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Guitar Musician e-zine 08/16/2006
In This Issue:
| "Music is the wine which inspires one to new generative
processes, and I am Bacchus who presses out this glorious wine for mankind
and makes them spiritually drunken."
- Ludwig van Beethoven
I used to eat a lot of natural foods until I learned that most people die of natural causes.
Gardening Rule: When weeding, the best way to make sure you are removing a weed and not a valuable plant is to pull on it. If it comes out of the ground easily, it is a valuable plant.
The easiest way to find something lost around the house is to buy a replacement.
Never take life seriously. Nobody gets out alive anyway.
There are two kinds of pedestrians: the quick and the dead.
Life is sexually transmitted.
Health is merely the slowest possible rate at which one can die.
The only difference between a rut and a grave is the depth.
Health nuts are going to feel stupid someday, lying in hospitals dying of nothing.
Have you noticed since everyone has a camcorder these days no one talks about seeing UFOs like they used to?
Whenever I feel blue, I start breathing again
All of us could take a lesson from the weather. It pays no attention to criticism.
In the 60's, people took acid to make the world weird. Now the world is weird and people take Prozac to make it normal.
How is it one careless match can start a forest fire, but it takes a whole box to start a campfire?
Who was the first person to look at a cow and say, "I think I'll squeeze these dangly things here, and drink whatever comes out?"
A Lesson For The Learning
Interested in guitar lessons? - Be sure and check out the guitar lessons offered by Andrew Koblick at Amazing Guitar
GUITAR Q AND A
Birth of the Harmonic Minor Scale
Carlos Torres; San Juan, PR
Q: Can you explain how to create a harmonic minor scale and some of its uses?
A: A harmonic minor scale is constructed by raising the seventh degree of the Natural Minor scale.
Let�s take the notes of an A Natural Minor Scale for an example:
Now you raise the seventh degree one half step which would make the G into a G# and the Harmonic Minor Scale is now:
This scale tends to have an Egyptian sound that is very distinct. The most common application for the harmonic minor scale is over the V dominant 7th chord (referred to as V7) in a minor key. For those of you who aren't familiar with chord theory, the V7 chord in a minor key is seven frets up from the first chord in the key. For example, in the key of A Minor, the V7 chord is E7 (the note E is seven frets up from A). In the key of E Minor, the V7 chord would be B7.
Let's use the progression A minor to E7 to illustrate good use of the harmonic minor scale. Over the A Minor chord, a guitarist could play minor pentatonic licks, blues licks, ideas from Aeolian or Dorian modes, etc. But, when the progression moves to E7, the guitarist would play notes from the A Harmonic Minor Scale (note: you do NOT play the E harmonic minor scale over the E7 chord). This is a bit tricky and will take some getting used to because you are changing scales in mid solo and using a chordal soloing approach.
Experiment and try to come up with some great sound using the Harmonic minor Scale.
Yours in Music
Feature Paid Advertisement
Studio Tech Tip - Compressing Vocals
By Dennis Kambury
Compression is one of the most useful tools in the studio, and for good reason. It not only can tame wild dynamics, it can help prevent signal overload, smooth performances, and boost perceived loudness by squashing dynamics to within an inch of their limit�just think of any big-time pop tune or those commercials that seem to jump out of the TV set! This week, we'll take a quick look at compressing vocals.
Managing a singer's dynamics is a study in personal dynamics. Pro singers will often play the mic like an instrument, moving back when they're belting it out, and moving in when they're after a quieter, more intimate moment. Less experienced vocalists may stand rooted on one spot or sway around as they groove to the music, oblivious to the mic.
Whatever their experience, vocalists will benefit from the judicious use of compression. Start easy, and keep your ears open for unwanted effects such as pumping, breathing, or accentuated mouth noises�ideally, you won't actually hear the compression, just a smoother overall vocal track.
A good starting point is a compression ratio of no more than 3:1 with a soft-knee, fast attack, and medium-fast release. Check the meters to make sure that you're generally compressing to a slight degree, and that only the loud passages are really pushing the compressor.
This should help get your feet wet in the art of compression, but there's much more to learn than I can present in a few paragraphs. It's not difficult�if you start with the basics and experiment, you'll soon find yourself the proud possessor of a crucial studio skill.
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