I LOVE THAT YOU NAME DROPPED KEITH SCOTT!!! I've been saying for years that he doesn't get enough kudos, but it seems like recently that may be changing. Love your playing and thanks for the vids!
"us mere mortals" then proceeds to play with an incredible amount of feel, personally i think that feel comes from the soul, what the musician puts in the music, I think yngwie can make an emotion solo even if it goes through three octaves in 2 seconds the same way gilmour can play one note and make everyone feel it. feel comes from being yourself on the instrument and talking with it. just my two cents. Incredible playing as always chris!! hope you're well!
Well said sir!. I normally don't love Yngwie Malmsteen but I recently heard the solo of "Cross the Lİne" from album Magnum Opus. And I thought wow, emotional..
The best example that comes to mind at the moment is Derek Trucks' solo at the end of "Midnight in Harlem". Experiencing the emotions that Susan Tedeschi puts into her vocal parts and then hearing Derek's solo made my eyes leak.
ua-cam.com/video/CY6-jrQpsvQ/v-deo.htmlsi=BknbNsICIbPbp5rA This is a Mr Zimmer project, Derek Trucks was one of a handful of talented musicians on this production, his playing was full of simple phrasing that had more textured architecture that shows his talent of playing with “feel”.
Thanks for bringing that song to my attention. I've heard many people say what a great slide guitarist Dereck Trucks is, but I've never really bothered to check him out. Listening to that solo at the end, I can hear a lot of Chris's playing in there, especially when he bends a note up a whole and then takes it a semitone higher. I wonder if that's where Chris got the inspiration from?
@@ianbarnes1406 Good question. Although, the up a whole step, then add a half step comes from way back. Dave Gilmour is a good example. One thing that hit me when I heard that song played live is that when Susan sang the last note Derek came in on the same note and then continued singing on his SG with all the nuances of Susan's voice... which is exactly what Chris has said that he does.
Absolutely truth. As impressive as great legato players are, less is more in a lot of situations. Witness BB King - a master who could say volumes with single phrases
For me, David Gilmour puts an incredible amount of feel and mystery in each phrase. Chris’ ability to build to a climax is the best in the world. He builds and builds and builds. No one else is close
That gradually-introduced vibrato that Chris demonstrates with the Whitney Houston song is certainly integral to Gilmour's playing. I think that's why he had the whammy bar cut short on his strats as it can be very easy to overdo it. A shorter whammy makes it harder to shake and so I think it forces him to keep it subtle. Just a theory of course.
For years people asked me who my favourite guitarist are and I struggled to answer until it occu6to me that in almost every case I could bring to mind I could imagine someone singing their lead lines. I now explain that by comparing Comfortably Numb to The Great Gig In The Sky. The guitar and vocal parts could almost be interchanged. From the iconic guests such as Gilmour Clapton Knopfler Beck Page and Blackmore through Slash to my modern lesser known heroes such as Samantha Fish, Joanne Shaw Taylor and Chantel McGregor they all, to me, have that vocal quality. And of course that applies to Mr Buck.
Nah, man. Everyone is mere mortal. There are just some people out there who put very big time, soul, and feel into something that makes themselves and others happy.
Nice to hear ‘Couldn’t Love You More’ mentioned. I saw him a couple of times live at Colston Hall towards the end of his career and the atmosphere in the room was incredible
I've been playing for 50 years and it's great to still be learning things from folks like you who take the time. Your vibrato suggestions are fantastic!
You've been outstandingly successful at embracing the inflections and articulations of many great singers into your lead playing. This is something I really admire and enjoy in your playing. It sounds like you're having a heart to heart with someone you love dearly.
Thanks for reminding us of the enormous expressive potential of the almighty electric guitar. By example. I also cite Whitney as a solo line influence, as well as k.d. lang and Oleta Adams. That delayed vibrato - the painful longing to hear it, and then it subtly blooms. Absolutely dripping with nuance.
