“I could stand out a little bit with this percussive style.”Ĭolvin certainly did stand out-winning Grammys for her 1990 debut Steady On, and for her 1997 blockbuster song “Sunny Came Home.” Along the way, she’s widened the range of the guitar work with alternate tunings. “It came in handy when I was doing gigs at clubs where people sometimes listened but sometimes didn’t,” she says. Following the example of Joni Mitchell’s percussive right hand, Colvin developed a pick-based technique that allowed her to be, in effect, her own drummer. “My guitar style was born of necessity,” says Shawn Colvin, recalling the period in the ’80s when she was first finding her groove as a singer-songwriter in New York City. To illustrate their points, they shared examples from their own songs that are transcribed below-check out the companion videos. I spoke with these musicians to find out more about how they forged their accompaniment styles and about the tools they use, and to glean advice on playing effective backup and bringing out the heart of a song. In other words, the guitar has to be the band-and a versatile band, too. In that solo setting, the guitar needs not only to lock in with each individual song, but to provide variety and dynamic contrast over the course of a whole night. Though they perform sometimes with bands, all have also spent years learning to hold their own onstage with one voice and one guitar. All five are top-flight singer-songwriters and distinctive players whose guitar styles are inextricably linked to the character of their songwriting. That’s what the guitarists featured here- Mark Erelli, Shawn Colvin, Anaïs Mitchell, Martin Sexton, and Anthony da Costa-accomplish in song after song. Instead, the best accompaniment is about serving the song-so that it grooves more, the melody shines brighter, and the listener gets pulled deeper into the emotions and the story. The guitar work behind a vocal or another lead instrument can be sophisticated, for sure, but it’s not ultimately about dazzling anyone, scoring applause, or even drawing attention to itself. Great accompaniment is an art that an audience may feel but not notice. From the January 2018 issue of Acoustic Guitar | BY JEFFREY PEPPER RODGERS
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |