I'm a beginner accompanist (guitar) and play with friends in a domestic session. Since I'm very poor in improvising chords and can't figure out chords on the fly even if i know the tune , I decided to write specific backup to tunes , then study them by heart .
So , I'm very much like a melody player learning tunes . Thus I only accompany tunes I know very well and usually don't make big mistakes which can ruin things.
Yet , I have to work hard on each tune and my repertoire develops very slowly.
For the tunes I hav'e not yet learnt , I play chords from sheet music, or don't accompany at all - backup is not always wanted anyway.
Most important - I enjoy the process very much , I think that my friends enjoy the outcome , and maybe after doing it for some years , I'll be able to do it with less work and without writing.
This seems a reasonable way of beginning to learn how to play. Though what you should keep a look out for is saying that you know the tune, but can't figure out the accompaniamnet on the fly. This meens you obviously don't know the tune as well as you think. More importantly though, is that you should stop thinking in terms of melody and chords. Good backing enhabits a place much less balck and white as this. And the most effectinve and best fun way of finding this place is by first learning the tunes
I don't know where you are on the learning curve--whether its just the basic chord structures your having trouble with, or if you are working on trying to develop fuller backup and different chord voicings. I'm assuming its the former. (If you've already got the basics, skip to the book recommendation below.)
When trying to pick up stuff on the fly, figure out first what key you are in. The chords will flow from that. Most Irish music is in D maj, G maj, A maj, Em, Am keys. Learn the chords that go with the keys.
In the major keys, you can for the most part follow the "circle of fifths"--D maj you will look for D/G/A combinations. A maj will include A/D/E chords. G major will includ G/C/D chords, and so forth. Some or all might appear, but at least you will know what chords to be on the lookout for.
Many of the minor tunes are written in Em or Am. If in Em, your two primary chords will be Em and D maj. Even if those aren't all the chords in the tune, they will be a huge part of it. In the key of A minor, you will see a lot of Am and G maj interaction.
What folks call "modal" tunes--actually, the mixolydian mode--are are like the minor cousins, but instead use two major chords, starting with the root chord and dropping a third. For example, Banish Misfortune has only two chords: D and C.
If you want to add something to session but don't know all the chords, don't be afraid to find a drone note or two note chords and just play that. It provides an interesting tension and counterpoint.
It is just as important, if not more so, to work on your rhythm. In your practice, focus just as much on what you do with the right hand as you do with the left hand. I play backup often for an outstanding 80 year old Texas swing fiddler. He says: I don't give a damn what you do so long as you don't f-up the beat!
Listen to all the music you can and as many different styles as you can. Play along with the recorded music. Before you know it, these puzzle pieces will start falling into place and you will be able to anticipate chords on tunes you don't even know.
This will give you some of the basic stuff. For advanced accompanyment, take a look at Celtic Back Up by Chris Smith. Its a Mel Bay publication.
When all else fails, sit next to a good guitarist and follow his/her lead!
Thanks .
I play guitar for some years now and can do many things
on the guitar if I have time to think. There for I find this method to match my abilities and disabilities. Since I dont have a "steady job" as an accompanist in pub session and no one rely on my backing too much , the ability to play chords on the fly is not urgent. On the other hand since I'm capable of doing somewhat interesting things , I don't want to wait , but do these things now (it is a lot more fun, I get bored playing those basic chords).
For that reason I did not find the book you mentioned so interesting although I know that for understanding the structure of the music and ear training it is a great book.
By 'composing' a backup per tune , I realy get the feeling of making music . And along the way I probably learn how it works so in the (far) future I hope to be able to recognize the chords and more , on the fly ...
Just don't stop with those standard accompaniments that you are using as a starting point. Brouse back to some of our recent, sometimes heated, discussions of how to accompany this type of music. Keep working, reading, listening, trying new things. There are a lot of standard accompaniments that sound perfectly acceptable, but with a little work you can go beyond acceptable and add to the magic of it all!
I agree with Mr. McDaniel in-so-far as the right hand (strumming hand to be clear lest you be left handed) being as, if not more, important than the left hand (chording hand). The advice offered about the basic tune structure is top notch. As is Mr. Gill’s advice about knowing the tune. When I practice I play along to the tune in my head, rarely do I practice the guitar along with recordings. If I am unable to hear the tune in my head accurately I will listen to a recording of it often enough so that I then can hear it and practice my accompaniment. I will sometimes practice with a recording when practicing the bodhrán.
Advancing from this point I would think to be more a function of different chord voices up and down the fingerboard as well as those subtle in between changes that one hears in the likes of Pat Egan’s play. I often times make a simple base run entering the turn or a change. If the other players seem to be agreeable I will also sometimes syncopate the rhythm a little. I know Mr. Gill, this is not really preferred and may even be grounds for dismissal, but I grew up on Bluegrass and Appalachian music and often times can’t help myself even when I try hard not to do it.
I have always approached rhythm accompaniment as building a platform upon which the melody players can execute their craft.
Learning specific backup to tunes
Learning specific backup to tunes
I'm a beginner accompanist (guitar) and play with friends in a domestic session. Since I'm very poor in improvising chords and can't figure out chords on the fly even if i know the tune , I decided to write specific backup to tunes , then study them by heart .
So , I'm very much like a melody player learning tunes . Thus I only accompany tunes I know very well and usually don't make big mistakes which can ruin things.
Yet , I have to work hard on each tune and my repertoire develops very slowly.
For the tunes I hav'e not yet learnt , I play chords from sheet music, or don't accompany at all - backup is not always wanted anyway.
