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Building a Solid Improvisational Concept Part 3 by Igor Saavedra
Hi my friends, it’s great to be writing for you on this very first 2012 issue. I hope you had great holidays and that you are prepared to work and to improve on your musicality. I can tell you that I’m already studying new things because I’ve got a lot to learn!
On the previous articles we’ve already covered the Philosophical, “Quantum Physics” and Poetical and Lyrical aspects of improvisation. So on the very last part of this “Trilogy on Improvisation” we’ll be covering the Esthetical and Psychological aspects, which in my opinion will close the circle for the main aspects of improvisation that have nothing to do with topics like scales, technique, chords, licks, chops, etc.
How the Esthetical aspect works on Improvisation
I’d like to introduce you to the subject of Esthetics.
– First of all you have the Esthetical Object, which is the idea of what you want to do or create.
– Then you have the Esthetical Result, which doesn’t necessary belongs to its’ creator, and mainly belongs to the audience.
– So as you can see in Esthetics you have what is called a Double Reality; from the point of view of the creator, the more the Esthetical Result reflects what it was for the Esthetical Object, the more the creator increases his/her sensation of Beauty from his/her creation; this specific sensation can only be achieved by the creator… so that’s great for us as improvising beings, isn’t it?
– Finally…. I suggest never forgetting to consider that “What has been made… has beauty on itself”.
What is beautiful or ugly is obviously something very subjective… and when it comes to music this gets even more critical, but there are indeed some objective aspects in Esthetics that I suggest you should also consider.
If you have studied a little bit about Esthetics I think you’ll agree with me that this concept is closely related with another concept, which is Proportion. The concept of proportion at the same time is closely related with mathematics and with another very important concept, which is Equilibrium, or most commonly said, “Balance”.
Think a little bit about how these concepts relate themselves with the Improvisational context and you’ll end up finding a lot of connections. To make it short I’ll suggest some tips about what to do or not to do when you are improvising so as to be able to walk within the ranges of Proportion and Equilibrium.
– Always consider the length of the solo… don’t exaggerate! How many times have you heard a musical piece that is 3 minutes long and one of the Solos is 20 minutes long! Not everybody is Charlie Parker or Keith Jarret, so those are not good examples to validate extremely long Solos. Exceptions will just confirm the rule. If you cross that fine line you can transform what could have been a beautiful solo into an ugly, heavy, boring and disgusting “self gratification” speech.
– Don’t exaggerate with the length and the amount of chops and licks… Don’t play them in any moment of your Solo just “because.” Know when and how to play them so as to relate them with the climaxes or “sub climaxes” of your Solo; usually those are the right moments for them.
– Same with dynamics… Build dynamics carefully, increase the volume just when needed, don’t play “flat”… people usually play loud all the way… you must leave some room so as to be able to grow on dynamics while the Solo starts to grow on intensity… obviously again there are some exceptions to this so called “rule”.
– Balance the speed of your playing… know when to play fast and don’t do it all the time. Don’t use this amazing musical resource to show that you are fast and skilled as this is the most unmusical thing to do… speed up when the musical tension asks for it and follow your ear and your feelings.
– Don’t be too Diatonic or too Odd… again, know when to go into each different texture. In general terms I’d recommend going odd when the musical tension increases.
– As you can see, a combination of odd notes, fast runs, intricate chops and loud volume will surely contain a bunch of energy and tension, and you can obviously imagine what will happen with the opposite situation. You can make use of all these elements in order to achieve the different tension states you are looking for. Finally remember that the whole musical speech is exactly about that!
What about the Psychological aspects in relation with improvisation…?
It’s important to say that this specific aspect is closely related with the Stage and the Audience, because when you improvise at home in your room or studio the psychological reality is quite different.
– Attract the attention of the audience! Have you seen those TV Jazz Festivals where the TV Director knows nothing about Jazz and the Keyboard player is improvising amazing notes and chords while the TV Director is showing the Saxophonist or the Guitar player instead? Well, he is showing and broadcasting the guy who calls out the most attention in terms of rating, and many times the attitude of some musicians who aren’t even improvising is so great that they call everybody’s attention! That’s what you have to do… “Increase your stage rating” or nobody will pay enough attention to your Solo. I’m not meaning that you jump all around the stage like those Glam Rock Bands of the eighties, or do any kind of crazy things on stage. I’m a very relaxed guy on stage and sometimes kind of nerdy – hahaha… but we are talking here about subtle ways of keeping the audience with you.
– Being shy on stage is something you don’t want… you have to leave that home. “On Stage you can maybe express Tenderness, but not Shyness”. Play with Confidence, the audience has to Believe that you indeed know and trust what you are doing; that is called Scenic Magic!
– Talking about shyness… you also have to have a personality strong enough to respectfully but clearly communicate to any of the musicians in your band to lower the volume if they are too loud or to get “unbusy” if they are overplaying and jeopardizing your improvisation… so “Take full control of your Solo!”
– “Play” with your fellow musicians… and when I say “Play” I mean the verb in the extended sense of its meaning! For example listen to what they are playing while you improvise and answer or copy their ideas, and they should do the same with you so as to sometimes help boost your improvisation, (just listen to Chick Corea while any member of his band is improvising). That also applies to the audience… so “Play” with them too. Choose specific people and get in visual contact with them; usually go for the one who looks more interested in what you are doing, that guy will increase his/her interest if you get in contact and you send your energy back. The good news is that this guy’s going to act like an antenna sending, broadcasting and spreading the energy to the rest of the audience…
– Show the band and the audience that you are somehow happy to be there and not quite the opposite… happiness is contagious and takes the best energy of the people who surrounds you…
Well my friends, as you could see on this trilogy there are many aspects of improvisation that are really important, even though they have nothing to do with the theoretical aspects like scales, technique, chords, licks, chops, etc. Consider them as equally important… I’m basing this advice on more than 20 years of playing music and improvising on stage and learning through the process…
I’m traveling all the way from Chile to perform at NAMM 2012! I have four different appearances including Markbass, La Bella and Nordstrand booths as well as coverage from Bass Musician magazine! So stay tuned from lots of NAMM coverage soon!
I wish you all the best for this 2012… see you in the next issue!
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
