A slide tune to work on - Page 2

Jim Heidinger · November 30th, 2005

Hi Kirk,

I guess I get to be the first to open this forum! Cool!

I did this backing track called slide. It was the first and last time I attempted to use a slide on the guitar. Man! It was hard!

Anyway, here is the backing:

Slide.mp3

You think you can spice it up with some real good slide work for fun? It's a little on the cheesy side

but overall it has a nice feeling to it.

Jim

allthumbs · #16 December 1st, 2005

Thanks for clearing that up Jim. It kind of unnerves me to realize the that the rules of chord construction I am trying so hard to master are not written in stone and are open to interpretation. Didn't something like this happen with Kirk at Wholenote a while back. A big curfluffle about the proper name for a certain chord that got quite heated.

Jim Heidinger · #17 December 1st, 2005

Quote:

Originally Posted by allthumbs

Thanks for clearing that up Jim. It kind of unnerves me to realize the that the rules of chord construction I am trying so hard to master are not written in stone and are open to interpretation. Didn't something like this happen with Kirk at Wholenote a while back. A big curfluffle about the proper name for a certain chord that got quite heated.

Lots of people have a hard time getting their head around a sus2 conceptually. And you are right, its all up to interpretation. I think that is why Steely Dan just decided to label it their own way. You can hear it in Black Cow, and a lot in Peg. That's the one, the sus2! And the funny thing is they all have the 3rd in the bass. It is a very unique sound and one that really created a bit of a niche for them.

I got into some arguments just like Kirk. I have no problems with grey areas, and that drives theory nuts crazy! The way I see it, the ear hears in an infinitely more complex way than what can be written down in shorthand. Chord theory for this shorthand is really just a standard for identification purposes. Standards are not always perfect as we all know.

OK, enough of my rant! LOL

Hope you like the revised backing.

Took me awhile to find and then figure out how to strip out the slide. I had all sorts of funky stuff going on in the file that was not documented anywhere and it took me a bit to figure it all out. The one thing I missed was the cymbal swell pans. I think I did that manually in the console when it I recorded the master. I guess if I had drawn in the control that would have been a better technique. Outside of that, it's in decent shape.

Jim

allthumbs · #18 December 2nd, 2005

Cool .

Kirk Lorange · #19 December 2nd, 2005

I can't see the link to the revised BT ...

Jim Heidinger · #20 December 2nd, 2005

Quote:

Originally Posted by Kirk

I can't see the link to the revised BT ...

Hi Kirk,

I started a new thread for the new BT. I think it is in the lounge forum.

Jim

Jim Heidinger · #21 December 2nd, 2005

Quote:

Originally Posted by Kirk

I can't see the link to the revised BT ...

The link got moved to a new forum called Recording Booth. Way to go Clancy!

Jim

allthumbs · #22 December 2nd, 2005

lol. Took me a minute to figure that out too.

Neilsonite · #23 December 2nd, 2005

Hi Jim, just thought I'd add my 2c to the whole chord naming discussion...

I agree completely that it's all about how you hear it, and that naming the chord is just an attempt to describe that sensation. In this case, a sound is worth a thousand words!

sus chords are interesting because they are so often used to resolve to major chords on the same root (e.g. Dsus2 moving to D ) that your ear hears them as a major chord even though the 3 is momentarily unvoiced...

Just a quick note - when you say that the 3 being on the bottom affects the chord naming, to my ear that just changes the inversion (i.e. the order of the notes), not the chord quality, especially given that over those Bbadd9/Bbsus2 chords the bass seems to be playing Bb (to my ears, though correct me if I'm wrong, I'm feeling a little deaf today!). That is, I still hear Bb as the overall root. However, I agree that before the bass comes in, the D (i.e. the 3) does seem to be the strongest note over those chords, and that a different inversion really does give any chord a slightly different mood (as in voice leading like you mentioned before).

Anyway, thanks for the track, I'll put a take up soon,
James

allthumbs · #24 December 3rd, 2005

Hey Jim, the ultimate boutique chord

6string · #25 December 3rd, 2005

Quote:

Originally Posted by allthumbs

Hey Jim, the ultimate boutique chord

I guess he has to pick and strum with his tongue

allthumbs · #26 December 3rd, 2005

Quote:

Originally Posted by 6string

I guess he has to pick and strum with his tongue

not as hard as it looks if you have the number of fingers he has

Count them. 11 fingers lol.

Jim Heidinger · #27 December 3rd, 2005

Quote:

Originally Posted by allthumbs

not as hard as it looks if you have the number of fingers he has

Count them. 11 fingers lol.

Pretty funny!

BigG · #28 February 27th, 2006

Oooo! Great slides. Reminds me of my days on Lake Superior in Northern Ontario. Good background music sets the mood.