Quote:
Originally posted by fleetfootmike
How about "Stephanie" 
|
Well "Stephanie" is two guitars (in different tunings) playing at the same time, so it's impossible for a single guitarist to play it identically. However, last year a Ledgie really wanted to learn to play it so I tabbed out a version which sounds VERY close (if I may say so!
) to the original.
Quote:
Originally posted by MikeD
Mike, you have the chords for Stephanie? Mind helping a fellow player out?
|
Hey Mike, do you just need the chords or do you wanna pick the song like LB/my tab? If you wanna take a look at my tab for Stephanie I can email it to you.
Quote:
Originally posted by fleetfootmike
I actually don't find NGBA as hard as I thought I would - it took me a week of constant practice to get it 'in my fingers'. Big Love '97, though.... yeesh.
|
My problems with NGBA are a) as MikeD said, singing and playing it at the same time is VERY difficult for me and b) not positioning but keeping the
rhythm going during the "been down one time" etc part, and the "never going back again" part (and here the positioning is damn tricky anyway, at least for me!).
For some reason I never had a problem with Big Love '97....it took me about a year of playing it practically every day to go from nothing to getting it to 99%...(I'm not LB so 99% is where it will forever stay!! lol!). In some Travis picking books and websites they often instruct you to start with the bass line first, get comfortable with it and then throw in the rhythm/melody lines. I find that doesn't work very well when I'm learning a Travis-style song. I prefer doing it all together, but at a very slow pace at first. That way, I can hear the whole song so it very quickly comes together and I can then concentrate on improving the pace.
MikeD's suggestion of slap-back delay is very good, and I always use a delay of about 340ms with two repeats (one strong and one weak) when I'm doing Big Love live. Not only does it allow you to get away with screwing up a bass note here and there, but also gives you the luxury of having a secret metronome built into the song so you play in perfect time. Also it just gives the song so much more flavour and dimension. Compare Big Love '97 (from The Dance where he is using a very complex delay/FX system to get that multi-guitar sound) to the version he did at the Mark and Brian show which had no delays (or any other FX, as far as I can tell), and you'll really hear the difference.
The slap-back delay (much longer delay, can't think off-hand exactly what it is) is critical to Go Insane '97. The rhythm of the song relies heavily on it, especially with those opening harmonics.
