Email with Tyler Lieb

Date: Sun, 21 Feb 2010 11:11:55 -0800
Subject: Hi Tyler,
From: danielrainard@gmail.com
To: tylerlieb@hotmail.com

Hi Tyler, I am writing you from the Amsterdam near the coast of Namibia where we are making land fall tomorrow morning. This will be the end of 8 productive sea days and I wondered if you wouldn’t offer me some encouragement by letting this email act as my next blog post. I haven’t done much to the blog and I have a feeling that giving it a personal touch would do a lot for my motivation. I am basically really enjoying all this free time and wanted to share some of what I am learning/trying to learn. So here’s the first thing... Slash chords are pretty cool and useful. I’m enjoying D/Bb and C/Bb as voicings of Em7b5. It was also a sort of “aha” moment when I realized that moving that up a minor third would make it a suitable V chord in a minor ii-V-i, and that moving it up again this time by a major third would likely make it a great i chord. I don’t know if you’ve ever read the Mel Bay Complete Book of Harmony Theory and Voicing by Bret Willmott but, it is really ear opening and just too comprehensive. It is a tome which offers a really amazing education in its pages. Just playing through it has given me some really fresh ideas. I use band in a box and mute the chord instruments so I can have free reign over the middle voices and play thorough the examples that way. Good times. There aren’t any jazz musicians per se on the ship and I am certain that the level of repetition that I embrace in practice would drive any of them mad. So computers are good. On the other hand, I would never perform with one in place of a real band. In my experience tracks suck! I play shows sometimes where the act uses one or two and we just stand there. The second thing I am working on is reading and executing pentuplets with grace and precision. I have started by just alternating them with sixteenth notes using a metronome and playing combinations of 5 notes on different strings, using different articulations. Thirdly, I am working on 4 note licks to play in the various spots of Rhythm Changes where the harmony is briefly different from the norm. Specific licks to plug into those trouble spots where a tritone sub needs your specific attention. By practicing these licks you gain an awareness of what is really different about them (aurally and mechanically) and can proceed more intuitively. I don’t advocate lick based playing but it is a way to learn.

So how is Victoria treating you? What’s new? Don’t worry, your response won’t go on my blog unless you want some of it to. Thanks for letting me bend your ear or whatever the email equivalent is.

All the best,
Dan

On 2/22/10 9:50 PM, "Tyler Lieb" wrote:

Great to hear from you!

You can use this reply as a blog post if you want, although I don't know how much you'll find in it!

Really neat insight on using slash chords... Whether as looking at them as "true" slash chords or inversions, they certainly open up neat doors. In terms of chords, voicings, and the like, lately I have been spending time at tedgreene.com, an amazing harmony resource.

Try moving your JM based voicings up a half step from the altered V to make your I chords nifty maj7+5 chords. I love that trick.

Have been studying with Mike Moreno over skype. Has been amazing. We have been talking a lot about phrasing, leading me to check out Hal Crook's How to Improvise book... Amazing. Having been spending a lot of time with his play/rest approach, and I think it's been doing good things for me.

Pentuplets are scary. :)

When are you back near this landmass?

Tyler




I played with Earl Klugh!

Well today I am a very happy guitar player. I've never played with a better guitarist than Earl before in my life. I once played with Russell Malone but I was 16 and it didn't count! Both are great and I'm not going to make that call! Better is a designation I try to make of my present self compared to my former. I have paid a certain price for pursuing academic success and musical growth but what I was doing at 16 and what I'm doing now are different things. All in all, I'm grateful for the improvement colleges have helped to facilitate but I can honestly say that one song with Earl (after many hours of listening to and enjoying his music) was more inspirational and informative, more educational in the most practical way than most of what I learned in college. I have CWU and their faculty to thank for the opportunity to meet Earl of course and I understand that players like Earl cannot be commonplace in any college. I am just so glad I met him and heard him.

As a solo guitarist, I rate him among the very best because he so easily strikes the balance between playing chords and melodies and he has fingerings which are specific to his vocabulary and fit so perfectly in the harmonic and rhythmic structure of a piece. When you listen to Earl, you are hearing someone who has practiced at great length and loves and cares for his music. I played one tune with him at the end of his talk on life on the road, a subject he knows plenty about. His story about playing at a casino and being paid in quarter a sum which weighed 50 pounds and later fell on his foot was a laugh. So, the clock was running down and I just had to ask if I could play a tune with him, which was "All The Things You Are." I played an intro and as the form began I think asked him if he'd play the melody since he was Earl Klugh. This was odd and funny and only overshadowed in its amusement by my taking the first solo, even after he played the break. I didn't know I was doing it until it was done. I guess I was thinking that maybe I shouldn't follow Earl Klugh! Earl's playing is gracious and fluid. Rhythmically you are always comfortable and often surprised and his harmonic vocabulary is second to none. He really has ears like Bill Evans. I can't think of another guitarist with his vast repertoire of substitutions and fluid chord melody chops. Anyway, I was trying to be present in the moment and not do anything stupid when I played some wrong chords and I apologize but I guess nerves got the better of me and I should have been paying attention to the music which was beautiful and joyous to my ear. I was hearing what could be as well as what was. Someone like Earl has a lot to teach us about dedication and its rich rewards. He makes the impossible look easy and I walked away feeling like I had just made a friend. He's an incredibly kind-spirited person and a natural mentor. I listened to the playback in my car and picked out all the flaws and missteps but for what it was I could not be happier. If we didn't make mistakes we wouldn't have to learn.

