Justin Bieber’s “Fast Car”

“Fast Car” by Justin Bieber (Live Cover) Tutorial

I’ve put this post up in order to “house” the Guitar Pro score of “Fast Car” by Justin Bieber that I transcribed. Some have had a hard time getting the link to work on Dropbox. Sorry about that.

Here is the link:

Fast Car

In addition, since it’s a tutorial on the live version I’ve had questions about the basic, and alterations of, the guitar strumming pattern for the song. I’ve also had more than a couple questions about the the outro section. Justin seems to “improvise” his way out of the tune thereby creating some very interesting rhythmic devices. It is a little tricky as Justin has clearly learned a thing or three from Dan Kanterūüôā

Here are the links to part 1 and 2 of my tutorial set for Justin’s unique and guitar-friendly cover.

Part 1:

Part 2:

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“From the Mouths of Enlightened Musicians”

The musical world according to a young visionary.

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 pKiaya2lanned 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 aKiayand 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.

Listen here:

The Interview

 

Check out the 31 song double album release by Silver and Moonlight:

Stars Shining Bright and Loon Call are here:

The Bands Website

silverandmoonlight.jpg

 

My radio show, The Studio Rocks with Mark Campayno, can be heard every weekend here:

JBRNewSlideThe Studio Rocks w/Mark Campayno

 

 

 

 

“Nylon Fantasy #2”

A Nylon String Guitar Original Work

Prelude

This “classical guitar” work in the new acoustic¬†style is by far my favorite of the ones I’ve written 'Air Guitar' byso far. Both its sound and construction are exactly what I look for in instrumental guitar works. Like anything else that comes as a pleasant surprise, this was one of those sessions where everything came together. I must say however, that I never go into a session with a preconceived idea, well at least not one that is carved in stone. My brain doesn’t work that way even though I can be very conservative and by the book in other areas of performance and study.

 

Methodology

I go in to such sessions randomly trying not to get caught up in the guitarists mindset that can plague your endlessly. The thoughts and schemes such as what key? What scales or chords? Should I go intblockdiagramo an altered tuning or not? Should I play fast or slow? That does nothing more than push your spirit into a one-dimensional force bent on being traditional. Traditional for the sake of tradition. Not to pay homage to it, but to be bound by it.

The Work

I don’t remember consciously doing this but it has a logical rhythmic flow to it. The piece starts out by stating the melody in between a very dense foundation harnomics.gif
of dark arpeggiated chords. I overdubbed some, but not all of the harmonics onto the work as a decorative effect. I, like many non-guitarists, tend to find them aurally attractive and very desirable especially on acoustic guitar.

 

Technique

slurs

The slurred sections were not easy but flowed surprisingly well considering that I had no plan for incorporating them. I’m very happy with how they turned out. It’s my climbing Mount Everest moment as that are fairly athletic. It will take quite a few minutes to pull them back under my fingers in that exact configuration. However, I must take the time to score out the work so as to codify it. In that way, it becomes “official”, solid, unbending. Unless, of course, I go back and change the score.

Angular Thinking

As musicians, we all have areas that are endemic to our playing. I love the angular in music, but to produce it well is not easy. This was one time that it happened without the usual struggle and gnashing of teeth. The fleeting moments of non-compliance with the voices in our heads that would doubt us.The total control one has sought from the beginning of the Screen+Shot+2013-03-07+at+10.01.40+PMjourney.¬†However, I’m sure I’ll go back to the struggle until I can take control of angular and the unexpected in my playing.

 

Thank God for the guitar.

 

-Mark Jeffery Campayno

Your First Recording Session: Are you Prepared?

A Short Primer On Your Band’s First Recording Session

So you and your band have worked hard. You’ve saved enough money to book time at a recording studio. All the merch sales, donations, and gigs have paid off. Well, almost. You are now entering a whole new level of band life and there is much riding on your time in front of live mics in an environment that may be brand new to you.
The capturing of the music in real time will be the ultimate barometer of your sound and furthermore, ¬†will define who you are as a unit. ¬†I’m not taking
IMG_5668 away from the fun and learning that goes on during live recording sessions, however there is much to consider as you prepare for this experience.

In order to have the session go smoothly with few snags, here are some things to consider before your studio date arrives.¬†Go into the session with an open mind. Be flexible and open to the advice of the sound engineer and to each other. The mere act of recording can expose parts of your music that could use tweaking. ¬†Riffs that worked during your “garage sessions” sometimes do not translate well on recordings leaving you with quick decisions to make.