I bet if you asked many current players and musicians the question about who currently plays with feel and touch and a particularly vocal style and who really 'serves' each song, many would pick you Chris. Your style and sound is what's making you such a huge star now. Mere mortal? Not a bloody chance!!
There is an episode of MASH, with a pianist who loses his hand and laments that he can't continue his art, Winchester presents him with one handed pieces, and says(I paraphrase) 'i can play the notes, but i can't play the music....'. *that* is feel.
I know that tone at the outro cost a lot of money (like most I’ve followed the whole history of chris’s amps and pedal board journey).. but it was worth every penny.. right up there with the best sounds I’ve heard, astonishing tone. BTW classic case of tone is in the fingers but the Amps and board sound amazing on top.
The thing a lot of shredders do is bury the tone and feel in speed and distortion. Chris's tone is always just enough, often played at edge of breakup rather than outright distortion, pushing it into the red when necessary but keeping it clean when it isn't, and despite his phenomenal grasp of technique and scales and melody and harmony, equally capable of just playing tunes where it's what's needed. If I could make one ridiculously carping and small criticism, it's that Chris always gives us everything. There's no denial by just playing eight or sixteen bars of genius then stopping, he will squeeze out every ounce of a solo at a length that isn't traditionally radio-friendly or for the uncommitted.
You are among the greatest ever at this my dude, not to gush, but the ability to convey emotion is the thing that puts you, David Gilmore, Neil Young, Derek Trucks and Dave Simpson at my top 5. Keep on keepin on.
Great video. Love the demonstration of vibrato with Whitney Houston. One of my problems is playing with feel in a fast tempo song. That seems much more difficult.
This comment isn’t meant to be ego inflating…..but your playing is an example of a guitarist who does play with feel. It’s exactly what made me start following your UA-cam channel years ago. I could also tell back then, that your solo phrasing was definitely vocal inspired. One of my favorite all time guitar solos is from the Boston song “Hitch A Ride.” There’s so much vocal inspired phrasing in that solo, and I still get goosebumps every time I hear it. Thank you so much for making this video. I think other guitarists may find it very valuable.
@@BeefNEggs057 You’re right…it is weird, so I changed it to what it’s supposed to mean. Thank you though. After reading it again….it is a weird way to say what I meant.
You my young friend are the embodiment of what I define as playing with feel. My definition may be different than the next person. But that doesn’t matter. Because my opinion is only important to me, as it should be. Keep up the great work.
Your feel is up at the top of the stratosphere. Our approach is so similar (except you’re miles beyond me) down to the heavy touch and being clumsy at home /having to move things away from edges of tables etc. wish I could go to your USA gigs. Can’t swing it this year.
I wasn't expecting Whitney Houston but I can entirely see your point! That last playout piece reminded me very much of Eric Johnson. I'd love to see you tackle Cliffs of Dover sometime; I reckon you're one of the very few players who could possibly even add something new to it.
Great video! Youre one of the few individuals I enjoy hearing guitar-centric musical commentary from. Your video style is unique as well, super nicely paced.
Right on the money Chris with this. And exceptional playing as always. I had forgotten how beautiful Whitney Houston’s vocals were. Derek Trucks and Jeff Beck have this quality in spades. Thanks for the video.
It comes down to really knowing the instrument- you rather bend to a note than just simply to play it… even not playing at all in the right moment can be key 🎉
You have said it all my friend , in a nutshell. Knowing your woman / ( guitar) is knowing how to get her to respond --- in sound. ......squeal , cry , laugh, beg, scream....----! ( maybe a bad metaphor used....lol....oh well...) Everyone communicates differently with their OWN feel....... Right ?
Even before I started playing guitar, as a very young kid, I was mesmerized by the "magic vibrato" switch on the electric organ at my grandmother's house. It didn't start shaking the note until you'd held the note for a second or so, and it sounded very natural. And it never occurred to me until many years later that this wasn't just what everyone knew. 😅
I have a friend, Hog Farm family, who worked with Jerry Garcia to compile his performances, all pirate tapes and videos. Upon reviewing her efforts, Jerry said that he was quite taken aback because the nights that he felt inspired, when compared with the nights he felt like he was calling it in, were not that different. In fact, he said, many of the nights that he felt he had played downright badly were, to his retrospective ears, often better than when he recalled being inspired. this changed him he said, forever.