I really want to transcribe more of his recordings and publish some articles on his chord melody stuff and substitutions. In other words I want to listen to more Earl Klugh and find more of his grace in my own playing and more of his kindness in my attitude. As he spoke he would often punctuate his words with a chord or two. His words and his music are coming from the same place. I wish I had more time to talk with him but I will probably have to settle for the hour and a half we had in the band room at CWU. That's where he told us about how he used to practice on the road and ask George Benson how to play stuff, which he would show him at Benson speed. He described how hearing something night after night would make an impression on you and if you were diligent in practicing you would find your way to it. I've got to play some guitar now and try to work out some of those amazing things I just heard. Today was just so good! If you ever get a chance to hear Earl, do. He and Denise were just wonderful and I feel so privileged to have met them. Music is a life long journey and a stop like this helps you remember where it is your going! Okay, enough blogging, I have to pick up a guitar now.

-Dan

Kurt Rosenwinkel has inspired me.

I heard him for the first time in 2004 at the Ballard Jazz Festival with the Brian Blade Fellowship and my mind was blown! He's a samurai among guitarists. I decided to take an analytical stance from the first because there was absolutely no question that I loved his music but there was definitely a long road ahead to discovering what I was hearing and how it was played. I started to transcribe and listen a lot. I shamelessly saved up and bought a D'Angelico and a Line 6 delay modeler. I caught myself in full on imitation mode, which I wish to say is a great way to learn from those you admire. It goes without saying that I don't sound like Kurt Rosenwinkel, however I have gleaned some great sounds and ideas, as well as assurance and inspiration from his music and his own words. Talking to him briefly after a concert, he impressed upon the importance of listening to your own voice and giving it a place of importance in your music. I have to admit that I have expanded this to mean giving yourself a place of importance in the music, a most rewarding challenge. It gives you honesty and that can be both affirming and alarming but it is always real. I feel about my playing the same way I do about my voice. It is a part of me that I can, indeed must live with and which I use to communicate. I am grateful I possess the ability to play an instrument but sympathizing my playing with my voice has given it a deeper meaning. I find that the idea applies to practice as well. I am convinced that playing only for yourself is just about the same as talking to yourself. It might be useful to think things out but it definitely has a point of diminishing returns. Just reach out and have a conversation. That's not a tangent but I do want to get to an example of a musical idea I learned from transcribing Kurt. This lick can be heard 2 minutes and 17 seconds into “Minor Blues” on Kurt’s Verve release, “The Next Step.” It demonstrates his use of movable motives and hemiola figure that he is known for. By setting a five-note motif to a four note rhythmic grouping, in this case sixteenth notes, he is shifting the accent to a different note of the motif in each successive repetition. This lick so sparked my interest in this subject that I wrote an encyclopedic study of movable motives and then compiled them with analysis into a book I’m calling Motivic Mastery. Basically, it is a great help to anyone wishing to incorporate this idea into his or her vocabulary and takes the guesswork out of fingerings. Look for it on my webpage, www.danielrainard.com.

A technique which has not been widely duplicated.

Actually, I know of no other guitarist besides Pat Metheny who uses this technique and it one that I really struggled to figure out. It's one which demands attention and a lot of practice. For my part I have been running this over different scales and on different string sets. One unique aspect of this technique is the way Pat changes positions with a hammer on. It's kind of like a musical long jump or triple jump. It's athletic. The second half demonstrates a kind of hammer-on tumbling if you will. The idea of using hammer-ons in this way is one which will yield a lot of melodic inspiration if practiced properly. It is very economical and you need that at fast tempos. Pat's technique has obviously served him very well. There aren't any other guitar players I can think of who play 3 hour sets night after night, year after year. He's doing a lot of things right and I have been listening. Hope you enjoy and watch the video on YouTube of "The Real Pat Metheny Lick".

Hello and welcome!

This is my first foray into the digital domain and I am excited to be able to share what is my greatest passion, namely playing guitar. I have played guitar for 18 years now and am only just beginning to feel confident in my knowledge and application of the instrument. It has been great fun and a lot of work to achieve this sense of purpose. Here, I am going to talk about jazz guitar as it stands in the present. I will reflect on lessons from the past and I will certainly entertain notions of the future. A lot of this will be musing but I intend to provide thoughtful content in support of it. Here's a lick from John Scofield. I forget where I heard it exactly but it was on the A Go Go album somewhere. It's kind of a nice collection of notes and it rolls off the fingers in a way that is natural and supportive of good rhythm. I suppose this same lick could work over an G7#9, or a C9#5, but John put it here on a Bb7#9. It covers a lot of range very quickly. Sco's got a great feel for the guitar. When I met him at a CD signing after a concert in Vancouver, I told him that he wrote great idiomatic stuff for the 335 he plays. (I know it's an Ibanez.) He gave me a kind disparaging look, as if to tell me the word sounded too much like idiotic. Well, I meant what I said. He gets the goods out of his instrument on every song. I love that. The sound of a guitar, his guitar in this case is a major feature and it's exciting to hear its contribution to his tunes. They wouldn't come off as well on any other instrument. Perhaps "idiomatic" was not the correct term. It just doesn't sound right. Like the Freddie Green rhythm guitar I used to play on my Stratocaster in high school. Check out this bitchin' lick!