Describe your signature style

[bleujazz3]

This is a question I'd like to ask any and all BaMmers who check the Lessons Lab. Can you describe what makes your technique and/or signature style of playing the way it is?

For me, if playing a major scale, I'll play 5th's within that scale, punctuated by 3rds from the root note and broken arpeggios of that particular 5th.

This works really well up and down the fretboard as long as the arpeggios and 3rds accompany the 5th that is being played at the time.

Another technique I have found works with the 5ths is a minor 6th, where the root note is lowered a half step, or for an Yngwie-type sound, the 5 of the 5th is raised a half step.

The minor 6th acts as a resolution chord, or is thrown in as a transition chord to a lower 5th in the major scale.

This is great stuff for me, because most often I'm not blinded by complicated notes or transition. I've used this technique well because it's simple and can be adapted anywhere a major scale is used on the guitar.

Experiment with this, and you'll discover that your speed and ability to move up and down the neck will improve. You are not limited to playing within a box pattern here, because moving the 5ths up and down the neck actually are within the scale.

The key changes? No problem. Use the same technique for that key, and utilize the minor 6th to get back from your V to your IV, and likewise your I.

Neat thing about this is, you'll be tempted to work with this for all your jazz, rock and blues styles, and that's cool with me.

I'm now devising a way to use this for more intricate jazz/rock forms, without the need for complicated chords. The idea I'd like to try is using dual notes with an open string, or a triad forms around the 5ths, which I haven't quite got the hang of yet, but hope to have worked on in the next few months of practice.

If any of you guys have already completed this form of study regarding the dual notes and triads, I'd be most welcome to hear from you.

[jbird]

I will answer your initial question as to what makes our technique and/or signature style of playing what it is. Vibrato! Thats where each one of us seperates ourselves from the other, IMHO.

[bleujazz3]

I agree. Although I mostly use vibrato for jazz or blues, and not so much for straight-up rock, vibrato is one of the most overlooked techniques that younger players forget.

Usually the form of vibrato I have found useful is not bending the strings, but rocking the fingers on the strings as classical guitarists or violinists do. You've got less chance of your strings going out of tune, while keeping a vibrato.
Of course, this type of vibrato is much more subtle than bending, but to me is the most effective if the guitar is amplified. I may use a microbending technique that changes the pitch quickly and subtley, but have not used this recently. Cracking the nut, to vibrato if you will, requires use of different techniques that doesn't strain the hands if done properly.

[BIG GINGER GIT]

Describe your signature style

Only one word to describe mine ...................... MESSY !!! :(

What rsgilbert3 three posted is like reading Japanese to me :confused: :D

[Aldwyn]

This is a question I'd like to ask any and all BaMmers who check the Lessons Lab. Can you describe what makes your technique and/or signature style of playing the way it is?


Slop. Plain and simple. :D

Peace,
Aldwyn

[Goober]

Like Aldwyn, my style more closely resembles the stuff farmers feed their hogs
rather than anything musical!:D

[amstaf]

Describe your signature style

Only one word to describe mine ...................... MESSY !!! :(

What rsgilbert3 three posted is like reading Japanese to me :confused: :DSometimes it's to much to think about... I had a crappy teacher that almost made me quit for good, but 1 thing that he could do was pick. Thusly I can pick really fast, with practice it even sounds decent sometimes, lol.... But that's what I can do pretty well is flat pick...

[bleujazz3]

Slop. Plain and simple. :D

Peace,
Aldwyn
I'm sorry, Aldwyn. The idea of the question may have been too direct. If the question could be rephrased, would that change your answer? Can you describe in musically theoretical terms the "fingers do this on the fretboard in box patterns, vertical patterns, certain repetitive patterns, etc.?" What lick or pattern do you most often like that describes your sound?

[Tom Gross]

I play real fast. I use approximately 12 notes. of these, 7 are usually directly related to the chord, and 5 are somewhat dissonant, tending to leave the ear desirous of resolution.



A little more seriously, my playing can get a little too scalar sounding, so I'm working on using more arpeggios, triads, and larger intervals.

I also often just go crazy and try to express how I feel with my guitar, which tends to sound loud, fast, lotta bends, lotta squeals, lotta vibrato, lotta notes. That is actually when I am happiest.