To minimize such issues, ask yourself this question: Does the band have all parts worked out with no trouble spots? ¬†Does each member have a working knowledge of each other’s parts? In other words, do they know how all the pieces fit together? ¬†Is everyone capable of playing or singing what they are required to play or sing? Sometimes technical issues are masked during band rehearsals due to volume, less that idea sound in your space, and underdeveloped “hearing”.IMG_8280

Prior to the session it may be wise to rehearse the song parts one, two, or three at a time. Have the drummer and bass play. Then add keys or rhythm guitar. After that, add vocals and harmonies. Be prepared to start your songs from different sections. If anyone in the band cannot play from any section instantly then the music is NOT memorized and precious time will be wasted and the costs will increase.

Finally, the issue of equipment comes up. Does everyone have decent equipment to record with. More often than not, you will use what¬†the engineer suggests. Don’t be offended if your 6 Line (lol) amps sound doesn’t cut it in the studio. Are your guitar players using too much gain and distortion during rehearsal? Have you thought about cutting it down to about 3/4 of what they are used to (at least for the rhythm parts)? It’s shocking how much that will clean up your sound.

IMG_0396Remember to provide your engineer with a detailed list of¬†your songs and the structure. If not, the clock will tick as you try in vain to describe how each song goes. That is a gigantic time waster. Provide also each member’s role on the songs. Who sings harmonies, who plays tambourine, when does that elusive cowbell part come in?

A few hours spent on firming up all these details can save you hundreds of dollars and can clean up your session in a big way!

-Mark

 

 

Eve’s Apple – Vonn Love

The Funk is Alive and Well

New Music!

A vonnnn.jpgblistering funk/soul track by Maryland’s own Vonn Love, sets the tone for a ride that will have you moving for the next 5 plus minutes! Vonn Love’s clever approach to the subject of “woman” is at once engaging, tongue in cheek, and just plain fun. His ability to combine the best of soul, funk, and blues is tops in the genre.

Love’s sharpshooter guitarist Mark Jeffery Campayno adds some real fire to this biblical bash taking his PGM 150 Paul Gilbert Ibanez and ripping into the strings with a pentatonic, blues, funk, fusion, fury that fits both the mood and the groove of this bouncy and bravado-rich track.

Vonn Love’s mystery vocalist adds the right amount of soul and sass to this collaborative masterwork by mockingly wailing throughout the vonnmiddle section of the tune.
Love is always full of surprises and he doesn’t disappoint here. His very clever refrain, “Look at this mess y0u got us in”¬†is the “Adam Complex” at it’s finest. Ya Adam, sure, blame it all on the woman.

If Love keeps this up, there’s going to be some real juice comin’ his way soon.

MJC

 

YouTube Link:

Eve’s Apple – Vonn Love (featuring Mark Jeffery Campayno)

Musical Rebels: Change Agents

Young_Bach2Okay boys and girls, I have a question for you…

I posed a question to my artist guitar class the day of their final exam. The make-up of this class is typically 11th and 12th graders who have been involved in musical performance and study (at varying levels) for upwards of 5 years.

Some of the students have a very high knowledge of music aesthetics, theory, and stage performance. However, that doesn’t always correlate with describing music in a way that is understandable or relevant to a larger, more global¬†view that I was looking for.¬†Sometimes, those with less formal knowledge have a way of giving a more “listener/observer” viewpoint that is more in line with the general public’s viewpoint.

My question to them was:

“Do you think that the musicians who made the most impact on music throughout history were rebels?”

A few disagreed. So, like a good teacher I went on to describe what was really a random idea that came to me. I started with Johann Sebastian Bach and went up to Kurt Cobain¬†. These ideas are, of course, entirely subjective and I’m sure I left many out. But, it is a great topic for discussion and does get music students thinking about making a few waves on their way to fulfilling their own personal goals in musical performance.

Young_Bach2Johann Sebastian Bach (1685-1750)¬†– The use of 7th chords was a bold move by anyone in the 17th century let alone a hard-working church musician/composer from Germany. But J.S. Bach was not to be ruled by anyone. He used 7th harmony to the extreme and boldly set forth a harmonic language that to this day remains head’s above the rest. Moments of jazz and¬†rock spring forth that sound surprisingly fresh and modern. The most astonishing part of Bach’s music was his¬†movement through keys. Like a magician he treated keys as pawns pushing them to their breaking point and finally releasing them allowing them to return home exhausted and spent.¬†Music to J.S. Bach was¬†like child’s play and done so effortlessly that one would have to be a court reporter to keep up with the rules and traditions he shattered.

