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00:12¡Gracias!
00:58¡Gracias!
01:28¡Gracias!
01:58¡Gracias!
02:19¡Gracias!
02:20¡Gracias!
02:20Hi, I'm Larry Carlton to Starbuck.
02:23I'd like to share with you today some of the techniques I use, especially when I'm soloing.
02:28Y para que me ayuden a hacer eso, Terry Trotter es aquí con nosotros hoy.
02:32Terry, gracias por haberme ayudado, aprecio esto.
02:35Y creo que va a ser interesante para ambos de nosotros para hacer esto.
02:38Pero, antes de empezar, déjame mostrarles algunos de los equipos que voy a usar.
02:43Estoy usando un Dumbull Amplifier.
02:45Es un sistema local de los Ángeles por un independiente amplificador llamado Howard Dumbull.
02:52La primera pieza en mi rack es un MXR digital reverb.
02:56Y, debajo de eso, hay un DIGITAL DELAY UNIT.
03:00Me gusta ese DELAY UNIT porque, durante las canciones que voy a tocar en la pantalla,
03:04puedo constantemente ajustar mi DELAY TIME a la TEMPO de la TUNE.
03:09Dejado de eso, hay un AudioArts Parametric Equalizer.
03:13Y, me gusta usar eso solo para agregar más alta y más midrán a mi sound.
03:18La siguiente es un Roktron Hush 2B NOISE REDUCTION SYSTEM.
03:23Y, básicamente, me gusta usar eso porque de la cantidad de ganas que viene de mi amplificador.
03:28La primera es la TEMPO de la TEMPO de la TEMPO de la TEMPO de la TEMPO.
03:44como se usa en tu pedal board
03:46tienes que tener un embolador
03:47para recuperar el son
03:48y es muy sensitive
03:50para recuperar muchos de los highs
03:51que son lost
03:52y último es un mixador
03:55y tengo que usar un mixador
03:57porque el digital delay unit
03:58y el reverb unit
04:00que estoy usando
04:01no tienen un control
04:03entonces cuando yo send
04:05a signal en to them
04:06necesito un lugar
04:06para determinar
04:07cuánto output
04:08es aquí
04:09Next, me voy a mostrar
04:10lo que está en mi pedal board
04:12I use a showbud volume pedal
04:14I've used that
04:16since the first crusader record
04:18back in 1971
04:20and right in front of that
04:21I have a boss chromatic tuner
04:23and the way I have it patched
04:25the way most people do
04:26you can tune on stage
04:28or at a recording session
04:29without having to be heard
04:32Next to that's a boss vibrato pedal
04:35and I hardly ever use it
04:36maybe once every four or five months
04:38but it's real nice on ballad
04:40Next to that's a touch wah
04:41made by boss
04:42I use that once every year or two
04:44so don't go buy one of those
04:47and right next to that's an octaver
04:49and I'll use that for effects
04:51it takes the sound of my guitar
04:52down an octave
04:53and I can also blend
04:54the normal octave of my guitar
04:56in lithics
04:58The one piece of gear
05:00that I do use a lot
05:01is the TC Electronics Chorus
05:03it's a nice clean
05:05studio quality chorus
05:06so I found that to be real good
05:08the guitar I'm using
05:10is a custom made guitar
05:11and it was made by Valley Arts guitar
05:14Mike McGuire
05:15made this guitar for me
05:16and maybe you're a little surprised
05:18that I'm not holding a 335 today
05:21I did play a 335 and still do sometimes
05:25but in 1982 when I was doing the Sleepwalk album
05:28I'd had a custom Strat made
05:31just as an experiment
05:32and the day that I got that guitar
05:34was the same day we were going to start recording
05:37the Sleepwalk album
05:39and Sleepwalk came out very pretty
05:40with me playing a Strat
05:42so I kind of got enthused
05:44about playing a solid body guitar
05:46in conjunction
05:47with keeping the 335 sound
05:49well over the last 3 or 4 years
05:51I've become more and more
05:54into solid body guitars
05:55and working very closely
05:56with Mike at Valley Arts
05:57we've been able to
05:59fine tune the design
06:01of these guitars
06:02so that they're really custom made
06:04for my hands
06:05the necks are very small
06:06it's shaved down very small
06:07they're very solid
06:09and I'm using EMG pickups
06:11with this guitar
06:12with the mid-range boost
06:14as opposed to a tone control
06:16and I'm finding that
06:17for my soloing
06:18it's really enhancing
06:19the center of my tone
06:20so I'm enjoying playing
06:22my Valley Arts guitar a lot
06:25incidentally
06:25the speaker cabinet
06:26that I'm using
06:27that's sitting behind me
06:28is also made by Howard Dumble
06:30and I'm using two EV-12
06:32and it's a T-12 cabinet
06:34before we get started
06:35let's tune up now
06:36here's my E
07:04okay I'd like to start today
07:05by demonstrating
07:07and using the blues
07:09as our premise
07:10a good reason for using
07:11the blues
07:12is that harmonically
07:13most of us
07:14will already know the changes
07:15this will be basic
07:16full bar blues
07:17to start with
07:17and the first technique
07:19that I would like to share
07:21with you
07:21that's really incorporated
07:22a lot in my playing
07:23is a technique called
07:25imitation of phrasing
07:27that's where I'll make
07:28a musical statement
07:30and then very shortly
07:32within the next phrase or two
07:34I will imitate that statement
07:36it's easy for you to listen to
07:37as a listener
07:38and it's real fun for me to play
07:40because it's a musical game
07:41how to get the most
07:42out of these three or four notes
07:43that I played
07:44so I'll make the statement
07:45and show you how I would imitate it
07:47normally that will happen
07:48as I go to the fourth chord
07:50so we're going to use the blues in G
07:51one
07:52two
07:53three
08:22¡Gracias!