[TRandy16]

Geesh...where to start? When in a somber/contemplative mood my playing tends to lean towards the jazz idiom....ballads, that is. Nothing like a little "Here's That Rainy Day", "The Shadow of Your Smile", or "Who Can I Turn To?" during those times.
When I'm feeling a little spunky I lean towards the old Carlton/Ford school...with lots of fun bends and unexpected intervals.

When I'm feeling brave I actually put on Steely Dan's "Aja" album and try to play all the changes from memory...sometimes I'm successful...;)

[Brian D]

Fairly standard blues licks played with as much finesse and as many emotional overtones as I can muster.

[aleclee]

I use a lot of arpeggios and broken chords when comping.

For solos, I try to find "the melody that the singer overlooked". I like to think of it as melodic but it's been described as "tasteful". :eek: I try to avoid parts that are too scalar and don't have the chops to play anything super fast.

[bleujazz3]

I play real fast. I use approximately 12 notes. of these, 7 are usually directly related to the chord, and 5 are somewhat dissonant, tending to leave the ear desirous of resolution.

A little more seriously, my playing can get a little too scalar sounding, so I'm working on using more arpeggios, triads, and larger intervals....
Tom, Could you tell me what kind of larger intervals you're referring to, if I'm not being too intrusive? I mean like 1 - 3, but somewhat different?

The nice thing about Lessons Lab is, Tom, you get the freedom of choice to respond and/or learn from this, not something you could have done while in college and expect to graduate.

I'm guessing that you will tell me to experiment with different intervals, but if possible, could you describe in notation like that 2 paragraphs back your favorite interval?

I'll await your answer tomorrow. I'm dead-tired just now and need to get some rest.

[Adam]

I find that my signature style has little to nothing to do with what notes I'm playing. This is probably because I know so little about theory that I don't recognize the things I do in a "this scale or mode in this pattern" sort of way...

Anyway, I don't really associate those kinds of things with playing style. My singer and bass player actually gave me the best possible compliment I think I could get in regards to how I play this weekend. They said that I play very fluidly, that my guitar parts have almost an elastic quality to them. The bassist said that I have a great sense of groove (I think he meant "for a guitar player!") and play a lot in front of/behind the beat like I'm gliding over the rhythm of the song like a singer, instead of trapped in it like a machine.

I don't know about all that - I like to play around with timing, but I almost feel stupid repeating this here. It was just so nice to hear from musicians I really respect... :) :o I'm just an ignorant rock guitarist, but if it sounds OK instead of "this guy's timing makes no sense," I'm pretty pleased.

[bleujazz3]

I find that my signature style has little to nothing to do with what notes I'm playing. This is probably because I know so little about theory that I don't recognize the things I do in a "this scale or mode in this pattern" sort of way...

Anyway, I don't really associate those kinds of things with playing style. My singer and bass player actually gave me the best possible compliment I think I could get in regards to how I play this weekend. They said that I play very fluidly, that my guitar parts have almost an elastic quality to them. The bassist said that I have a great sense of groove (I think he meant "for a guitar player!") and play a lot in front of/behind the beat like I'm gliding over the rhythm of the song like a singer, instead of trapped in it like a machine.

I don't know about all that - I like to play around with timing, but I almost feel stupid repeating this here. It was just so nice to hear from musicians I really respect... :) :o I'm just an ignorant rock guitarist, but if it sounds OK instead of "this guy's timing makes no sense," I'm pretty pleased.
Yes, I also view from a theoretical stance that your signature style of playing and what you practice when not with other musicians happens to change.

Whenever, I'm practicing without listening to music or in a shop trying out an amp, etc., I find myself playing on the beat, as opposed to behind the beat (which is what I'll regularly do) when accompanying other musicians or listening to a CD.

Simple fact is, there isn't a rhythm you can provide yourself, then launch into a lead solo without a supporting rhythm. At least for me there isn't. Both the audience and us players know that playing behind the beat is what gives the music "feel and groove," hence the compliment from your bass player.

Strangely enough, and don't take this in a bad way, your band bonds together when you can play "out of the pocket," as some like to say, then back right on the beat when providing some cohesiveness for effect.

The only time, for me, that I can practice without accompaniment and provide a rhythm is when I start out using palm mutes as a rhythm, then begin tapping my foot furiously to keep time. Only then can I scratch out a lead that makes any rhythmic sense and still play behind the beat. :D

[Adam]

Strangely enough, and don't take this in a bad way, your band bonds together when you can play "out of the pocket," as some like to say, then back right on the beat when providing some cohesiveness for effect.
I think that's the whole point behind why we will play around with rhythm at all. We like to do just as you described - lay back on the groove, and then drop back into straight time for emphasis, or contrast.

