Robben Ford – The Art Of Blues Rhythm

foreign [Music] [Music] heavy conditioning [Music] the Edgewater [Music] [Applause] [Music] foreign [Music] thank you foreign [Music] thank you foreign [Music] [Applause] [Music] foreign [Music] [Music] foreign [Music] thank you good morning you know I am musically kind of a child of the 60s you know music that I grew up listening to was uh initially very eclectic you know what you heard on the radio when I was a kid could be the mantovani singers you know The Lion Sleeps Tonight The Singing Nuns foreign you know I mean like anything and everything was on the radio at that time baby elephant walk was a huge hit you know that's not going to happen today you know a lot of instrumental music and just really off the wall stuff you know the flying purple people eater was a hit yeah um so that's actually was a wonderful thing and I feel I feel kind of bad for kids today because they're going to have to look harder than I did even you know to find really good music or music that just is you know you just like it you know it doesn't have to be hip or of a particular genre you just like it you know because it's good music or fun music or nice melody makes you feel cheery you know things like that they seem to be kind of evaporating but in any case so there was this very eclectic base you know my father's sang in a barbershop quartet you know my mom's sang in a barbershop Cortez and um they were both musicals my father was a professional musician when he was young but uh you know not for too long but in any case the music that really lit me up happened in the 60s and was um you know uh of course initially the kind of the British Invasion The Beatles are Rolling Stones Yard Birds animals and I found myself I was sort of gravitated towards the kind of bluesier things the animals was like my favorite English band and I like The Who but um when I discovered Paul Butterfield Blues Band Mike Bloomfield on guitar and uh that evolved into Elven Bishop kind of coming forward a little bit and also at that same time John male and the Blues Breakers uh introduced Eric Clapton you know to the world for the first time Jimi Hendrix uh Jimmy Page Santana Peter Green all these people they were just you know they were out there and that's when you know guitar was like became the featured instrument you know Eric Eric is God right written on subway walls I mean it was a good time to be a guitar player man you know because the music was was exciting and it was creative and and very Blues based everybody was a blues guitar player everybody you know there was no rock guitar yet you know so um it's a fantastic foundation and then of course on the radio you know you didn't hear that on the radio per se but on the radio was Aretha Franklin you know and uh Otis Redding and Wilson Pickett so Junior Walker and the All-Stars Booker T and the MGs I mean this music was fun this music was Soulful you know it gave you Goosebumps that like oh man it was great and uh so there was always you know like that there was excitement in music and there was blood running through music you know what I mean and of course hormones because I was 16. so uh all these things uh we can forget about over the course of a musical career or just time you know you can kind of forget about that and be focused on technical elements about music or you know things that sort of lose their juice and and become kind of stale you know and and again technical now of course technique's very important but um uh you got to keep that juice flowing through your veins you know because that's really what's going to carry you again it's your fuel that's the thing that takes you from point A to point B you know otherwise you're kind of dead in the water with a technical device that you know has no life in it kind of so I'm a self-talk guitar player I never had a teacher I learned how to play saxophone in grade school and that taught me how to read notes but I was never much of a saxophone player which is kind of interesting to me because I always but only to me because it seems to me that if you're a musician you know you should be able to just about pick up any instrument and be able to make some kind of music on it you know and I can kind of do that but truth is I don't think I had the wind for it the chop that you need to play the saxophone or the trumpet you know those are a specific physical thing you know some people are just gonna be better at it than others I think and I think it's the same with guitar you know or any other instrument there's some sense your body you know just functions well in that way you know but um in any case at least I learned how to read notes and that never really translated into the guitar very well so I still do not read music well never have that could be encouraging to some of you so it is to me at this point uh still here so um anyway again I I like just sort of starting from that place of you know what music is about is actually a wonderful emotional and non-technical thing you know so just keep that in mind you know what we have here I'm going to play what's on the paper for you one chord on and on right the g c f g c f g c f g and then you could keep going it's just G C and F okay now I can play those chords all over the neck of the guitar of course just GC and F that's all it is right now this says for the key of G7 so if you're playing your Vamp in G7 [Music] I'm just playing GC and F all over the neck of the guitar right one two three four [Music] thank you [Music] it's Gloria [Music] okay so now we're going to use the same three chords in the key of is it a minor no uh C major [Music] bat two one two three four [Music] okay [Music] now D minor same three chords two three four [Music] [Music] so these same three chords uh will apply through basically all of the modes of the c major scale so D Minor excuse me C Major D Minor E minor same chords F major