Textures, Pt. 1

My latest kick in writing or playing music has been experimenting with textures. This actually isn't a new thing, but I'm spending more time at home, on my own, trying to figure out ways to play the same passage differently.

For starters, a song needs to be good. If your tune is lame in it's most naked form, it's going to be lame no matter what smoke and mirrors you apply. My yard stick is my wife. If I write a tune for my trio and have been honing the melody for a while, and then hear her humming it later that night, mission accomplished.

The next step is adding texture. How can I make the "A" section sound different from the "B" section? Do I need a bridge or vamp to add more interest? Who plays the melody? Is it doubled? Is everybody playing?

Since my trio is basically an electric jazz ensemble, many of our textures happen on the spot, but I try to write some of it into the music. I think one of the problems a lot of people have with jazz music is that it kind of sounds the same to them start to finish. The same instruments and sounds and feel basically the whole time. It's really easy for someone like me to forget about this perspective because my ear picks up on the other things happening. Specifically, what the soloist is doing.

When it comes to the other music I make, very specific textures play a larger role. Take, for example, a chord progression of G to D. Repeat. Ad nauseum. There are many great songs written with these exact two chords. Lyrics and melody definitely create interest, but what can you do to pull it away from the Kumbaya-fireside-I-learned-this-song-from-online-tabs sound?

A lot.

First, take stock of how the song is performed. Most of the time I'm playing with somebody else who can play guitar and sing. I can play a variety of instruments, sometimes at the same time. At least in theory, it's physically possible. I've got some practicing to do.

But I always start with what I do best, the guitar. I start with playing inner voices on the guitar. Then it's a matter of rhythm and attack. Fingers or pick? Strum or pluck simultaneously?

Next comes tone. Acoustic or electric guitar? There are many ways to change your tone before using various effects pedals, so I do whatever I can with a straight, clean tone (the fewer effects I use, the less I have to drag to the gig!). Right and left hand position make a huge difference here.

With your left hand (or whichever you use on the fretboard) the further up the neck you voice a chord, the shorter the string becomes. I call this choking up, like a baseball player. But if your other guitar player is playing in a lower position on the neck, choking up will create a distinctive tone and prevent the music from getting too muddy.

Your right hand has even more control. Pick close to the bridge and the tone gets "tinny" while the picking close to or even over the frets produces a "warmer" tone. You can also change your angle of attack by flat picking or using the edge of the pick for a smoother release. I try to maintain my fingernails on my right hand, which has come in handy many time. If I shape them right, it's like having five guitar picks. Each has it's own tonal character as well, just because they grow differently. This is where some classical chops come in handy, even though I rarely play classical music.

I'll expand further on effects and other instruments I've found helpful in future posts. For now, just playing with an acoustic guitar should keep you busy!

Fingerstyle Guitar

There are many ways to play guitar if you don't have a pick. I've seen guys play with a pencil, drum stick, bow (saw part of The Song Remains the Same tonight), you name it. I happen to be talking about what you can do with your fingers.

You've got your flamenco players, classical guys, folk guitarists, hybrid pickers, Mississippi John Hurt disciples... you name it. There are many, many ways to play a guitar. I'm trying to figure out the finger style method that suits me best. As long as I've played, I've been a pick sort of guy, and early on I started using my ring finger and pinky to grab a string here or there to bring out the soprano voice in a chord. I've also studied classical guitar and done my share of etudes that build right hand strength. But I still trip up a little when I'm just playing through a progression and want to keep a pattern up, but the voicing looses a string (5 string pattern all of a sudden hits a 4 string chord voicing). Maybe it's my left hand that needs to make the adjustment? Regardless, I'm not there yet.

If you're a finger picker and have any tips, I'm all ears. I'm not looking for an explanation of somebody else's style, I can hear all of that, I'm just curious to see what goes through your mind when you're just kind of jamming along.