11:00 Every saxophone tutorial book I have says...." Let the note get established before starting your vibrato" exactly what Whitney is doing here. Tony Bennett when asked said "I got my phrasing and vibrato from listening to horn players" Works for guitar players too ;)
I think what "playing with feel" characterizes, and especially the solos, is that you can listen to the seperated solo tracks and it would still sound great. Listening to a David Gilmour solo without a band is still a moment to treasure.
I think you're onto something here. I do believe great feel can be summed up as how singable and vocal-like a part is especially when talking about lead guitar, which is why shredders get dismissed as soulless so often because realistically nobody sings like that. I do believe that emulating singers is one of the healthiest things one can do for one's playing, not only in terms of letting your playing breathe, but the shocking realisation that vocal lines typically use surprisingly small clusters of notes all quite close to each other. Stuff like playing a note literally 4 times in a row might seem like a copout to a guitarist, but is very normal for a vocalist, and has been a revelation to me in making my lines sound more 'vocal-like'.
Excellent exposition - thanks. The other element for us lesser mortals is to have all the other plates spinning nicely first: happy with my tone and volume, happy with the band's overall sound mix (we don't have a crew and mixer!), audience looking receptive (I worry about that...), ok in my head as to where I am in the song, and a few brain cells thinking ahead as to what comes next, etc, etc! I always liken it to spinning about thirteen plates simultaneously, number thirteen being the 'wow, I'm really expressing myself!" epiphany!
One of my favorite guitar solos that, for me, highlights “feel”, is by Todd Nichols of the band Toad the Wet Sprocket. The song is “Chicken” off their collection of unreleased tracks called “In Light Syrup”. Most of the solo sounds like just feedback to me, but it is so emotionally perfect for the song, and it gives me goosebumps every time!!!
Dude, I think the werd that applies to you would be “inspiring” because 9x outta 10 I gotta pick up the plank and see if there’s something I can “borrow” that might fit into my schtick. As always solid data and good advice!
1 Start with a 'good' voice, simply a tone you like....repeat, you like. 2 Learn some skills.... and never stop 3 Play from within yourself. Make faces bounce around, whatever floats your boat.
Yeah, as soon as you played the Whitney clip, I got chills. Great singers are a great place to look for feel, and phrasing. I think it is the emotional connection and intention?
Mr. Buck - Loved the play out. You and the rest of the group playing with one another, subtle call and response, especially with the piano, but with the bass and kit as well. That subtle high cycle pad - are you generating that, or is that a synth? Thanks.
You've said the whole "emulate vocals" many times. I agree completely. Also very true for slide. Singers don't usually sing in a pentatonic box. Nor should great guitar solos. It strikes me as funny how often you see posts in Reddit guitar forums with subjects like "how do I break out of the box" when the answer is staring them in the face. Don't play in the box.
with vocal vs guitar and vibrato: a vocalist can add strength to the note, pushing a bit more air. A guitar player can swell volume but hard to get extra "strength" to the note that one might associate with vibrato on the guitar, without using vibrato.
I was thinking, "Ah, he's not going to mention Keith Scott, one of my favourite guitarists, though it would be a great example for what he's talking about." Then he mentioned Keith Scott!
My mate growing up, Kris, used to say that to play with feel you have to be making weird faces when you're playing. He was a far better guitarist then than I will ever be, so I trust him 😂
That is exectly why David Gilmour is my favorite guitar player of all time. That man discovered feel 🙂. Also Slash has a great feel and one other that i dont often see in the mix John Frusciante…great feel and solos
Zero feel is like a monotone robotic speaking voice that stays at the same pitch etc. Feel is like a voice that has lots of expression and drama to it, but its used correctly in the context of a sentence/conversation. Like the way a great voice over artist can bring a character to life. What guitarist use to achieve this is, timing, phrasing, sliding, pulling off etc etc.