G major a minor B diminished and C major this is just a lick and it's it's an example of uh again something to play you're on a blues you're playing a blues with somebody what are you going to do you know what I have here is just a riff and any kind of simple pentatonic riff that you can come up with in your mind you can play over and over again through a 12 Bar Blues and it's going to fit even on the V chord you know which this could be dicey but in the Blues it works so what I've got written here it's like one bar out front of a g Blues right and it's the same thing over and over again so it goes I want two foreign [Music] [Applause] [Music] it's just the blues works right through the whole thing so you can come up with your own you know [Music] you can play that right through the whole thing [Music] and it just pushes the whole thing you know people love you for it I think we're going nuts telling you okay this one goes like this it's got this voicing for B flat 13 says 11th fret so fingerings and fret okay this one goes like this oh one two three four or one [Music] and then I left that bar blank for some reason [Music] now okay [Music] and you can just use parts of it now I copped this off an Albert Collins record and uh anybody here know the cool sounds of Albert Collins that record oh man it's been reissued I can't remember what it was called but the cool sounds of Albert Collins if you can find this you have to it's just the best blues guitar record man for me so what we have here and I got this from him again it's a real slow slow shuffle he goes like this this is B flat seven he goes I want to D phone a one [Music] down beats right [Music] all right I mean there's only he's only he's playing this seventh voicing right this is in the Freddie King School of and for the E flat you go down a half step for the F you go up a half step and that's it [Music] and you can play with it there we go right [Music] it's all the same chords as I gave you on the first one right [Music] use the same Rhythm the other chords so a lot of stuff in these four examples here that I think is really valuable but this goes like this it goes I want two three four one two B flat blues [Music] thank you kind of like a big band shout thing [Music] okay so what you have here is a shuffle in A7 so what I'm doing is this [Music] right [Music] so there's something more to a you know just a straight ahead Blues than you know that [Music] so the voicings of that are on the uh on the second page you know that little walk up which probably many of you know [Music] right [Music] you could play it here too but on the paper I just wrote this just to point it all out you know you can play that sus thing on every chord [Music] you can play that on every chord [Music] [Music] right so uh what this is the reason I'm [Music] including it in our presentation here is to show you [Music] which you can do again with a little [Music] it's one voice thing right playing an e Blues [Music] foreign [Music] stay real close together [Music] so that's just one voicing right you can play a whole Blues with that and I mean you play a raise 9 chord real down and slow like that it immediately creates a mood right [Music] and there's your a chord B13 here's another voicing of the same chord [Music] which you may or may not know [Music] okay has everybody got that pretty straightforward it's like it's a raise nine chord right [Music] and then the a13 voicing I have is this which is basically the same as that but it's a in a different position you you're on the a string for your first note there you go that's a13 right [Music] and then I have a B7 voicing which is this one and a lot of people will play it like that and I'm a big thumb guy [Music] thank you [Music] thank you foreign [Music] like a tonic any seventh chord any seventh chord whatever it is move it up a half step I mean everybody does that in the Blues right well you're playing an altered five chord put a B in the root and you know you're playing B7 flat five [Music] so anytime you play a uh any kind of seventh chord voicing meaning a flat seventh chord of any kind now I'm playing B13 flat nine didn't even know it [Music] thank you okay okay I'm gonna play this other thing here I have a song uh the a little chart on a thing I did on my last record says Cannonball it's called Cannonball Shuffle it's a song that I wrote kind of in tribute to uh Freddie King right so anyone who knows Freddie King knows that he wrote you know a lot of great guitar instrumental shuffles right so I had been thinking about recording one of his shuffles and then I thought well let's write one you know so it's on the last album that keep on running right and this would be the chart for it starts on the five chord one two three [Music] foreign [Music] it repeats [Music] hmm [Music] [Music] it goes yeah [Music] [Music] five chord [Music] foreign [Music] thank you [Music] okay so I'm gonna play uh something with a music minus one CD of my record tiger walk they're called TV tracks we created them so I could do it like on a television show and have the music so we got the the original track basically without minus me so this is called Oasis the band on this record is uh Steve Jordan on drums Charlie Drayton on base and uh Bernie Worrell on keyboards yeah right they're uh they would Keith Richards band at that time it was uh they were known as the expensive Winos the talk is cheap it's the same band I heard that I listened to the target's cheap record and I went I want to get that group for my next record you know and I got them expensive is the key word but but I got them and uh this was entirely live well this track other than well I'll be live now but it's all live okay let's try it this is called Oasis [Music] [Applause] you know that song it's basically three chords you know the whole song and I wrote it with some sense of writing something along the lines of like