Playing over changes - Guthrie Trapp with Papastache

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mburekengemburekenge Frets: 585
Guthries Trapp is absolutley amazing IMO - taste, tone and melody!

Anyway thought you might like this link as he goes through his approach to playing over changes,


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  • interstellarinterstellar Frets: 484
    brilliant thanks for posting
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  • BradBrad Frets: 209
    A great player and really clear, good advice too. I'll be stealing some of those lines!
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  • mburekengemburekenge Frets: 585
    Brad said:
    A great player and really clear, good advice too. I'll be stealing some of those lines!
    Yeah. Guthrie is great.  Lava cables have a clinic on the tube with him and Josh smith on a similar topic which is also well worth checking out.

    I thought Brett pappa did a great job here. It's so effortless for GT that he can expand deeper and deeper. I thought Brett helped keep it accessible to mere mortals.

    Im gonna be nicking those lines too!
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  • AlexOAlexO Frets: 197
    Great thanks for posting. The colour of that 335 is stunning also!
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  • ModellistaModellista Frets: 868
    Don't want to micturate on anyone's chips but isn't that first 90 seconds just a bit of major pentatonic widdling with a few double stops thrown in for good measure?
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  • BradBrad Frets: 209
    Don't want to micturate on anyone's chips but isn't that first 90 seconds just a bit of major pentatonic widdling with a few double stops thrown in for good measure?
    I think we’re hearing very different things in that case :smile: 
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  • Matt_McGMatt_McG Frets: 96
    Whenever I watch all those country based session players -- or really country/jazz/RnB -- even going back to people like Reggie Young, what's clear is that they aren't doing anything particularly "clever" harmonically. But what they have completely nailed, is the basics, everywhere on the neck. So, they REALLY know every triad, every chord, every inversion of those chords, playing them in a single position, playing them up and down the neck. And they know all of the chord tones, their role in the relevant scale, etc. Just the fundamentals, but they know it with a depth and clarity that most players, even really good players, don't have.

    So they can just play over anything, and make it sounds melodic, and play an accompaniment that has loads of voice leading and harmonic movement, off the cuff.

    I mean, I can do that a bit, and if you asked me to tell you the 2nd inversion of X chord at N fret, or whatever I could do it. Perhaps even without a massive amount of thought. But I couldn't do it while improvising a fluid, interesting, melodic rhythm part over a tune I'd never heard before, and just been handed a skeleton chart for.
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  • bingefellerbingefeller Frets: 5438
    Don't want to micturate on anyone's chips but isn't that first 90 seconds just a bit of major pentatonic widdling with a few double stops thrown in for good measure?
    He's just got better note choice and phrasing than most of us lol.  

    I use to think that a lot of these great players were doing something different scale and note wise than most people, but they're not.  I had someone transcribe me some Pat Metheny solos to see what the magic formula was and there isn't one - he too was using basic CAGED and scalar patterns, just with incredible nuanced phrasing.
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