To me the difference is between a player who is great technically versus a player that makes someone have a strong emotional response to what they hear. Not to say that the two are mutually exclusive . Players like Brian May whose playing is like an extension of the vocal fluidity and melody in the song. Also it can be what a player doesn’t play as what he does play that becomes just as important.
Maybe that's why guitarists are fairly picky about the guitars and gear they enjoy the most? The "right" guitar or amp, can inspire you to play in different ways. Finding your perfect rig can be half the journey. You get all the right parts and pieces assembled, and suddenly the little number you've been working on takes on a life of its own. Many of the biggest rock n roll hits were just products of the surroundings. Nowadays we have all this unbelievable gear at our disposal, but there's just not enough Chris Bucks to man it all?
Interesting that you mentioned Keith Scott. I've always felt that he has tremendous feeling. Another would be Neil Giraldo as well as the obvious Dave Gilmore. I guess it's playing from the heart and immersion in the music .
If anybody knows about feel in guitar playing, it's Chris Buck!
I second that!
in any case
True statement right there. Chris is easily the best feel/dynamic player out there right now
He has inspired me to practice feeling it vs looking for notes and patterns. My buddies in the band have told me I’m getting better!
Yep that’s for sure! 👍
Having such a guitar player giving us free lessons is priceless
"Us mere mortals". Your humility cracks me up Chris. You've got "feels" that match or exceed those of your idols.
The Slash influence? I hear absolutely none of it. I'd MUCH rather hear two of Chris' notes than any Slash's.
To me, when a musician can make another human have a strong emotion reaction to the music being played is the definition.
People in the guitar shop get angry and leave - does that count?
@@michael1 yes. It’s a FEELing i suppose
😂😂😂😂
🤣😂🤣😂@@michael1
I LOVE THAT YOU NAME DROPPED KEITH SCOTT!!! I've been saying for years that he doesn't get enough kudos, but it seems like recently that may be changing. Love your playing and thanks for the vids!
I love his sound on the tune "It's Only Love" I blast that one! I think he has a chorus going or a slight flange.
"us mere mortals" then proceeds to play with an incredible amount of feel, personally i think that feel comes from the soul, what the musician puts in the music, I think yngwie can make an emotion solo even if it goes through three octaves in 2 seconds the same way gilmour can play one note and make everyone feel it. feel comes from being yourself on the instrument and talking with it. just my two cents. Incredible playing as always chris!! hope you're well!
Hahaha was thinking just the same
Well said sir!. I normally don't love Yngwie Malmsteen but I recently heard the solo of "Cross the Lİne" from album Magnum Opus. And I thought wow, emotional..
Very astute observation and very true as well.
You have explained feel articulately and accurately.
Thank you
The best example that comes to mind at the moment is Derek Trucks' solo at the end of "Midnight in Harlem". Experiencing the emotions that Susan Tedeschi puts into her vocal parts and then hearing Derek's solo made my eyes leak.
ua-cam.com/video/CY6-jrQpsvQ/v-deo.htmlsi=BknbNsICIbPbp5rA
This is a Mr Zimmer project, Derek Trucks was one of a handful of talented musicians on this production, his playing was full of simple phrasing that had more textured architecture that shows his talent of playing with “feel”.
Thanks for bringing that song to my attention. I've heard many people say what a great slide guitarist Dereck Trucks is, but I've never really bothered to check him out. Listening to that solo at the end, I can hear a lot of Chris's playing in there, especially when he bends a note up a whole and then takes it a semitone higher. I wonder if that's where Chris got the inspiration from?
@@ianbarnes1406 Good question. Although, the up a whole step, then add a half step comes from way back. Dave Gilmour is a good example.