so what or Impressions you know the Miles Davis John Coltrane songs both those songs only have two chords in them right so let's just D minor and E flat minor right and Impressions is the same thing [Music] so that was kind of where this song was coming from C minor right that kind of idea and I so I went up a minor third instead of a half step [Music] and uh then I decided I gotta add another chord to this you know expand it a little bit so I made a song with three chords instead of two so that's the the history of that song [Music] so the chords are C minor and then F excuse me E flat minor this is E flat minor four it's like like a minor chord but you take that finger off and then basically B flat raise nine so I put here some standard voice things that I use a lot in things like this so the E for the C minor I'm playing this this chord voicing foreign [Music] you can think of as an E flat major seven this is the voicing now what I'm doing here is just it's a nice neat little trick that happens with this voicing is flip these two fingers [Music] try it that's the major seven voicing and then just flip those two fingers over to a dominant seventh so that becomes F7 now you can add this note up here too it's spelled out for you you know what fret which finger what fret seats well if the Staples right on there so it's at the third fret uh third fret's here so you go up fourth fifth sixth seventh fret is where you you have your uh on the note on the a string and you connect that and you can add that F on top which I I like a lot I play that a lot for a C minor and just do that so you can go [Music] for C minor right [Music] and then I have I had also just that voicing that's what the next one is you know the the third box and then at the eighth fret it's just a C minor nine the fourth box is just this you know I mean I would never play that I would play this because I'm into the thumb thing and I don't want to hear that down there it gets too thick [Music] you can always come up and go up a half step and it's always kind of nice you could go [Music] I do that all the time that's the nice thing in miners you know in minor Keys especially this one you know you can kind of move these things around [Music] it's the nice thing about Minor cores they move around nicely like that just you know you pick some kind of a pattern you know like a pentatonic ideally you know [Music] you know what I'm doing just moving it according to the pentatonic scale like from here [Music] okay anyway so uh the next one E flat minor nine I've got this [Music] and this has that same little change thank you and then up here or you can play it that's the third box for the E flat minor nine and then the sixth fret there it's just that voicing or at the 11th fret again E flat minor [Music] and this didn't copy very well the next thing B flat plus nine but it's this that's what those low notes are [Music] and then I am adding the fifth on top of that and then the next one I've got the raised Fifth and raised ninth or flat nine so I would do something like that I'd go right I'm just I'm adding to the cord builds so those are just some nice voicings you can use and some little ideas you know it's also very traditional in in any kind you know it's very standard procedure to go C minor to F right this is the stock thing so you can go C minor to C6 and basically it's like going to F9 [Music] same thing like the E flat foreign [Music] like for instance courts you know uh I learned out of a book Mickey Baker Jazz chords volume one and that was the Discord voicings you know all that stuff and so there was ways to to use it it was these kind of you know [Music] you know so um I started taking those chords and using them within a blues context you know because I was playing with Charlie musselway when I was doing this so we were playing Straight Up Chicago Blues right so I started playing yeah in the Chicago Blues you know so I mean like the the fundamental thing might be like that you know even you know so I started using those chords [Music] and now we're playing pretty much straight up Blues with Charlie but uh he liked that because he was into jazz he listened to all kinds of music and he loved jazz so I just started introducing these these hip chords you know at least the chords you know into a blues context and my solo work you know was still pretty you know basic and not very harmonically informed because I didn't know the chords that or the the scales that went through those chords you know the guitar fundamentally is a is a rhythm instrument you know it started as a rhythm instrument you know and a great quote from Jim Hall he said if you pair the whole guitar tree down it would come down to Freddie Green and I thought that was just a marvelous thing to say because um Freddie Green was the guitar player for Count Basie Orchestra and I think it's the only band he ever played in his whole life you know I'm sure he did other things but anyway Freddie was the guy who played only tonic third and seventh you know sue you knew it was a major chord and it was either a major seven or a flat seven or it was a minor chord you know [Applause] so in order to establish that all you need is the tonic and the third major or minor right and in the seventh gives it that it's pretty or it's funky or it's sad [Music] so um Freddie Green was [Music] that right [Music] you know not a lot of color right rhythm and uh the reason he only played those few notes first of all it's it has more kind of punch and impact if you're playing it's not funky and punchy um if he were to play a fifth you know well maybe the chord is a raised fifth in all those horns you know and um so he was just stay out of the way Anything could happen it could be a raised fifth natural flatted fifth so he stayed out of the way and played Rhythm you know punched it and moved it along you know so if you think about a drummer you know