Most important - I enjoy the process very much , I think that my friends enjoy the outcome , and maybe after doing it for some years , I'll be able to do it with less work and without writing.
What do you say ?
# Posted on May 28th 2005 by azo
Re: Learning specific backup to tunes
Improvisation takes practice and determination.
# Posted on May 28th 2005 by Dr. Dow
Re: Learning specific backup to tunes
This seems a reasonable way of beginning to learn how to play. Though what you should keep a look out for is saying that you know the tune, but can't figure out the accompaniamnet on the fly. This meens you obviously don't know the tune as well as you think. More importantly though, is that you should stop thinking in terms of melody and chords. Good backing enhabits a place much less balck and white as this. And the most effectinve and best fun way of finding this place is by first learning the tunes
# Posted on May 28th 2005 by ...
Re: Learning specific backup to tunes
I don't know where you are on the learning curve--whether its just the basic chord structures your having trouble with, or if you are working on trying to develop fuller backup and different chord voicings. I'm assuming its the former. (If you've already got the basics, skip to the book recommendation below.)
When trying to pick up stuff on the fly, figure out first what key you are in. The chords will flow from that. Most Irish music is in D maj, G maj, A maj, Em, Am keys. Learn the chords that go with the keys.
In the major keys, you can for the most part follow the "circle of fifths"--D maj you will look for D/G/A combinations. A maj will include A/D/E chords. G major will includ G/C/D chords, and so forth. Some or all might appear, but at least you will know what chords to be on the lookout for.
Many of the minor tunes are written in Em or Am. If in Em, your two primary chords will be Em and D maj. Even if those aren't all the chords in the tune, they will be a huge part of it. In the key of A minor, you will see a lot of Am and G maj interaction.
What folks call "modal" tunes--actually, the mixolydian mode--are are like the minor cousins, but instead use two major chords, starting with the root chord and dropping a third. For example, Banish Misfortune has only two chords: D and C.
If you want to add something to session but don't know all the chords, don't be afraid to find a drone note or two note chords and just play that. It provides an interesting tension and counterpoint.
You can find chords for some ITM tunes on the web. Take a look at the music at http://www.slowplayers.org/index.html
It is just as important, if not more so, to work on your rhythm. In your practice, focus just as much on what you do with the right hand as you do with the left hand. I play backup often for an outstanding 80 year old Texas swing fiddler. He says: I don't give a damn what you do so long as you don't f-up the beat!
Listen to all the music you can and as many different styles as you can. Play along with the recorded music. Before you know it, these puzzle pieces will start falling into place and you will be able to anticipate chords on tunes you don't even know.
This will give you some of the basic stuff. For advanced accompanyment, take a look at Celtic Back Up by Chris Smith. Its a Mel Bay publication.
When all else fails, sit next to a good guitarist and follow his/her lead!
Happy tunes, John McDaniel
# Posted on May 28th 2005 by mandomac2
Re: Learning specific backup to tunes
Thanks .
I play guitar for some years now and can do many things
on the guitar if I have time to think. There for I find this method to match my abilities and disabilities. Since I dont have a "steady job" as an accompanist in pub session and no one rely on my backing too much , the ability to play chords on the fly is not urgent. On the other hand since I'm capable of doing somewhat interesting things , I don't want to wait , but do these things now (it is a lot more fun, I get bored playing those basic chords).
For that reason I did not find the book you mentioned so interesting although I know that for understanding the structure of the music and ear training it is a great book.
By 'composing' a backup per tune , I realy get the feeling of making music . And along the way I probably learn how it works so in the (far) future I hope to be able to recognize the chords and more , on the fly ...
# Posted on May 28th 2005 by azo
Re: Learning specific backup to tunes
There is no such thing as a 'right' or 'wrong' chord - just ones that sound good, better, or not so good.
You could do worse than use conventional theory of harmony as a starting base - Mandomac's advice looks pretty good.
But mainly the two best things to do are: listen, and practise.
Good luck
# Posted on May 29th 2005 by flying tigerpig
Re: Learning specific backup to tunes
Just don't stop with those standard accompaniments that you are using as a starting point. Brouse back to some of our recent, sometimes heated, discussions of how to accompany this type of music. Keep working, reading, listening, trying new things. There are a lot of standard accompaniments that sound perfectly acceptable, but with a little work you can go beyond acceptable and add to the magic of it all!
# Posted on May 31st 2005 by AlBrown
Re: Learning specific backup to tunes
Greetings Azo,
I agree with Mr. McDaniel in-so-far as the right hand (strumming hand to be clear lest you be left handed) being as, if not more, important than the left hand (chording hand). The advice offered about the basic tune structure is top notch. As is Mr. Gill’s advice about knowing the tune. When I practice I play along to the tune in my head, rarely do I practice the guitar along with recordings. If I am unable to hear the tune in my head accurately I will listen to a recording of it often enough so that I then can hear it and practice my accompaniment. I will sometimes practice with a recording when practicing the bodhrán.
Advancing from this point I would think to be more a function of different chord voices up and down the fingerboard as well as those subtle in between changes that one hears in the likes of Pat Egan’s play. I often times make a simple base run entering the turn or a change. If the other players seem to be agreeable I will also sometimes syncopate the rhythm a little. I know Mr. Gill, this is not really preferred and may even be grounds for dismissal, but I grew up on Bluegrass and Appalachian music and often times can’t help myself even when I try hard not to do it.
I have always approached rhythm accompaniment as building a platform upon which the melody players can execute their craft.
Peace,
Ed
# Posted on May 31st 2005 by ejsant