I'm also a big fan of rushing things ever so slightly during the verses, a la Stewart Copeland. :)

[bleujazz3]

I think that's the whole point behind why we will play around with rhythm at all. We like to do just as you described - lay back on the groove, and then drop back into straight time for emphasis, or contrast.

I'm also a big fan of rushing things ever so slightly during the verses, a la Stewart Copeland. :)That's nearly what I had in mind. The cohesiveness, or the lack of, provides a time-based form of tension/release, much as playing slightly discordant notes acts as a pitch-based form of tension/release.

Interestingly enough, I've adapted the ability when practicing to provide my own backing rhythm section, now that I'm thinking of yesterday's practice. I have been able to begin with a syncopated rhythm, and place a lead on the rhythm and also avoid messing it up. What is produced with this technique sets the pattern for what follows.

Sort of like adding parts of a composition in writing, or cooking a meal, you experiment with what you're familiar with, and mostly feeling at ease with, until you think you've got the backing rhythm straight up, and the blended leads put together.

To me, much like when I prepare to get ready for work, my guitar playing is a conscious effort to listen to others, both muscially and through spoken or written word, and make their contribution part of my day. For the most part, this works if your contact with others is a good exchange, and you have a positive view of the world.

When we lack that cohesiveness, much as we do in the large cities, we are not able to bond in a way that we need to. If you're playing in a band, your band members and friends can support you. One thought comes to mind in the real, international scene that Roger Waters made known on Tsunami Aid.

On a more personal note, I'd like to think our friends and more importantly, family members are safe whereever we go. This may not be the case for all of us, and in times of hardship, extend a hand to others when they need it.

Managing actual work that brings in money and playing time, to me should be blended only if your soul purpose in life is to make music. Others, like me, must keep music as an avocation, compared to a real career.

Interesting point though is, if your day goes well, do you involuntarily have a good jam or practice session later that night? For me, a resounding, yes!

Now, to wrap this up, a quick reiview of the earlier points:

1) If your practice or jam sessions can include both syncopated rhythms and leads at the same time from the guitar, you will have accomplished something.

2) Think of how you can diversify your playing time and work ethic/schedule, so that your practice and/or jam time later that night goes smoothly.

3) If you have personal issues that you are concerned about, think locally, and act globally, to extend your capacity of caring to others. They, in turn, will thank you.

4) Manage your work schedule/ethic in order that a good day, yields a good night, and therefore, good playing time.

5) Lastly and most importantly, try to provide some glue or cohesiveness that your reflects in your music. Your band members will see this as a way to bond with the audience, and each other. It is the force within us all.

[neastguy]

sloppy x2

[darial]

Frankly a signature style has never been a big concern of mine in that I'd much rather adapt to the idiom of the music I'm playing than force it to match me. I do have a few playing qwirks though - I tend to hybrid pick all but the most hard edged rhythm parts. I also tend to avoid playing too far outside when improvising. Real disonance has never appealed to me.

[Adam]

Interesting point though is, if your day goes well, do you involuntarily have a good jam or practice session later that night? For me, a resounding, yes!

Actually for me the inverse is true.

[bleujazz3]

Actually for me the inverse is true.
Yep, I concur. I'm usually mostly a grouch between 7 and 9 AM, but I've got to tell you guys at BaM, just sitting and putting thoughts to post takes the place of dealing with morning radio, and the BS I'm usually accustomed to dealing with at that time. What makes it worthwhile is catching up on the newspaper, with that second cup of coffee in hand and saying good morning to you guys at BaM. Doesn't make any difference if lunch is a good day out or not, what makes the difference in MY life is how we all are able to interact and learn from each other at BaM. Group hug?:)

[goof1073]

sloppy x2 Make that Sloppy Thirds! Ewwwww...

[jas]

Make that Sloppy Thirds! Ewwwww...
You can't all have "sloppy" as a "signature style". If that many people have it, it's not a signature anymore, is it.

I'm waiting until I get good to develop my signature style. Right now it would be pretentious and would sound bad.

-John

[Peter]

Okay, I won't say "Sloppy". How about "wrong notes played on accented beats"? That's my signature style.