he goes back for hours right I mean depending on the drummer but a drummer you know nobody Minds if he just goes back back boom people are kind of glad you know it's it's a supportive rhythmic instrument you know everything else is color it's it's extra so uh the guitar can be the same way so you shouldn't be afraid you know to um to play almost nothing you know and uh I mean that's like I mean this is very classic Blues thing right that's as basic as it gets right but you know you can also do that [Music] or I mean I had this thing you know because it's a different way to just do that [Music] whatever right I am just delighted to kind of get into pretty simple things like that song Oasis [Music] right [Music] now I used to think you had to be going [Music] like the more the merrier right you know you had to be thinking of something new every minute you know and I finally learned that you know you can be perfectly happy just doing [Music] because it's all about the rhythm is that it is all about the Rhythm and your your extra hipness you can keep to a minimum like [Music] keep this thing going [Music] some real simple pattern that repeats you do something like that and and people know what you're going to do then then they can go they don't have to be worried about what you're going to play you know they're like in fact you're just saying here go you know you're supporting them you're you're helping them to be free you know and um it just has become a great joy to me to to do that you know lay something down for somebody foreign so that chord has a certain quality to it right I mean I'm playing that there's no third in it that could be a major or minor it could be a minor nine or it can be a major nine right so that chord alone because it's kind of nebulous it creates a slightly different vibe within a minor key song You Know you do something like that that could be raise nine or it could be a minor minor thing right or if you play [Music] now I'm playing basically C minor six [Music] but I'm just playing those top three notes you hear that that little thing voicing an r b a lot [Music] you know right Prince yeah right and I'm I'm just adding the seventh in there or maybe the whole the whole voicing but it creates a different color it's it's no it's not you know it's not that [Music] that's different but it's still major minor either one you want you know this one [Music] could go major [Music] but that's something that again for me this is the way I I'm creative within the simplest of you know like without doing a lot you know well what what I have come to then um here's like one one kind of Baseline thing to do is uh first of all just think rhythmically you know don't worry too much about melodic and partly thing you know and wherever things are kind of thick you know you have three different registers low medium High Low Middle High right so if it's all loaded up in the mid-range which generally is the first thing to go because there's already a bass player you know that's happening mid-range gets all thick you know so you might play something High you know so those are your little cues where is the space you know and it can come in different forms it might just be a hole where nobody's playing you know so okay there's I could do something in there and now you you like for me again the painting image you know comes to mind like if you think in terms of contrast you know if like something bold is happening then play something subtle something subtle is happening play something bold and then the shades in between there you know of okay that's a little too bold or that's a little too subtle you know so all of that to me is it's all feeling you know and and light shade color it's all you know kind of painter images for me and of course emotional images because if you know you hit something hard that that's not like you know touching something it's like hitting it so it has an impact you know you know you see where I'm going here yeah again these are the things I love to talk about these are the things that that I learned over time that you know are my favorite things about music you know I love to just find something to play with other people you know if people are playing choppy things then you play something long you know if there's a lot of chords maybe there's two guitar you know you're you and another guitar player and a keyboard player okay keyboard players playing something thick always you know guitar players playing something Atari you know so you might just play a single note [Music] you know like on on this that tiger walk thing I over dubbed a little rhythm guitar you know when it goes up to that E flat minor you know it goes [Music] so that's the thing that's sticking out and then this is just something that's funky because it's a funky song you know but it's subtle so it's not getting in the way of anything else and there's no cord you know it's just a double stop and the single note now if if I were a less lazy person I would have written out voicings for you in a couple of spots here but I'm just going to show you on the third Stave those three chords right there it says a flat over B flat and it says a flat six nine then F4 over G right let me let me play those those chords for you okay so the a flat over B flat is just that and then the eighth fill that a flat six nine I'm playing this and that's actually like more like a flat major seven with a sixth in it or thirteen and then the F4 over G is this f up a fourth up a fourth that's F4 over G so it goes [Music] this uh it's the same as this right a flat in the root it's Fourth g c with an A flat in the bass and force with a g in the bass [Music] my man back there yeah so it's C Minor 7 to C I said C6 it should be C minor six so make that minor so it goes like this [Music] [Music] all around me now I'm all alone [Music] I was lost and someone found me now I'm all alone [Music] if I