slap/popping.


    Here's a thread, which kind of sums things up, that I just posted: Weird song forces cool technique...


    Tell me if you think it sounds like a good approach?

    (using a line that uses that techinque, as a filler, from going from a fingerstyle line to a slap & popping/chord/double stop line, or vice versa.)


    Thanks for all the advice you've offered so far, also. :)
     
  8. Dec 20, 2001 #8
    Mike Dimin

    Mike Dimin Inactive

    Dec 11, 1999
    Mark,
    I read the post, but I am not to clear on what he is talking about. That being said, any technique that you use, develop, copy, etc that produces the desired musical effect is wonderful. Vic uses the double thumb technique, Manring has altered tunings. Who would have ever thought that Louis Graham developing that slap thing would have taken off the way it did.

    Embrace, and develop any technique that works.

    Mike
     
  9. Dec 21, 2001 #9
    Brad Johnson

    Brad Johnson Inactive

    Mar 8, 2000
    Gaithersburg, Md
    DR Strings
    "Louis"?

    ;)
    Happy holidays, Mike
     
  10. Dec 21, 2001 #10
    Mike Dimin

    Mike Dimin Inactive

    Dec 11, 1999
    Brad,
    Sorry, I knew something wasn't right.

    What do you get when you cross LARRY Graham and LOUIS Johnson??



    Mike
     
  11. Dec 22, 2001 #11
    Brad Johnson

    Brad Johnson Inactive

    Mar 8, 2000
    Gaithersburg, Md
    DR Strings
    Marcus?

    Nah, you'd have to sprinkle in some Jaco, too ;)