This is the electric guitar part for the song, “Love Lies” Original Video “Love Lies” written by Khalid Robinson, Normani Kordei Hamilton, Jamil Chammas, Ryan Vojtesak, and Tayla Parks.
This is a very clever and fun guitar part. If you want the guitar to pop out of a mix this is the textbook way to do it. Take three chords, and arpeggiate them using a Fender Stratocaster set for position 2. That gives the guitar a “mellow bite” that is perfect for parts you want the listener to focus on.
Here is the guitar tab for the song. I’ve included the very brief legato run that occurs in measure 5 during the intro. Take your time with this as it may be a little tricky at first, especially the changes during the pre-chorus and chorus.
XXXTentacion has once again placed the guitar front and center in another of his mixes. The young man continues to use the instrument that was missing in the genre since the days of the famous collaboration with Run DMC “Walk This Way”.
X’s guitar is very unlike Joe Perry’s as there are no wild guitar solos and few power chord excursions. What there is though is pure rhythmic and melodic contours that light up his music.
For this song you will need a clean electric and delay. Check out the tutorial and I’ll have more to say here.
There is no way to do a thorough job on a song as long and dense as this one. Therefore, I will break it up into three videos. This first installment covers the Intro and Verse. Those sections alone take :45 seconds. Imagine that, a real introduction. Most pop songs are heading into the chorus by now.
The acoustic guitar score is brilliant in its non-stop arpeggiated beauty, It serves as a guide of sorts for the massive orchestration that eventually surrounds it. For those of you in the upper-intermediate playing range, this will further develop your playing in terms of what I like refer as “note streaming”. That being a constant flow of notes that are rarely interrupted (if at all) by stops or pauses. This is the perfect introduction concentrated guitar playing. Stay focused and keep your movements even and on the beat.
While not too difficult to play, you must take care to not become complacent and sloppy throughout. It’s very easy to create a lot of string chatter on this part. Make sure to lift your fingers and move quickly and accurately to the next chord. I also recommend using a pick on this but, you should do what comes natural to your playing style. Looking forward to completing this gem!
Lorde’s new single Green Light is a study in contrasts for a guitar cover/tutorial/play-through. It’s the kind of song that grows on you after a couple listens. But, still you sit and ponder. It is worth it? But then you realize that this one has something to work with, it does have merit after all! After listening to what seems like a patchwork of disjointed ideas scattered about it soon becomes clear in the mind of the listener that Green Light does what all pop songs are programed to do.
The content is not heavy. Basically, we have a 5 chord pop song like many others. Where as Green Light revs up slowly and patiently, most pop songs don’t have the patience for such maneuvering as their game is always centered on getting to the point early and often. It’s a mainstay of popular music. Lorde, is a “developer”. Her tendency is to take sparse material and dial things up as the minutes pass. Green Light is no exception,
The pre-chorus/chorus sections are a thing of lighthearted genius as a masterful but typical riff takes over that lights up the song with such energy that even Lorde can’t stay in control (check 3:03 of the video).
For your part, keeping the chorus riff even and controlled is no easy task on guitar, especially acoustic. Keep your right hand solid and bear down on the strumming pattern. That is, if you are covering it at it’s recorded tempo.
I can see this section played a little slower without damaging the intention of the writer. Experiment and see what you come up with.
One thing is sure, people still love live music. If there was any worry that is was slowing down that’s surely gone. Fans want the real deal. Audio improvements, ease of downloading music, and the saturation of music in the media have not dimmed that internal desire for live performance. Our GM put it best when he said that “the business is healthy, and business is good”. The pubic’s desire to become, as it where, part of the experience continues to bring them to venues in droves.