Brandenburg Concertos

J.S. Bach Biography

WA Mozart РWolfgang Amadeus Mozart started out in the classical style composing his first symphony at age 8 (rebel enough for you?). That he was surrounded by his                    fMozartather a composer, and his sister a fine musician and pianist, mattered not. He was the most genius of all musical geniuses.  Mozart was not recognized during his lifetime for the powerhouse he was, however by the time he composed his 40th symphony he was headed for music that would surely change the landscape of the art. Had he lived long enough he would have changed music more than Bach himself. But unfortunately, bad health and unhealthy living caught up with him and cut short the most brilliant musical mind in history.

Symphony No. 40

Ludwig Van Beethoven – Was there ever a composer so revered, so influential, so respected, and so feared? No. Beethoven bridged the gap between the classical and romantic periods and by the time he wrote his Late String Quartets (the most incredible four-part musical excursions ever conceived) he had leveled all remnants of the “safe and orderly”Anne-Worbes-Beethoven-small classical system. Even today, his ideas still reverberate among us as Beethoven’s ¬†life of defiance, drama, and duty still inspire and motivate. We can be comforted in the knowledge that the status quo can be broken, broken by an unorganized genius. Beethoven lived in disorder and chaos as family situations drained no little time from his music. His composing style mirrored his personality. Where Mozart could and would copy music from his head down onto paper with barely an alteration, Beethoven would labor over a section of music for days until he was satisfied. But, never once think that these quirks of personality took one bit of creativity from this ultimate master. Ludwig Van Beethoven set out to change music, to rebel, and that he did. Lesson learned? Yes. Musical sameness can be altered by a brave young genius who cares not what others think or say.

String Quartet No.14 in C sharp minor, Op.131

Claude Dubussy (1862-1918) – By far the most boldly defiant and rebellious composer who ever lived, Claude Debussy unashamedly set forth to dismantle what he saw as uncreative. He despised the method of hanging on to music of the past with its formulaic banality. He was not popular with his music professors and challenged them at every turn. His music was bold and new and this was not met with approval from either his peers or his elders. In and interview, Debussy set forth hidebussys mission statement clearly: “I myself love music passionately; and because 1 love it, 1 try to free it from barren traditions that stifle it. It is a free art, gushing forth, an open air art, an art boundless as the elements, the wind and the sky. It must never be shut in and become an academic art.”¬†He set forth to change the harmonic language of music and surely put a dent in it. Jazz musicians owe him a debt of gratitude for giving them a new way to stack chordal ¬†and melodic tones. Thank you King of Rebels.

My Favorite by far: Prelude to the Afternoon of a Fawn.

Another one of my favorites by Debussy: The Sunken Cathedral.

Robert_JohnsonRobert Johnson¬† – Nasty, down and dirty; raw and uninhibited, this man, Robert Johnson, would infuse his music with freedom, emotion, and pain and create a legend that will never die. He lived and played like a rebel and without him the blues would never have remained true to its core, an expressive and artistic sonic carrier of feelings and ideas that would change the very nature of music at its foundation. His guitar and vocals were complex and groundbreaking. Never did a blues artist carry such a message, a message of despair and pain that described the lives of blacks living in the south. His music, his blues, was deep going beyond what anyone had ever even conceived before. Robert Johnson, like many other famous musicians (Jim Morrison, Jimi Hendrix, Amy Winehouse, Kurt Cobain) would only live to the age of 27. Johnson’s lifestyle would catch up with him as he was poisoned by a jealous boyfriend just as he was being discovered as a genuine and groundbreaking artist. But in his short lifetime Robert Johnson revolutionized blues guitar and¬†the music that he loved and lived so deeply.

Robert Johnson Biography

Crossroads

Charley Parker – Has a musician ever improvised like him? Has anyone ever had such a devastating improvisational delivery? It’s almost beyond belief when you realize just how far he took scales and chords. He could improvise on a C major chord all afternoon aWellDressedBird-Hilond completely shake that chord to its very foundation. His downfall, of course would be drugs and a slight mental illness that would plague him constantly. However, there was no more fearsome improviser than Charley Parker.

Ornithology

“I’ve Got Rhythm”

Elvis Presley РSay what you will, this man change popular music forever. His legend will never die. He would take video performanceelvis and open the doors for everyone who followed. The King had his faults, but the cult of personality that remains around his memory is astounding. One of the most astonishingly moving performances would be one of his last. There can be no doubt that he single-handedly started a revolution and groundbreaking performances are golden still.

