Hi Folks,
This week we are starting on the melody for Darling,You Know I Love you. Mike demostrates it first 2 A sections here economically and very medolic. For a reference I think I would be a good idea to listen to BBs original vocal version. First of all because it's so beautiful and secondly to understand just how vocal oriented the BB King style is. Mike walks you through the melody with a few embelishments on the first two A sections show his vibrato prowess and demonstrating the tune in a very true BB manor.
Enjoy!
Duke
Topics and/or subjects covered in this lesson:
Chicago Blues
B.B. King
Monster Mike Welch
Darling You Know I Love You
Loop 1:07 B.B. King's Vocal Approach to Playing Darling, You Know I Love You
Loop 3:27 B.B. King's Vibrato
Loop 5:55 Breakdown of A Section Head / Melody
Loop 11:46 Breakdown of 2nd A Section Head / Melody
Loop 14:00 Run-Through of First Two A Sections with Metronome
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2nd A Section
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SOMEONE KNOWS WHAT IS THE TUNING OF THE GUITAR IN THIS SONG; PLEASE
Hey Bruce, Your vibrato sounds great to me. You are doing great with it. It takes a lot of time to develop the sort of vibrato that Mike has. Remember he started at about 10 years old working on that! It's funny I am putting together a series of lo-fi live recordings from over my career and I used to have a really nice vibrato 30, 40 years ago. It is very frustrating to hear it on a recording and not be able to do it now. I will be happy when I'm just back to playing again period! Anyway I'm glad my coment helped. It is really all about the melody on this one. Duke
Thanks so much, Duke! It's great to hear that. I have a friend who plays a mean guitar with whom I share some of my videos, and for quite a while he's been saying, "You really ought to try and get some vibrato going". So thanks also for the challenge on this one!! ;-)
It must be incredibly frustrating not to be able to play yet, like an itch you can't scratch. Ooops, now I've got Slim Harpo going through my head. But I do love that song anyway. "Now you're doin' that chicken scratch!"
Anyway -- thanks and continued best wishes for a speedy recovery!
Bruce
I'd just like to step in here and tell Duke he's wrong - vibrato may have been an easier thing when he was younger, but his current vibrato is like a cross between early Freddy King and Hubert Sumlin, and I love it to death. I imagine once the shoulder heals and there isn't the constant discomfort, the vibrato will be the first thing to come back.
So here's my best so far. My vibrato is still very wonky. At this point in my guitar development, I don't think I have a "natural vibrato". ;-) So here I am with my unnatural vibrato. Any feedback would be most welcome and appreciated!
Yeah, like I said on your other video, I like your vibrato and attack quite a bit!
[ continued ...]
When I was a youngster learning jazz piano, one of my teachers was listening to me play some 40s standard, I forget which one. He kept complaining about the way I was phrasing it, but couldn't put his finger on what he didn't like. He said, "Learn the words to this song and play it for me again (not sing, just play) next week", which I did and then I played it correctly. The musical phrase was built around the phrasing of the words, but if you'd never heard the words, the phrase was not self-evident.
And I just realized that this is why Duke's suggestion of listening to BB's original singing version of this song is so important. It's the same thing my piano teacher told me; understanding BB's phrasing in his singing will help to understand his phrasing in his guitar playing because that was so much a part of his playing, unlike say… Jimi Hendrix.
Sorry, I'm having musical epiphanies listening to your playing and they are spilling out of my head. ;-) Great lesson! Thanks Mike and Duke for all the inspiration!
That is some fabulous guitar playing, Mike! I'm completely knocked out by your balance of raw blues feel and amazing chops. I've ripped my poor index finger to shreds trying to figure out how to play that BB vibrato! You really sound great on that and also your accuracy of pitch on bends is pretty impressive. And somewhat intimidating. ;-)
I'm spending a lot of time at 50% on this one, trying to cop the nuances that you are throwing in that makes this simple melody so special. The phrasing is shaped by the way you approach and leave a note; it gives that note context in the phrase. How you go from note to note determines the "intelligibility" of the phrase. It's like knowing how letters go together into words. If someone said "Howco meyou don'tunder standme?" you wouldn't easily know they meant "How come you don't understand me?" And another example of the white space being as important as the notes in creating a phrase.
Beautiful Mike!! I love the way you hit that two notw chord fragment --- the tone is beautiful. I second Charlie's request --- any advice on setup and getting the tone would be great.
Funny story with respect to BB's vocal approach to playing guitar --- I was watching a video of Alan Pasqua (Jazz Piano) and he was relating a story about a lesson he took from a master --- and all she had him do was sit at the piano for an hour and say "the piano is a wind instrument." He thought she was totally nuts, until a couple weeks later when he tried to play the piano like a wind instrument, taking breaths, flowing lines etc --- then he realized it was one of the most insightful lessons he ever had.
Very nice Mike . Thanks .
Great job Mike! I'd been doing the same thing with the vibrato (pulling down instead of pushing up) for years. Got it right way round there days, but really to good to have it confirmed by a pro!
I'd really appreciate if you could share anything about BB's tone in terms of amp/guitar settings. 'Live at the Regal' is probably the most perfect sound on record - any tips on what's going on there would be great.
Yeah. I think a lot of the Regal sound is room mics and the guitar leaking into the vocal and other instruments' mics - the pictures from that show have him using a rare 335 with a Varitone and Bigsby (or, conversely, a 345 with a dot neck, I guess) through a tweed Twin, so any of that beautiful warm reverb is either the room or was added later.
B.B.'s guitars in the Sixties often had the middle position out of phase, and he could get more or less of that phase cancelled sound by tweaking the individual pickup volumes, giving him a broad spectrum of tones to play with. Apart from that, it's pretty much down to his fingers and pick atrack - B.B. had a lot of diffferent guitar and amp tones, but the important stuff stayed the same, and that's the stuff that made the difference other than "warm, not too dirty, maybe some reverb. "
Cool - thanks Mike
I read that B developed his vibrato as a sub for bottle neck slide.
Yeah, he said it was slide guitar, Hawaiian steel guitar, and singers that inspired it.