All of us deal with concert goers that come up to us pleading that they know someone in the band. I knew rock stars were “prolific” but I didn’t know it spread so far. My reaction is always “You don’t say?!” “How do you know him?” Crickets…:)
Rob Zombie’s set smoked. He sounded great and to be honest, for a few moments I forgot who the headliner really was. I kept thinking, “How can the show get any bigger than this?”John 5 played a blistering four minute long guitar solo during Rob Zombie’s covert walkathon through the crowd. Ya, maybe a little cliche at times but still great. It’s about time he was allowed to cut loose. It wasn’t going to happen with Marilyn Manson as the music wasn’t about long guitar solos. But with Rob’s vibe, it fits perfectly.
Zac Brown’s horn section ripped out some of the most thrilling lines I’ve ever heard during their spotlight. For sure horns in a country band are unusual. Credit has to be given to Zac’s vision of the band as the variety of instruments in Zac’s music is what creates the magic.
Korn has to have the largest female following in Metal. Easily. I’m not saying I have the reason for it, it’s just a fact. What does it mean? I dunno, maybe there’s something to be learned here for other bands who carry a heavy “guy” fan base.
Breaking up fights during shows is dangersome and delicate. But, there is an art to it. One things for sure, a girl fight is the dread of us all.
Zac Brown’s cover of The Who’s, “Baba O’ Reilly” was explosive. The keyboard part at the beginning could have been tweaked a bit better but nevertheless, it was refreshing to see fans of all ages singing along. It was a genius move to cover that gem.
I still don’t understand mosh pits. How more young people are not injured is beyond me. Flailing arms, karate kicks, muscular hulks with fire in their eyes, females fearlessly running around impervious to the danger. It’s interesting to watch but that doesn’t make it any more understandable to me. But…hey, it’s there and it’s part of what makes this music burn.
Korn’s music has a unique element in it that produces an aggressive and hyper-ecstatic reaction in its fans. What that element is centers around their unique harm and very tight and compressed sound. There were moments when it felt as though the venue was about to go nuclear.
Zac Brown’s music is at times fun, sad, reflective, lively, and safe. But, when he hit the stage it all changed. The high-octane crowd took it to another level. Zac rocked hard. I must say I was pleasantly surprised! Be assured that Zac Brown is the real deal. He runs a very well oiled music machine and they are tight.
The key to being good at working on the floor during high energy shows is a very keen sense of people. If you can’t read a situation instantly you won’t make it. You have to look, evaluate, judge, and keep your eyes moving. Other than that it’s a piece of cake.
Experience. There is no substitution for it. Every show, every situation, and every moment is an opportunity for growth and movement forward. This is the greatest job I ever loved.
Mark Jeffery Campayno runs a music performance studio, Musicians-inc/StudioRock of Northern Virginia. Mark also directs the guitar department at Broad Run High School in Ashburn,Virginia. He also works on the pit crew at Live Nation’s Jiffy Lube Live Pavilion in Bristow, Virginia, and hosts his own internet radio show, The Studio Rocks at http://www.jazzbites.com.
When I set out to put together my weekly radio show with three female musicians I had no idea how it would fly. Well, it flew just fine thank you. The final segment was planned to be an interview/review of a double-release by the band, Silver and Moonlight. However, and as a great surprise to me, the interview segment blossomed into an exhaustive analysis of music making, improvisation, the inner workings of band live and composition, and a look into the mind of a gifted and artistic young lady…I would dare say a modern, artistic renaissance woman.
A little background:
Kiaya Abernathy is a vocalist, lyricist, multi-instrumentalist, spectacular visual artist, and a very creative photographer. If that isn’t enough, she’s strong-willed, perceptive, and enlightened. That would all be understandable if she were in her forties, but if you take off a decade and a have you are closer to the truth.
Kiaya is dedicated to bringing to the masses art in all of its expression. In this interview, she speaks for all of us who struggle to bring forth creative and meaningful music into a world where sameness and commercial gain eclipse meaning and foresight.
As you listen to Kiaya speak about her band, her father, her ideas, and her hopes for the future, think of the way things could be. The way music would change if her worldview were a reality. If music were set free from the chains of what has to be.