“Can’t Help Falling In Love With You”

“Are You Lonesome Tonight?”
Jimi Hendrix – The man who made the electric guitar sing, literally. Jimi had a language and purpose behind the sounds he made. To him, the guitar was just a vehicle for the ideas that were inside him. I sometimes wonder, as I think he did too, that he was from another world. In the ejimihnd Jimi took the electric guitar and totally dismantled it from the inside out opening the way for thousands and thousands of players who still use his groundbreaking sonic experimentations as a foundational part of their expression. The legacy of Jimi Hendrix will always be mixed as there is no escaping the spectre of drugs and excess. However, Hendrix was a soft-spoken and gentle soul who unfortunately became immersed in stardom; too many “friends” (who did nothing but distract him); and the music business itself, which proved once again that it can build up, use, and throw away its own.
“Castles Made of Sand”

“All Along the Watchtower”

Kurt Cobain – Kurt rescued rock music from guitar excess. The 80’s produced a never ending line up of players who played more notes than needed, posed more than necessary. They mkurt-cobain-kurt-cobain_1600x1200_98251ade the electric guitar a musical machine full of repeating gymnastics and blurry thirty-second notes with not one bit of soul or heart in any of them. Kurt took the guitar and brought it to its knees, not with technical proficiency, but with emotion, power, drama, and just plain good song writing. But his contribution would also be to expose the rebellious dark side of
us all. The alternative revolution was not happy music but music that lived on the edge of depression. Kurt Cobain’s¬†unfortunate end will always remind us that the tortured artist syndrome is real.

“In Bloom”

“All Apologies (Live MTV Unplugged)”

After some thought on this subject ask yourself this question, “Who are the musical rebels of today?” ¬†Can’t think of any? Well, maybe music is too watered down and safe and we are waiting.

Mark

The Rise of Female Guitarists

¬† ¬†Ladies, it’s good to have you. The guitar breathes a collective sigh of relief!
The accgggtompanying song is a dedication of sorts to the increasing amount of female guitar players new to the scene. It’s one of the great movements in the world of music performance, education, and recording. Maybe it’s because I’ve taught guitar in public school for 12 years that I am able to see this first hard. With this increased interest, involvement, and desire to play guitar from females the music scene has and will continue to change. It has to right? How can the status quo be maintained when the literal face of guitar playing is becoming more gender friendly?

I’ve always been interested in this movement as myself, and the rest of the guitar staff in the Loudoun County Public School System http://lcps.org touch many lives. The program is understandably vibrant and appealing to many students. We are able to take in many young people who don’t quite fit into the traditional music classes of marching/concert band and choir classes. ¬†I fell very fortunate to be in an area of the United States where s a major guitar program for students from seventh to twelfth grade exists. That has had a¬†direct impact on the Maryland, Northern Virginia, and Washington, D.C. area where I work. There are countless examples of students (at least 40% of them female) contributing to the music culture of the this multi-racial and wealthy areas. To give you an idea of the impact this has consider that over the last twelve years I’ve taught and directed around 2,000 guitar/music students. When you realize that they are now out in the world in locations from here to anywhere, you begin to see¬†the impact of that this could be having as the years progress. It’s a female equality victory of sorts without a cause, or, for that matter, a fight. It just happened.

Add to all this¬†the “Taylor Swift” syndrome¬†http://taylorswift.com/¬†(not negative at all) and you wake up to the reality Girl Guitarthat music will never be the same once the full impact begins to manifest itself. Miss Swift has influenced countless young girls to pick up the guitar and play (no pun intended Who fans). But, not just to play, but to sing also. She is a powerhouse in so many ways. Say what you will you naysayers, Taylor Swift will go down in music history as one of the most powerful women in the business, and rightly so.

But, I digress. Of course, the question inevitably comes up, that is, what do females do on guitar that differs from a the male approach? Do they play softer? With more feeling? With more emotion? Oh God, did I say that? Luckily, these tendencies are not limited to female players as these qualities can also be true with males. Not all males approach the instrument like a possession to be lorded over. Moreover, not all women play the guitar softly and tenderly. So the discussion of differences becomes, in a sense, muted.

Whatever the differences are, there is no doubt that the gender difference does produce two differing approaches to the ‚Äúvision‚ÄĚ of and approach to the instrument. If men and women see the world in apinkggtr way that differs from each other than that will translate to other areas of life and art.

Finally, let me state that if there is one area that is a definite hurdle for some women, it is hand size. That is a topic that I am currently researching. I will have some preliminary results for you very soon.

As for the issue at large, keep the girls coming. The guitar was sorely in need of a female overhaul and damn if we don’t have one right at our front door!


http://www.thecreativeguitar.com/new-original-song-new-spring-new-direction/Screenshot 2015-04-20 14.40.35