One thing that hit me when I heard that song played live is that when Susan sang the last note Derek came in on the same note and then continued singing on his SG with all the nuances of Susan's voice... which is exactly what Chris has said that he does.
Ya, Chris is right up there with Derek in my book.
@@ianbarnes1406 Totally.
Sometimes it is what you leave OUT 🎸🎶🎸❤️🎸🎶🎸
Absolutely truth. As impressive as great legato players are, less is more in a lot of situations.
Witness BB King - a master who could say volumes with single phrases
Your ability to make the guitar sing was one of the first great things I noticed about you.
For me, David Gilmour puts an incredible amount of feel and mystery in each phrase. Chris’ ability to build to a climax is the best in the world. He builds and builds and builds. No one else is close
That gradually-introduced vibrato that Chris demonstrates with the Whitney Houston song is certainly integral to Gilmour's playing. I think that's why he had the whammy bar cut short on his strats as it can be very easy to overdo it. A shorter whammy makes it harder to shake and so I think it forces him to keep it subtle. Just a theory of course.
I always thought vibrato was a personal part of expression. The Great Chris Buck just confirmed this in detail. Thanks Chris. 🎸🎶
You are so right about phrasing and using, rather than abusing vibrato. Thank you for another great installment of Friday Fretworks.
10:47 jesus the mixing on this is so amazing, like wow you can hear everything!
For years people asked me who my favourite guitarist are and I struggled to answer until it occu6to me that in almost every case I could bring to mind I could imagine someone singing their lead lines. I now explain that by comparing Comfortably Numb to The Great Gig In The Sky. The guitar and vocal parts could almost be interchanged. From the iconic guests such as Gilmour Clapton Knopfler Beck Page and Blackmore through Slash to my modern lesser known heroes such as Samantha Fish, Joanne Shaw Taylor and Chantel McGregor they all, to me, have that vocal quality. And of course that applies to Mr Buck.
Making your guitar truly “sing” Is one of the greatest achievements for a guitarist….and you sir have it locked!
Vibrato is everything. You either got it or you don’t. You got it.
And some dang fine reverb doesn’t hurt.
Chris Buck a mere mortal? Haha. Massive understatement
Nah, man. Everyone is mere mortal. There are just some people out there who put very big time, soul, and feel into something that makes themselves and others happy.
Half Way was the first Cardinal Black song I heard and it's still absolutely brilliant.
Nice to hear ‘Couldn’t Love You More’ mentioned. I saw him a couple of times live at Colston Hall towards the end of his career and the atmosphere in the room was incredible
"US mere mortals"
-Chris gaht dayum Buck..
That last piece…. All playing superbly
Soul is not something that can be taught, it shines out from within.
Thank you, Chris, for giving Keith Scott the "shout out" he deserves! Amazing player! Been chasing his tones for years...
Keith Scott, YES, this guy always served the song elevating the guitar solo/riff with the nicest sense of space, melody and feel !
Hopefully someday Chris will do a album of instrumental covers in his spare time LOL. Seriously it would be awesome ❤
I've been playing for 50 years and it's great to still be learning things from folks like you who take the time. Your vibrato suggestions are fantastic!
You are correct, it is quite subjective. Music is art, how the listener appreciates it is very much up to them. That's the joy of art!
that second solo was gorgeous.
thank you
You've been outstandingly successful at embracing the inflections and articulations of many great singers into your lead playing. This is something I really admire and enjoy in your playing. It sounds like you're having a heart to heart with someone you love dearly.
Thanks for reminding us of the enormous expressive potential of the almighty electric guitar. By example.
I also cite Whitney as a solo line influence, as well as k.d. lang and Oleta Adams.
That delayed vibrato - the painful longing to hear it, and then it subtly blooms.
Absolutely dripping with nuance.
Thank you very much for your music and love!
Mick Ronson was superb at playing for the song, not only with his solos but his approach to rhythm parts.
I bet if you asked many current players and musicians the question about who currently plays with feel and touch and a particularly vocal style and who really 'serves' each song, many would pick you Chris.