No, not really. That was a joke....humor, yeah....

Signature style? Fragmented melodic phrases, with as many notes left out as played - slightly inspired by Marc Ribot. Miniature arpeggios that transpose in chromatic ways, done by ear and not by conscious modal shifts.
Augmented arpeggios ascending by minor thirds.

I don't think that adds up to a "signature style" but it's stuff I do.

[Adam]

Yep, I concur. I'm usually mostly a grouch between 7 and 9 AM, but I've got to tell you guys at BaM, just sitting and putting thoughts to post takes the place of dealing with morning radio, and the BS I'm usually accustomed to dealing with at that time. What makes it worthwhile is catching up on the newspaper, with that second cup of coffee in hand and saying good morning to you guys at BaM. Doesn't make any difference if lunch is a good day out or not, what makes the difference in MY life is how we all are able to interact and learn from each other at BaM. Group hug?:)
Actually what I was saying was that my good mood is entirely dependant on whether or not I've had a good jam, :D which is the inverse of what you originally stated - that if you're in a good mood, a good jam will follow.

In this regard I wish I were more like you.

[PRSKILLER]

My sig style is between owning a ZWLP and somewhere behind JPage and JHendrix. And let me add it`s waaaaaaaaaaay behind.

[WaltKH5]

I play in my customary arthritic abandon:D

[Soul Fader]

I tend to play very slow solo wise. I can hang on a note forever. As far as my sig style, it's wide bends and screams and alot of peddle steel licks I guess. I use the minor pentatonic, blues, and diatonic scales. Real bare bones stuff.

[bleujazz3]

I tend to play very slow solo wise. I can hang on a note forever. As far as my sig style, it's wide bends and screams and alot of peddle steel licks I guess. I use the minor pentatonic, blues, and diatonic scales. Real bare bones stuff.
Yeah, I like to go from full speed to half-speed (not sure what tempo) and slow down and speed up again. Not all of the songs I play have this nasty feature, just the hard/soft rock ballads. Other songs Iplay with be (as best I can describe it) syncopated with altered time signature. Very cool, almost more advanced than Coheed and Cambria, Tool, and Rush combined.

Forgive me if I take pride in my music by comparing it to these greats, but as I already know that some of my music doesn't sound anything like any of the three mentioned individually, the best way to describe it is a blend of the three. The music I play hasn't evolved enough to call it marketable yet, but as the music progresses, it will be. Then, I will have some very fine examples of what I'm yearning for as an end product.

[kingsleyd]

Signature style? Fragmented melodic phrases, with as many notes left out as played - slightly inspired by Marc Ribot. Miniature arpeggios that transpose in chromatic ways, done by ear and not by conscious modal shifts.
Augmented arpeggios ascending by minor thirds.

I don't think that adds up to a "signature style" but it's stuff I do.
Nice description, Peter. I do pretty similar stuff. At least when playing lead in the jazz or more adventurous rock realms.

Also I do a lot with 4ths/quartal harmony. Lots of close-voiced partial chords too. I like the clang of min/maj 2nds. (and their inverted intervals, min/maj 7ths)

More often than not on the bandstand, I have little or no conscious awareness of what the chords actually are, as I'm too busy listening to what the other folks are playing and trying to find notes that "play nice." Whenever I play something stock, it usually sounds horrible. (which is possibly because I haven't ever worked hard enough at stock playing)

I don't think we're necessarily the best judge of our own style, though. I sometimes hear myself on tape and think "I sound like *that*?!?"

As for my playing in the acoustic/composer realm, I can never give an intelligent answer when someone asks me "what kind of music do you play?" So I'll let someone else weigh in:

http://www.windandwire.com/april04/away_from_the_water.htm

[Serious_Poo]

With me, the song that changed everything was "Maputo" by David Sandborn. Once I heard it I knew I wanted to sound like THAT! As a result, my technique (and lead tone, for that matter) is designed to sound more like a sax. I use a lot of subtle volume swells, legato runs and extended arpeggions with 3 or more notes per string... I try to limit my pic attack noise, and I work really hard to mute any unplayed strings. I picked my vibrato up from trying to mimic some jazz & blues singers I liked - Sarah Vaughan, Dinah Washington, Billie Holiday, & Eva Cassidy to name a few. I figured that if anyone can control the tone and intensity of their vibrato it was them. I'm still working on it, of course, but I sound light years better than I when I started doing it.