Any tips on 'locking in' on faster tunes?

Phydeaux3

Dennis

Totally agree to Jam Situations. Too many and it's a noise. But when you have a few and they KNOW what it's all about then it's pure bliss.

I agree to your post but I thinks it's exceptional.

If you're a good musician that's fine. Those not blessed as yet is a different matter.
The original post is to do with keeping tempo in fast tunes. If you have trouble keeping tempo, I believe you don't have to listen to the soloist to keep tempo because they're listening to you (or at least the tempo).
So why listen to their noodling at that point, concentrate on your rhythm.

It's later on you when you get better and get the feel and know where you are in the tune to assist each other is probably where you are in your post I believe.

But that's not the point of this post. The point is what do other players do to try to keep tempo.

Those we're my points.

Jack

langleydjango wrote:

WATCH the soloist. Lock your eyes on him and his instrument and stayed fixed there. This will keep you always in the moment with the soloist and keep you from drifting off wondering what you'll have for dinner later. You'll be amazed at how much more responsive and "locked in" you'll become.

I do that a lot, but it has led to some unintentionally funny moments when our soloist happens to look at me while he's singing a tune like Anything but Love.

We've played together weekly for something like four years now, and it's scary how connected we've become musically--we use a lot of segues in our sets, but he often neglects to mention what song he's moving toward; I can usually tell our new bassist what the next tune is going to be just by the change in feel. Like a few others have mentioned, regular gigging can be a big help, especially if it's with the same group of people.

There's also the difference between keeping the tempo straight and thinking about dynamics--your playing can sound totally different at any tempo depending on how loud/soft/short/long you're playing. Of course, the goal is to be able to do both those things at the same time.

best,
Jack.

Phydeaux3

Looking back at Bob's original post and listening to his demonstration of Made In France, I don't believe he has a tempo issue. I think the demo he has given us is more to do with consistancy of the rhythm itself.
If I'm correct, that is down to technique and practice which can be learned at home for hours on end if needed. But along with inconsistant technique, the tempo could also suffer due to missing the beat, missing the strings or fatigue.

Both Dennis and Jack are correct that 'listening out' is an intrinsic part of playing for everyone.
However, I don't think Dennis' video demonstrates how a player can maintain tempo. I think it demonstrates the need to be aware what's happening around you for you to have to move the tune in cases where soloists get lost (and also visa versa for soloists) which listening is obviously a main part.

Jack's charming story is quite different, there are a lot of players (including Django) who'd just do their own thing and the others have to 'keep' up. Van Morrison also employs this method believe. Then I would admit that YES you have to listen very carefully, but again it's still nothing to do with controlling tempo.

Perhaps another thread on the merits and pitfalls of getting lost in a tune and how to recover would be appropriate.

My contribution would be jamming with gypsies who add bars that shouldn't be there!!!!

a

Try making your own backing tracks- with a metronome ...and post them here! this way you'll be able to hear yourself and practice AND expand the repertoire of playalongs. Make some for tunes that aren't available on the web.

Also, try to keep the changes running in your head- test yourself by stopping for a few bars while the changes move. Play at very slow/fast tempos (increasing/decreasing the tempo as you get more comfortable), use different inversions. I think that the more familiar you are with the changes, the more loose you will be - most if not all tension in this in the mind.

Also, count. Sub-divide on ballads to keep it tight.

Also, find the sweet spot on the guitar, where you can squeeze out sound with the least amount of effort.