Your style and sound is what's making you such a huge star now.
Mere mortal? Not a bloody chance!!
There is an episode of MASH, with a pianist who loses his hand and laments that he can't continue his art, Winchester presents him with one handed pieces, and says(I paraphrase) 'i can play the notes, but i can't play the music....'. *that* is feel.
I know that tone at the outro cost a lot of money (like most I’ve followed the whole history of chris’s amps and pedal board journey).. but it was worth every penny.. right up there with the best sounds I’ve heard, astonishing tone. BTW classic case of tone is in the fingers but the Amps and board sound amazing on top.
"Tasteless shreading". Spot on, Chris! More melody... less gymnastics. Love what you do man. 👍
The thing a lot of shredders do is bury the tone and feel in speed and distortion. Chris's tone is always just enough, often played at edge of breakup rather than outright distortion, pushing it into the red when necessary but keeping it clean when it isn't, and despite his phenomenal grasp of technique and scales and melody and harmony, equally capable of just playing tunes where it's what's needed.
If I could make one ridiculously carping and small criticism, it's that Chris always gives us everything. There's no denial by just playing eight or sixteen bars of genius then stopping, he will squeeze out every ounce of a solo at a length that isn't traditionally radio-friendly or for the uncommitted.
“vocal phrasing.” that really is the goal. i wish i could do it like chris. hell, i wish i could do it at all! great video brother. 🙏
Every time I watch one of Chris’s videos my guitar looks at me with shame & disappoint.
Well Chris as BUCKET LOADS of it that's what makes him so good hairs on the back of your neck standing stuff. Thanks Chris
You are among the greatest ever at this my dude, not to gush, but the ability to convey emotion is the thing that puts you, David Gilmore, Neil Young, Derek Trucks and Dave Simpson at my top 5. Keep on keepin on.
Unpretentiousness, plain and simple. You have the gift.
Great video. Love the demonstration of vibrato with Whitney Houston. One of my problems is playing with feel in a fast tempo song. That seems much more difficult.
This comment isn’t meant to be ego inflating…..but your playing is an example of a guitarist who does play with feel. It’s exactly what made me start following your UA-cam channel years ago. I could also tell back then, that your solo phrasing was definitely vocal inspired. One of my favorite all time guitar solos is from the Boston song “Hitch A Ride.” There’s so much vocal inspired phrasing in that solo, and I still get goosebumps every time I hear it. Thank you so much for making this video. I think other guitarists may find it very valuable.
Where did that saying come from anyway? So weird.
@@BeefNEggs057 You’re right…it is weird, so I changed it to what it’s supposed to mean. Thank you though. After reading it again….it is a weird way to say what I meant.
So inspiring, you're brilliant Chris. Could listen to you play all day!!
You my young friend are the embodiment of what I define as playing with feel. My definition may be different than the next person. But that doesn’t matter. Because my opinion is only important to me, as it should be. Keep up the great work.
Incredible playing 👍
brilliantly explored and explained ... thank you
For me, playing with feel is the result of playing from the heart. This in turn creates an emotion in the listener. It makes them 'feel' something.
Your feel is up at the top of the stratosphere. Our approach is so similar (except you’re miles beyond me) down to the heavy touch and being clumsy at home /having to move things away from edges of tables etc. wish I could go to your USA gigs. Can’t swing it this year.
I wasn't expecting Whitney Houston but I can entirely see your point!
That last playout piece reminded me very much of Eric Johnson. I'd love to see you tackle Cliffs of Dover sometime; I reckon you're one of the very few players who could possibly even add something new to it.
Great video! Youre one of the few individuals I enjoy hearing guitar-centric musical commentary from. Your video style is unique as well, super nicely paced.
You’re so correct what you’re saying. Well said and very feel full playing.
Its really cool, that Chris takes the time to post these videos. A wonderful player.
Right on the money Chris with this. And exceptional playing as always. I had forgotten how beautiful Whitney Houston’s vocals were.