could make you want me again I would really change now that I needed [Music] still I wanted more so many wrongs I repeat it and now you've closed the door [Music] if I could make you want me again then there's a bridge a flat 13 and out of my pride is gone [Music] standing alone yeah with nothing but bitter memories There's a Moon up above me that I cannot touch it's like the one who used to love me now I needed so much [Music] yeah I can make you want me again I've already changed [Music] okay so what this is is a blues with a bridge and there's also obviously some different kind of Chords it's not just a straight up Blues right again this is what I do with my day in whenever in regards to music I try to find different ways of doing something with the blues you know that's fun interesting kind of funky sounds fresh you know so I kind of present this to people just really as an example of some way to do that some you know an example of doing something you know unique with a with a very simple blue song and this actually got started from an unlikely source which is Howlin Wolf's uh my baby caught the train you know my baby caught the train [Music] you know a baby caught the train you know so [Music] it's a long way from Memphis that's right that took a few days uh but that's kind of again how my mind works you know I just hear something in a song that's a little that's a little more of a Melody right than than in a normal Blues my baby got to train it's just a little different and uh so I just kind of ran with that little Melody you know so this is the blues it starts right at the very top it's 12 bars so those first four bars are the G minor then it goes to the C minor right so this thing goes boom that's the base right [Music] C minor right [Music] and D Minor right just a minor blues [Music] break so and repeats right so I started with this chord progression and I actually was doing a version of every day I have the blues which I thought this song's been done so many times let's do it again you know but anyway it just turned into a nice little Arrangement that I I I've never played but uh you know I mean I recorded it but I've never really played it so then it has this other stuff in it so I'm going to sing every day I have the blues for you well while I play this and and we'll get to the letter b Etc okay so I'm just going to start from the beginning as if first first right every day every day I have the Blues [Music] every day every day I have the blue [Music] it's you I hate to do foreign [Music] foreign [Music] [Music] [Music] instrumental Gray [Music] [Music] thank you packing up my suitcase [Music] it's just every day I have the blues right find a different way to play it you know and something like that even I'm gonna go into the four chord in the middle that's not real unusual but I've never heard that before it was straight up nine chords you might hear a like a 2-5 Maybe but that to me like I I think of that sort of like as if I I only know a nine chord you know so it's kind of it's literal I don't know any other chords I'll play that Nightcore you know you know it's that kind of it's a it's a sense a feeling and a subtlety in music and using it this is a band uh basically we're just we've just been a studio band uh me Vinnie Kali udon drums and Jimmy haslop on bass and the organ that you'll hear on here was overdubbed the performance is live but the B3 organ is this guy named Larry what I'm doing there so again the chords are written out on the paper I don't know how many of you can see we gotta remember it [Music] oh [Music] foreign [Music] foreign [Music] [Music] foreign [Music] so this like the melody to this thing is like two notes or three [Music] oh [Music] all right so it's really kind of an excuse to play a bunch of cool chords and this but the solo you know it's got all that stuff [Music] I read a lot of stuff like this where there's just not a lot to the melody you know but it's the chords are kind of what makes it neat you know but when we solo it's just going uh we just do we just use this part foreign [Music] oh just the blue you know pretty much and there's a there's a little room there for something more but again it's like a situation where you can lay out all this kind of cool stuff to play pretty easy to play and everybody can just be playing and then improvise it's not Giant Steps you know and yet there's a whole mood and a Vibe and there's some hip harmonic stuff and I try to put it all together into one thing you know yes I just have a question um you have a great tone and it evokes all the things that made me want to play the guitar I mean it's real ballsy tone and one of the things that you do that exemplifies that is playing great lines but using double stops you know harmonizing them in fourths or thirds or whatever but really finding the money notes and I was wondering how you arrived at that or what suggestions you can give us right again it's kind of a product for me of just beating on the guitar uh you know the double stops and that's a very traditional right there thing to play [Music] and again I'm doing it with kind of one finger right [Music] so that [Music] here you've got thirds right now you've got a force and it's not necessarily even foreign like there I go to thirds [Music] and I'll do stuff where there'll be kind of Grace notes like just rhythmic things [Music] I would do that even in a different key to it that's the wrong note if I was literal no but it's not meant to be right [Music] I'll do something like that for instance right now technically that's something I'm playing I would play and see [Music] I'll do it again down here which would be in G on some level but it works now that is not a traditional Blues thing [Music] that's kind of going for a whole harmonic sense that's different but I'll do it you know and and because everything else is funky and it's within a context you know it works