sergiodeblanc
New Member
- Joined
- Apr 26, 2012
- Messages
- 28,593
Everybody likes BIG guitar tones and parts, the mighty feeling of power chords, overdrive and distortion, full out hum bucker tones, and songs that are driven by BIG guitar parts, but what about the "little" ones?
The past few years I have been way into little parts and tones, the smaller the better. The songs where guitar is an important part of the recipe, but not the focus, players who dodge and weave between the other instruments, players like Steve Cropper, Al Anderson, and Al McKay. They rarely dominate the song or the mix and never play on top of the other guys, they "float like a butterfly and sting like a bee", all the while creating the groove.
The hardest thing I have ever learned to do on the guitar was to just "shut up", and play only what was necessary for the song.
How do you feel about "little" guitar? What are some of the tunes that you think of when thinking about this approach?
Here is a tune that I feel everyone involved played only complimentary parts, nobody showing off, nobody over-playing, just everybody doing their "little" thing to create a BIG sound.
The past few years I have been way into little parts and tones, the smaller the better. The songs where guitar is an important part of the recipe, but not the focus, players who dodge and weave between the other instruments, players like Steve Cropper, Al Anderson, and Al McKay. They rarely dominate the song or the mix and never play on top of the other guys, they "float like a butterfly and sting like a bee", all the while creating the groove.
The hardest thing I have ever learned to do on the guitar was to just "shut up", and play only what was necessary for the song.
How do you feel about "little" guitar? What are some of the tunes that you think of when thinking about this approach?
Here is a tune that I feel everyone involved played only complimentary parts, nobody showing off, nobody over-playing, just everybody doing their "little" thing to create a BIG sound.
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