Derek Trucks and Jeff Beck have this quality in spades.
Thanks for the video.
For me is every video a lesson. Thanks a lot and see your guys and girl next time in Munich again.
It comes down to really knowing the instrument- you rather bend to a note than just simply to play it… even not playing at all in the right moment can be key 🎉
You have said it all my friend , in a nutshell.
Knowing your woman / ( guitar) is knowing how to get her to respond --- in sound. ......squeal , cry , laugh, beg, scream....----!
( maybe a bad metaphor used....lol....oh well...)
Everyone communicates differently with their OWN feel....... Right ?
Even before I started playing guitar, as a very young kid, I was mesmerized by the "magic vibrato" switch on the electric organ at my grandmother's house. It didn't start shaking the note until you'd held the note for a second or so, and it sounded very natural. And it never occurred to me until many years later that this wasn't just what everyone knew. 😅
I have a friend, Hog Farm family, who worked with Jerry Garcia to compile his performances, all pirate tapes and videos. Upon reviewing her efforts, Jerry said that he was quite taken aback because the nights that he felt inspired, when compared with the nights he felt like he was calling it in, were not that different. In fact, he said, many of the nights that he felt he had played downright badly were, to his retrospective ears, often better than when he recalled being inspired. this changed him he said, forever.
I'll have a try. To me, feel is:
1. Meaningful phrasing
2. Masterful use of timing
3. Masterful use of dynamics
Nice
Dynamics, playing loud and soft, contribute to "feel" in "I will always love you." she sings quieter and gets louder in parts.
Brilliant, best video yet, much respect
Duane Allman called it "hitting the note."
11:00 Every saxophone tutorial book I have says...." Let the note get established before starting your vibrato" exactly what Whitney is doing here.
Tony Bennett when asked said "I got my phrasing and vibrato from listening to horn players"
Works for guitar players too ;)
Brilliantly played and said. As usual
That reverse delay in the jam just completely stole the show for me 😮 I want that ! What is it ?
....and ty for the Keith Scott love. A superlative player.
Chris the lead part at 3.28 is like the best thing i have heard in a while, do you have the tab?
I think what "playing with feel" characterizes, and especially the solos, is that you can listen to the seperated solo tracks and it would still sound great. Listening to a David Gilmour solo without a band is still a moment to treasure.
Once more, with feeling.
I think you're onto something here. I do believe great feel can be summed up as how singable and vocal-like a part is especially when talking about lead guitar, which is why shredders get dismissed as soulless so often because realistically nobody sings like that. I do believe that emulating singers is one of the healthiest things one can do for one's playing, not only in terms of letting your playing breathe, but the shocking realisation that vocal lines typically use surprisingly small clusters of notes all quite close to each other. Stuff like playing a note literally 4 times in a row might seem like a copout to a guitarist, but is very normal for a vocalist, and has been a revelation to me in making my lines sound more 'vocal-like'.
Warren Haynes & Derek Trucks come to mind immediately. My #1, especially for ballads is Jeff Beck RIP.
Excellent exposition - thanks. The other element for us lesser mortals is to have all the other plates spinning nicely first: happy with my tone and volume, happy with the band's overall sound mix (we don't have a crew and mixer!), audience looking receptive (I worry about that...), ok in my head as to where I am in the song, and a few brain cells thinking ahead as to what comes next, etc, etc! I always liken it to spinning about thirteen plates simultaneously, number thirteen being the 'wow, I'm really expressing myself!" epiphany!
One of my favorite guitar solos that, for me, highlights “feel”, is by Todd Nichols of the band Toad the Wet Sprocket. The song is “Chicken” off their collection of unreleased tracks called “In Light Syrup”. Most of the solo sounds like just feedback to me, but it is so emotionally perfect for the song, and it gives me goosebumps every time!!!
Dude, I think the werd that applies to you would be “inspiring” because 9x outta 10 I gotta pick up the plank and see if there’s something I can “borrow” that might fit into my schtick.
As always solid data and good advice!
1 Start with a 'good' voice, simply a tone you like....repeat, you like.
2 Learn some skills.... and never stop
3 Play from within yourself. Make faces bounce around, whatever floats your boat.
The trumpeter Kenny Dorham used vibrato in the way you describe Whitney’s use of it and of you want to talk about feel well he’s worth checking out
Yeah, as soon as you played the Whitney clip, I got chills. Great singers are a great place to look for feel, and phrasing. I think it is the emotional connection and intention?
Mr. Buck - Loved the play out. You and the rest of the group playing with one another, subtle call and response, especially with the piano, but with the bass and kit as well. That subtle high cycle pad - are you generating that, or is that a synth? Thanks.
You've said the whole "emulate vocals" many times. I agree completely. Also very true for slide. Singers don't usually sing in a pentatonic box. Nor should great guitar solos. It strikes me as funny how often you see posts in Reddit guitar forums with subjects like "how do I break out of the box" when the answer is staring them in the face. Don't play in the box.
Melodic playing
I can never go beyond what the master Hendrix said (paraphrased) - its all about the notes you don't play.....
Absolutely 🎸🎶🎸❤️
Fap fap on.
Thanks for this! For you next North american tour, come to Canada; easier process, and some of your US fans will drive to either Montréal or Vancouver
To me playing with feel is having the ability to transpose your emotion into a musical note
I hate to break it to you, but singing is not effortless. But you have redeemed yourself by featuring a Gretsch so beautifully.
Man this solo 🤯😱😎😎😎
with vocal vs guitar and vibrato: a vocalist can add strength to the note, pushing a bit more air. A guitar player can swell volume but hard to get extra "strength" to the note that one might associate with vibrato on the guitar, without using vibrato.
I was thinking, "Ah, he's not going to mention Keith Scott, one of my favourite guitarists, though it would be a great example for what he's talking about." Then he mentioned Keith Scott!
Playing with feel involves tone, timing and phrasing,, voice leading and keeping it in context of the songs melody and lyrics.
My mate growing up, Kris, used to say that to play with feel you have to be making weird faces when you're playing. He was a far better guitarist then than I will ever be, so I trust him 😂
That is exectly why David Gilmour is my favorite guitar player of all time. That man discovered feel 🙂. Also Slash has a great feel and one other that i dont often see in the mix John Frusciante…great feel and solos
never seen you playing a Gretsch before,sounds great
Is there tab/backing track available for the jam @ 3:25? Always really enjoy that when it’s played and I’d like to learn some of it.
Zero feel is like a monotone robotic speaking voice that stays at the same pitch etc. Feel is like a voice that has lots of expression and drama to it, but its used correctly in the context of a sentence/conversation. Like the way a great voice over artist can bring a character to life. What guitarist use to achieve this is, timing, phrasing, sliding, pulling off etc etc.
Pulling off 🤪 indeed
Sensacional...
To me the difference is between a player who is great technically versus a player that makes someone have a strong emotional response to what they hear. Not to say that the two are mutually exclusive . Players like Brian May whose playing is like an extension of the vocal fluidity and melody in the song. Also it can be what a player doesn’t play as what he does play that becomes just as important.
Maybe that's why guitarists are fairly picky about the guitars and gear they enjoy the most? The "right" guitar or amp, can inspire you to play in different ways. Finding your perfect rig can be half the journey.
You get all the right parts and pieces assembled, and suddenly the little number you've been working on takes on a life of its own. Many of the biggest rock n roll hits were just products of the surroundings. Nowadays we have all this unbelievable gear at our disposal, but there's just not enough Chris Bucks to man it all?
Interesting that you mentioned Keith Scott. I've always felt that he has tremendous feeling. Another would be Neil Giraldo as well as the obvious Dave Gilmore. I guess it's playing from the heart and immersion in the music .
I would give my left arm to play guitar as brilliantly as Chris - okok, you know what I mean 😁
Mr Thomas Blug is another great guitarist