double stops that's the very classic and I got that you know basically from Mike Bloomfield [Music] so again I I one thing I always feel like is that because because I was there once myself that you know things had to be complicated you know or hip or whatever you know what I mean but I mean I I'm playing the simplest of things little Triads minor third you know major third just Triads you know so uh again for me I just push it around I just you know like boldly go you know without hesitation you know and if something sucked I would not play it anymore you know but again I know the pentatonic scale very well and I Know It All Over the guitar so I'm playing thirds in pentatonic that's pretty much my whole Style thank you thank you you're welcome [Music] can you talk about your difference in approach between a Gibson star guitar and a fender style guitar yeah how do you what do you do yeah you know I play it I have a 60 Telly that I play about half my own show and um I think of that as my Blues instrument you know and the Les Paul I I use when I want to basically explore further you know if I want to be able to play more notes and uh have good sustain you know like sustain where I can yeah really hit a note and it'll stay there a while you seem to get pretty good to stay with the Telly yeah I got a good amp yeah you know the dumbbell is so powerful you know and I can pretty much I mean a lot of people say it doesn't sound like a Telly you say it sounds like a less you know like a humbucking guitar when I play it my my Telly has a very powerful treble pickup really strong and uh and it's original you know um but uh yeah for me I use I I'll go a lot more to finger style you know on the Telly and play a lot more kind of funky like this like I'm doing here at these lower levels you know but normally like uh with a guitar like this cranked up I'll play more notes and I'll get more kind of inventive harmonically you know I can't right here right now but um the Telly uh yeah it's just more for the blues really for me and r b nice Rhythm parts and stuff you know and normally it's the only beef I have with this guitar right here is that uh I can't uh split the pickups like on on all my guitars I have uh you know four wire pickups and and I have a little push push button so that puts them in half and that's like a tally you know and I play a lot like that with this guitar I can't do that and uh I'm kind of sad I miss that you know so but I've got the Telly to do the other thing [Music] when I listened to you and in particular when I watch your right hand with a pick right like a drummer I feel like you have a brush in your hand and you know a snare brush right because you you go at it hard there's so much of your body you throw into it your right hand just is moving great but it's a very soft sound and you know I tend to be very grabby and I feel like I've got sticks in my hand yeah right and I never hear the wrong notes so if you're hitting your Triad you know you're muting everything else and yeah I was wondering if you could help me with that the muting thing well the muting and also how you seem to have a soft pick sound even though you're throwing it pretty hard well I am using the edge of the pick quite a bit but I think perhaps you know for one thing I have noticed that the lighter your pick the better your sound I only use you know I'm not gonna you can't change picks while you're working but that is a is a pretty truth thing yeah there's a there's a certain [Music] this just keeps going like this right it doesn't you know so [Music] so this just kind of stays the same and it's the left hand [Music] there's a certain kind of uh a buoyancy in the attitude I think you know it's it music goes up right [Music] that's a lot of downstroke [Music] yeah I don't know it's not quite such what I was thinking [Music] so this to me there's a real evenness to everything that's going on you know it just stays real even again I have I I find myself just considering my emotional state my internal energetic State you know while I'm doing this and this is very even it doesn't have a like if I'm soloing there's it kind of goes through a variety of moods and things you know but there's a sense of just steadiness so maybe that is would be like the key word here you know there needs to be a steadiness and it's it's all mental you know it's your mind you know it's playing the guitar really that's what's going on you know your body will go where your mind tells it to so I would I would say think steady so there's and I I almost feel like I'm making a lot of adjustments sort of like almost constantly like there's this constant you know like Recreation of that of steadiness it's not flat it's more like steady steady you know and that's training that's training your mind you know that's like meditation practice it's about oh back to the breath back to the breath so you develop this kind of steadiness you know that might be helpful I've never thought of that before so because again I'm making it up as I go pretty much you know here but that seems to me pretty right on because that's what it's about is that kind of keeping something just right there all the time you know it's like a motor kind of idling sort of you know and then you hit the gas is when you kind of Solo or whatever you know or yeah this driving analogy is pretty good too it's a new thing for me so I'm digging it [Music] foreign [Music] thank you everybody it's been a pleasure to be here with you thank you very much [Music] all right [Music] who's going to be in charge of passing the microphone he's got the wire I'm gonna have a little Challenger with no chest hair [Music] thank you [Music] foreign [Music] thank you [Music] foreign

Channel: Rock & Metal School Of Music

Views: 435,610

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Id: KdgSafUnEhc

Length: 78min 55sec (4735 seconds)

Published: Tue Jan 24 2023