08:27As you can see, there was a lot of similarity in phrases there,
08:30but I still had the freedom to express myself without being constricted.
08:34So I'd like to use another demonstration now,
08:36using the same technique of imitation,
08:38but I'd like to have Terry Trotter join me this time,
08:41chair with the blues in G.
08:44And I'll just take any opening statement.
08:46I don't know what it is right now,
08:47and you don't know what it is right now.
08:49But hopefully I can develop it into a piece of music by imitating it.
08:53One, two, three.
09:21I don't know what it is right now.
09:29Well, much to my surprise,
09:31there were two or three pieces of information in there that were imitated.
09:36If I can remember a couple of them,
09:38the F note that I chose as my theme
09:44kept reoccurring throughout the whole solo.
09:48Rhythmically, I imitated myself.
09:50There were many licks.
09:56So rhythmic imitation,
09:58plus note imitation,
09:59meaning the choice of the same phrase
10:01that's changing the order of them a little bit,
10:04really works well for me.
10:06I'd like to do that one more time,
10:07and just see what comes out this time.
10:09One, two, three.
10:12One, two, three.
10:14One, two, three.
10:46Maybe at some time in the future,
10:48we can do about an hour and a half of that.
10:49I'd like that a lot.
10:52Anyway, the next thing besides imitation is dynamic.
10:57You can take a real simple phrase,
10:59which I've done here in a couple of weeks.
11:01And just by changing the dynamics of the notes,
11:05you can command more listening,
11:07more interaction with the band,
11:08and more fun for yourself.
11:10So I'll take an opening statement
11:12and play it with no dynamics right now
11:14to demonstrate that.
11:17One, two, three.
11:25Now I'll do that with a little bit of dynamics
11:28to create a little more interest.
11:30One, two, three.
11:38That's one example as I got softer,
11:41started out and got softer.
11:43I'll just do a different,
11:44a few variations dynamically
11:45on basically the same lick.
11:47So you can see the choices we might have.
11:50One, two, three.
11:53One, two, three.
11:55One, two, three.
12:25Okay, loud to soft, soft to loud.
12:28Up and down.
12:30I use a lot of that.
12:32It creates a good feeling in me.
12:34It also makes the rhythm section
12:35and the guys playing with you react differently.
12:37It's not a stagnant kind of sound.
12:41Also, choice of vibrato.
12:43It's not something you think about
12:45while you're playing.
12:47But the vibrato that you use naturally
12:51can help create tension,
12:53relief, and emotional outlet.
12:55So maybe before I play another lick,
12:57I'll just give you a demonstration
12:58of a couple of the different speeds
13:01and two techniques I use
13:04in choice of vibrato.
13:06The first one would be
13:07just bending a whole step up to a note.
13:10For this example,
13:12I'll bend an A to a B on the B string
13:14and we're in the key of G.
13:16And I'll show you my slow vibrato.
13:18Terry, if you just spell out
13:29and I'll play the same thing,
13:35but with more intensity in the vibrato,
13:37which the speed will probably change a little bit.
13:40And Porticia.
13:51Another technique that I use sometimes
13:52while we're dealing with vibrato
13:55is while the vibrato is happening,
13:57I'll continue to pick the note
13:58and it really can create some tension for you.
14:01I'll play C9s this time, Terry, right?
14:16So those are vibratos I use
14:18while bending notes.
14:20When I end on a note
14:22and I have not bent to that note,
14:24meaning it's just a straight note,
14:26sometimes I'll use the same vibrato
14:28that a violinist would use.
