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I composed this piece while sitting by the backyard fire during the pandemic summer of isolation. I improvised various short themes, kept about a third of them and strung it together with some lazy transitions. It’s a flamenco rumba with North African and Delta Blues (Skip James) influences, using a modal tuning and enough percussive techniques to warrant playing it on my beater flamenco guitar.
Also, it seems to fall out of sync (the audio and video) sometimes. It's not consistent, but when it happens, it's obvious about halfway through when the golpe's don't match up. Is that happening for you?
Also, it seems to fall out of sync (the audio and video) sometimes. It's not consistent, but when it happens, it's obvious about halfway through when the golpe's don't match up. Is that happening for you?
TBH I didn't look too closely, just listened to the music.
Re "mountain" -- those hammer-ons/pull-offs make me think of either cowboys or Appalachia. Yes I know they're different lol.
Anyway you made me listen to it again to check for the out of sync stuff and I enjoyed it again, so thanks again. :)
Yes. It might have been introduced through the cuts, I think you have a couple. So in the first clip it seems more or less OK; in the second the audio is ahead by quite a bit, and in the third a/v is still out of sync but haven't looked closely if it the same as or different from the second clip.
I don't like rumba. But I always appreciate original ideas and own compositions. Why did you end up composing it in DADGAD tuning? Talking about DADGAD I used to like this tune of Pierre Bensusan. Sounds still good after all these years.
Mr. Corgan plays it in DADGAD as well. DADGAD my favourite tuning so far.
I don't like rumba. But I always appreciate original ideas and own compositions. Why did you end up composing it in DADGAD tuning? Talking about DADGAD I used to like this tune of Pierre Bensusan. Sounds still good after all these years.
Before I even knew what flamenco was, I was experimenting with a steel-string acoustic guitar, trying to get a "middle eastern" sound. I was trying to imitate sounds that I would hear on various soundtracks or world music compilations. The sound was an oud, though I didn't know what that was, at the time. I eventually landed on DADGAD and thought it was my own tuning until the internet came along and I found out that I stumbled on something that has been frequently recorded.
Why did I choose it? Tune your guitar to DADGAD and tap on the face of the guitar. That sympathetic resonance just doesn't happen in standard tuning. In this rumba piece, I'm using a heavy golpe like a kick drum and I wanted it to ring like an oud's drone string. Also, in the first passage of my clip, the last note I hit before starting into the the rumba rhythm resonates like crazy in DADGAD. You may not be able to hear it well on my recording, but it sounds like a built-in oud reverb.
I've mostly made DADGAD my primary tuning. Guitars just come alive with it. It's not as consistently flexible as standard tuning but when it works it sounds very right. You can adapt it to more keys than it's typically used for if you commit to it for a while. I now think of standard tuning as an easy way to hit all the needed notes from one position at the sacrifice of great acoustic sound. Sure, we can make standard tuning sound amazing with the notes we play on it, but at the sacrifice of the guitar itself sounding merely good, not great. The only reason I play in "standard" guitar tuning is because of the repertoire that exists for it. If I want to play a PDL falseta, it's going to be easier in standard than trying to adapt it to DADGAD. But if I want to compose something, it's almost always DADGAD.
Bro, did you crop off the top third of the video because you want to hide your face?
Yes. My face has been horribly disfigured during a shark attack. No one needs to see that.
:)
But seriously, I wanted to concentrate on the hands and not whatever weird expressions I make when I play. Most of the best amateur guitar vids out there do it this way and I think that's probably intentional.
I don't like rumba. But I always appreciate original ideas and own compositions. Why did you end up composing it in DADGAD tuning? Talking about DADGAD I used to like this tune of Pierre Bensusan. Sounds still good after all these years.
Before I even knew what flamenco was, I was experimenting with a steel-string acoustic guitar, trying to get a "middle eastern" sound. I was trying to imitate sounds that I would hear on various soundtracks or world music compilations. The sound was an oud, though I didn't know what that was, at the time. I eventually landed on DADGAD and thought it was my own tuning until the internet came along and I found out that I stumbled on something that has been frequently recorded.
Why did I choose it? Tune your guitar to DADGAD and tap on the face of the guitar. That sympathetic resonance just doesn't happen in standard tuning. In this rumba piece, I'm using a heavy golpe like a kick drum and I wanted it to ring like an oud's drone string. Also, in the first passage of my clip, the last note I hit before starting into the the rumba rhythm resonates like crazy in DADGAD. You may not be able to hear it well on my recording, but it sounds like a built-in oud reverb.