14:30It's a back and forth movement.
14:32I'll give you a demonstration
14:33of the subtlety of the sound of that.
14:36G7, please, sir.
14:48That one I find to be real expressive
14:50in playing ballad.
14:51Maybe we'll play just a slow lick
14:53and I'll end on a note.
14:54And you can just see
14:55that it milks a little different.
14:57That's the only phrase I can use.
14:58It just kind of emotes
14:59a little different feeling
15:00than bending to it.
15:03Blue's a good pair,
15:04but we'll do a slow one.
15:05One.
15:06Two.
15:08Three.
15:08Three.
15:09Three.
15:10Three.
15:11Three.
15:17Three.
15:21Three.
15:24Three.
15:26Three.
15:28Three.
15:29Three.
15:29Three.
15:30Three.
15:31Three.
15:32Three.
15:32Three.
15:33Three.
15:34Three.
15:34Three.
15:35Three.
15:36Three.
15:38Three.
15:56I think that's a much more subtle vibrato than you would use when you're bending the notes there's
16:01No hay mucha intensidad.
16:05Bueno, como vimos con el vibrato,
16:08hay mucha mucha bendición.
16:10Entonces, ¿qué tal si se puede hablar un poco
16:12sobre cómo abordar la bendición de la nota?
16:15Hace tiempo,
16:17yo me he conocido como un jugador
16:19porque tengo un poco de jugador
16:21en mi años de ser jugador.
16:24Y me gusta tocar en la música,
16:26como muchos de nosotros.
16:27Pero yo me he tomado un poco de práctica
16:29en bendición de la nota
16:30así que la pitcha siempre estaba muy cerca
16:32de estar en tune.
16:33Y una cosa que te gustaría hacer
16:35es tomar un escale.
16:37Vamos a tomar el escale
16:38desde que hemos estado en G
16:40este tiempo.
16:41Y aquí es algo que te gustaría practicar
16:43en cuanto a bendición.
16:59Ahora, vamos a hacer lo mismo
17:00porque el cerebro es un poco diferente.
17:03Y, de nuevo, el objetivo de esto
17:04es que los bendiciones en tune
17:07y, de nuevo, el ejercicio
17:08y ahora, vamos a hacer lo mismo
17:08en staccato
17:09y no en un largo line.
17:11En un minuto,
17:11vamos a hacer lo mismo
17:11en un largo line.
17:29Ok, so I'll play that a couple more times
17:30and see if it develops
17:32into a smooth line
17:33for you.
17:48And I think the thing
17:50that turned me on
17:51to that kind of bending technique
17:53was listening to steel guitar players.
17:55And they were always in tune
17:56because they had the pedal
17:57for the steel
17:57to bring the pitch up
17:58and to bring the pitch down.
18:01So, let me noodle here
18:02for a second
18:02and you can watch
18:03a couple of more bends.
18:27Also, years ago
18:28I was doing a session
18:30this is a story
18:32I'll never forget
18:32Tommy Tedesco
18:33was on the session
18:34with me
18:34it was a jingle
18:36and I just played
18:37some lick
18:37between takes
18:38I went
18:41stopped
18:43without knowing it
18:44but that I've been able
18:44to share with others
18:45because they weren't aware
18:46of how I was doing it.
18:48So, bending from one note
18:49all the way up
18:50and already starting
18:50with the note bent
18:51and letting it fall off
18:53can create a different effect.
19:05So, that's some of the bending techniques
19:07that you'll hear
19:08that I incorporate
19:09in a lot of my playing style.
19:11Another thing
19:12that I've been questioned
19:13about over the years
19:14is something I described
19:15as extended phrasing.
19:18That's where it sounds like
19:20the normal place
19:21you would expect
19:22the soloist
19:23to stop playing
19:24he doesn't stop playing.
19:27And I learned this technique
19:28by listening to
19:29a really great drummer
19:30named Jim Kelton.
19:31He would play a fill
19:32at the end of a four bar phrase
19:35but instead of hitting
19:36on the down beat
19:37of the next bar
19:38he would continue
19:39to fill
19:40for another beat
19:41or beat and a half.
19:43And I incorporate
19:44that in my playing too.
19:45Terry, let's play
19:46the blues once more
19:47and I'll see
19:48if where you think
19:49I'm going to stop
19:49maybe I continue
19:51just a while longer.
19:53Let's do it a little faster.
19:54A one
19:54two
19:55three
20:20At the end
20:23of that phrase
20:25instead of stopping
20:26at the turnaround
20:27I continue to play
20:28across the turnaround
20:29which creates
20:30more tension
20:31and leads us stronger
20:32into the next chorus.
20:34So it's extended phrasing
20:36but it's also going to end up
20:38being how to build a solo
20:40which I think
20:41we can talk about
20:41right now, Terry.
20:42We've talked about
20:43imitating
20:43talked about dynamics
20:45now we're at the places
20:46where if you've played
20:48three choruses
20:49with your band
20:49if you want to play
20:50some more
20:51you can't stop
20:52unless the drummer
20:52just play a fill
20:54usually you have to
20:55indicate to the band
20:56that you want
20:56to continue playing
20:57the best way
20:58to do that
20:58is with motion
20:59usually upward motion
21:02or dynamics
21:03so we'll play Terry
21:05and we'll all pretend
21:06this is my fourth chorus
21:07but I want to play
21:08one more
21:08and I have to indicate
21:09to Terry
21:10it's going to get hotter
21:11maybe just a little
21:12faster here
21:13one
21:14two
21:14three
21:15two
21:16three
21:16two
21:18three
21:19two
21:21three
21:23two
21:53Gracias por ver el video.
21:57Gracias por ver el video.
22:53Gracias por ver el video.
23:23Gracias por ver el video.
23:53Gracias por ver el video.
24:22Gracias por ver el video.
24:53Gracias por ver el video.
25:25Gracias por ver el video.
25:28Gracias por ver el video.
26:40Gracias por ver el video.
26:42Gracias por ver el video.
31:41We'll do that.
34:41That sounds right.
34:51Okay, that's our basic sound for the first three triads in red.
34:56Now I'll do the same three triads, but I'll make a little music out of them.
35:00And sometimes I won't get a chance to spell the exact triad, but I will pick notes from those triads.
35:08One more time.
35:08One more time.
35:08One more time.
35:08Here, D minor, please.
35:21Okay, that was D minor, A minor, E minor.
35:23They're all interwoven between themselves.
35:25All interwoven.
35:26Now let's take the triads that are on top and you can hear those.
35:30Those would be the F major.
35:32Those would be the F major, C major, and G major triads.
35:37D minor.
35:50They all make sense, don't they?
35:52You can hear how they relate to the D minor.
35:55Now I'd like to play for you from the bottom row, just the three triads that we had.
36:01And I'll jam, I'll play on those chords.
36:03They'll just be D minor, A minor, and D minor.
36:06One, two, three.
36:51Now I'd like to play on all six chords.
36:54And this will just be a conglomerate of all the sounds you've heard individually right
36:58now.
36:59One, two, three.
37:01One, two, three.
37:22Everything, thanks.
37:25Bye.
37:26So, that's okay.
37:31Me siento bien que ese es un buen ejemplo de mi approach de triadio a la playa.
37:35Yo realmente escribo esto para ti en orden.
37:38Puedes elegirlo muy fácilmente.
37:40Una otra cosa que aprendí años atrás de visualizar la guitarra
37:44es que cuando encontré un voce que suena bien para mí,
37:48como un G13 b9 cordón,
37:57puedo ver un triadio de triadio en esa posición.
38:08Así que yo iba a tocar el G y el E major juntos
38:14y los dos en los dos cuando la banda estaba grabando el G7, el G13, de alguna vez.
38:20Y la nota se quedó más interesante.
38:23Así que me gustaría dar un ejemplo de eso ahora.
38:25Y voy a tocar el G major, E major,
38:27mientras Terry está grabando el G13 cordón.
38:45Also, el G13 b9 cordón
38:48funciona como un Diminished cordón.
38:50Lo que significa que trabaja en minor 3rds.
39:04Bueno, en top de cada uno de esos cordones hay un triad.
39:07E major,
39:09G major,
39:11Bb major,
39:12y Db major.
39:18So now I'll play those while Terry plays G
39:21and you can hear me walk through all of those.
39:43A lot of options for improvising.
39:45And without playing linear,
39:47you can make wider scale jump.
39:49Let's play that once more.
39:51G major,
39:53y Db major,
39:56y Db major,
39:59y Db major,
39:59y Db major,
40:00y Db major,
40:02y Db major,
40:05y Db major,
40:06y Db major,
40:09y Db major,
40:09y Db major,
40:12y Db major,
40:14y Db major,
40:15y Db major,
40:16y Db major,
40:17y Db major,
40:18y Db major,
40:19y Db major,
40:19y Db major,
40:19y Db major,
40:47Gracias por ver el video.
41:18Gracias por ver el video.
41:47Gracias por ver el video.
41:56Gracias por ver el video.
42:28Gracias por ver el video.
46:01Gracias por ver el video.
46:41Gracias por ver el video.
47:29Gracias.
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