I've mostly made DADGAD my primary tuning. Guitars just come alive with it. It's not as consistently flexible as standard tuning but when it works it sounds very right. You can adapt it to more keys than it's typically used for if you commit to it for a while. I now think of standard tuning as an easy way to hit all the needed notes from one position at the sacrifice of great acoustic sound. Sure, we can make standard tuning sound amazing with the notes we play on it, but at the sacrifice of the guitar itself sounding merely good, not great. The only reason I play in "standard" guitar tuning is because of the repertoire that exists for it. If I want to play a PDL falseta, it's going to be easier in standard than trying to adapt it to DADGAD. But if I want to compose something, it's almost always DADGAD.
Ok I'm sold. Gonna commit to DADGAD for a while and see what happens to my "jams". :)
Ok I'm sold. Gonna commit to DADGAD for a while and see what happens to my "jams". :)
Cool. Let me know if you need any help or tips. I've also used it for gypsy jazz picking. It's not a one-trick pony like some make it out to be.
I also play a Turkish cümbüş and have it tuned to DADGAD. I originally tried to get it to sound good in EADGBE, but it's such a resonant instrument already that it too came alive in DADGAD.
Check out this track where I'm playing cümbüş with a mexican-american singer songwriter.
Check out this track where I'm playing the main melody in DADGAD on cümbüş.
Yes. My face has been horribly disfigured during a shark attack. No one needs to see that.
:)
But seriously, I wanted to concentrate on the hands and not whatever weird expressions I make when I play. Most of the best amateur guitar vids out there do it this way and I think that's probably intentional.
Why don't you lower the angle of the camera so it only captures your hands?
because I didn't think about it until recording all of the clips and deciding my face was awkwardly distracting. Next time.....
Not sure what's going on here, but I can post a photo of my face if you find all of this somehow suspicious. Just let me know how I can fix this for you. :)
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I was experimenting with a steel-string acoustic guitar, trying to get a "middle eastern" sound. I was trying to imitate sounds that I would hear on various soundtracks or world music compilations. The sound was an oud, though I didn't know what that was, at the time. I eventually landed on DADGAD and thought it was my own tuning until the internet came along and I found out that I stumbled on something that has been frequently recorded.
Davey Graham came up with DADGAD tuning in the early sixties: While travelling in Morocco, he developed the tuning so he could better play along with and translate the traditional oud music he heard to guitar.
Davey Graham came up with DADGAD tuning in the early sixties: While travelling in Morocco, he developed the tuning so he could better play along with and translate the traditional oud music he heard to guitar.
Cool that you came up with it yourself!
Yeah, that's one of the first things I remember reading about the tuning when the internet matured. I felt proud that I came up with the same idea as someone who was obviously a far better musician than I am.
I had also experimenting with "Open D Minor" (DADFAD) but didn't like the way it came out. I think it was the F string was too slack and I was too much of a noob to know I could probably fix that with a heavier gauge string.
Not sure what's going on here, but I can post a photo of my face if you find all of this somehow suspicious. Just let me know how I can fix this for you. :)
I used to do the same thing if you look at my old videos, then I got a bunch of people say they wanted to see my face. I posted videos with my face showing (and I don't do much by way of expressions), so everybody said "why is your face so bland and lacking animation?" at which point I was like, "To hell with all of you".
I used to do the same thing if you look at my old videos, then I got a bunch of people say they wanted to see my face. I posted videos with my face showing (and I don't do much by way of expressions), so everybody said "why is your face so bland and lacking animation?" at which point I was like, "To hell with all of you".
When using a cell phone camera I noticed its hard to get a good frame with both hands and head appearing close to the camera
didn't you also get a posture app a while back? How did you get on with that?
thought maybe that would help keep your face out of the shot if its focused on the guitar...?
I did get that posture device and admit that I don't use it enough. It's tough because it creates an extra source of tension. I need to give it another go.
Another tune from Pierre Bensusan. A must for any DADGAD player. The part 2:54-3:12 gets me everytime. Different than the studio version.
quote:
I had also experimenting with "Open D Minor" (DADFAD) but didn't like the way it came out. I think it was the F string was too slack and I was too much of a noob to know I could probably fix that with a heavier gauge string.
How about open D (DADF#AD)? I call it Barry Gibb tuning because I've never seen him playing in other tuning than DADF#AD.
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