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Do you play with a pick mostly? Do do do any fingerstyle or claw hammer where you are picking out the bass lines and the lead line simultaneously?
By advanced guitar players I mean mostly solo artists who can carry a show with just their guitar playing and possibly their singing. Most of these players will all talk about a period of discovering the importance of the right hand, where the rhythm transmits to the guitar and the notes get defined in many different tonal variations( sharp, full, dampened, false harmonic, harmonic, etc)
Also, where the left hand basically has responsibility for the notes, the right hand has both the notes and the rhythm. An in addition to that the right hand work is much less forgiving than the fretting hand. And accuracy and speed are usually both determined more by the right hand. The left or fretting hand seems to learn lots of tricks and ways to sluff off a lick and still pull it off. peace
Cool! Thanks for the input. So say Green's in A pen minor (A,C,D,E,G) what notes are unique that he bends?
Here's a totally different style from that same show:
Spencer has done well with The Children of God and has performed
here'n'there over the years. Yes, he's older and bald but has lost
little of his humor and welcomes the attention from past fame, but
he wisely keeps it in perspective. Face it - the guy just had it
with "the business" and particularly since he saw firsthand what
happened with Green, so one can't blame him for leaving. It's
interesting to note that in its prime, Fleetwood Mac Mk1 competed
with The Beatles in sales and popularity. It wasn't until the '75
lineup that its popularity would surge again, all kudos to Bob Welch
and Danny Kirwan, who also seems to have made peace with his past.
He sometimes bends the F# up a whole step instead of hitting the G in that scale. Obvious bends are the D and the G.
Maybe less obvious are the many hammer on's he uses, both 1 fret and 2 fret types. Like a quick C to C# before landing ob the topic A again. Or more interestingly D to D# then down to C, A. or better yet D to D# to E (next string) then back down to the A.
Try D then C to C# hammer-on then right to the A, then bend the C and land on A. That's the old time blues riff that built alot of songs.
In this last one he uses alot of droning Low E or high e strings as he noodles inbetween them causing interesting blues harmonies. peace
Thanks, I agree about Kirwan. Very gifted. This might be my favorite number by him which definitely showcases the Peter Green influence:
Youtube it for us!
I play with a pick sometimes, I also play fingerstyle sometimes. I play blues, blues-rock, a bit of country, but that's about it. I'm very influenced by the British blues players. I don't do any "clawhammer" playing. Always associated that with the banjo as I live in the heart of bluegrass country. I think for most players, as ChrisM stated, it's what you do with both hands, together,that matters. You may feel that your right hand technique is more important for your playing though.
Talk about your favorite band.
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Re: OT: Peter Green's technique (guitar players)
Posted by:
ChrisM
()
Date: June 20, 2012 18:30
Elmore had a profound influence on Jeremy Spencer who as you rightly say played and sang the Elmore James' covers the Mac did back then. I don't really hear his influence so much on Peter. By the way, Peter did resurrect his career briefly in the late 90s and early 2000s with the Splinter Group. I saw him twice at the Fillmore in San Francisco and got to meet him the first time I saw him. Even though he is no longer the great player he was, it was a great honour to meet and speak with the "Green God".Quote
Tumblin_Dice_07Quote
marcovandereijkQuote
Tumblin_Dice_07
You can trace their playing back to the three Kings (Freddie, Albert, and B.B.), Buddy Guy, and other American blues guitarists.
Elmore James should be mentioned here, when it comes to being a strong influence on Peter Green:
I'm sure he was an influence on Greeny, but it wasn't Green that played all those Elmore licks note for note on the Mack's covers of Elmore's songs, if I'm not mistaken. That was Jeremy Spencer I'm pretty sure. He could do a pretty good Elmore vocal impersonation too.
Re: OT: Peter Green's technique (guitar players)
Posted by:
Naturalust
()
Date: June 20, 2012 22:47
Quote
Tumblin_Dice_07Quote
Naturalust
Most really advanced guitar players will tell you, it's all about the right hand once you get past a certain point. Here is a tune from Monte for you to digest, might not be your cup of tea but the dude can play. He can get soft and really soulful too, the sign of a true master. peace
I may not be a "really advanced guitar player"....don't know how you'd define one of those.....but I have played for 15 years and I'm a pretty good blues-based player. I don't agree with that "It's all about the right hand" statement at all. Never heard anybody else say that either. It's alot more than just the right hand.
Do you play with a pick mostly? Do do do any fingerstyle or claw hammer where you are picking out the bass lines and the lead line simultaneously?
By advanced guitar players I mean mostly solo artists who can carry a show with just their guitar playing and possibly their singing. Most of these players will all talk about a period of discovering the importance of the right hand, where the rhythm transmits to the guitar and the notes get defined in many different tonal variations( sharp, full, dampened, false harmonic, harmonic, etc)
Also, where the left hand basically has responsibility for the notes, the right hand has both the notes and the rhythm. An in addition to that the right hand work is much less forgiving than the fretting hand. And accuracy and speed are usually both determined more by the right hand. The left or fretting hand seems to learn lots of tricks and ways to sluff off a lick and still pull it off. peace
Re: OT: Peter Green's technique (guitar players)
Posted by:
ChrisM
()
Date: June 21, 2012 02:39
Wish I could agree with what you write here Naturalust but as a finger picker of many years for me it's always been about proficency with both hands. They have to work together to get a good sound. Either on their own doesn't work. Your mileage may vary of course...
Re: OT: Peter Green's technique (guitar players)
Posted by:
Naturalust
()
Date: June 21, 2012 05:17
Well my mileage is pretty darm high but each player has their own technique so it's hard to argue point like this. Most beginners focus too much on the left hand imho. In my case, the magic starts to happen when the right hand get more than it's due. peace
Re: OT: Peter Green's technique (guitar players)
Posted by:
Naturalust
()
Date: June 21, 2012 05:17
peace
Edited 1 time(s). Last edit at 2012-06-22 11:25 by Naturalust.
Edited 1 time(s). Last edit at 2012-06-22 11:25 by Naturalust.
Re: OT: Peter Green's technique (guitar players)
Posted by:
TravelinMan
()
Date: June 21, 2012 20:38
Quote
Naturalust
His technique is pretty simple. He sticks with the minor pentatonic scale almost exclusively and changes it and spices it up by bending and stopping the phrase in time with the drummers and reversing it or continuing on down the scale. His playing is fluid and very in time with the drumming which makes it very groove oriented. His bends are not always on the typical bent notes in that scale and that is the only thing that gives him a bit of a jazz feel.
I personally think he was an above average guitar player for the time but people like Jeff Beck and Jimi Hendrix took it so much farther that he bores the death out of me. Kind of like Carlos Santana, they seem to have got to a certain level of playing and just stopped progressing.
If you want to play like Peter Green, I'd say you can do it with a years practice, noodling up and down the minor pentatonic scale until it becomes something you can do in time with any piece of backing music with fluidity. Maybe he was someting back then but since I didn't find him till after hearing Hendrix and Jeff Beck, he doesn't ring my bell.
You want to see the state of the state for guitar players these days check out folks like Monte Montgomery. He still plays those blues scales and his repertoir is built on them but he has worked to take it to the next level, both with speed and unusual right hand picking techniques.
Most really advanced guitar players will tell you, it's all about the right hand once you get past a certain point. Here is a tune from Monte for you to digest, might not be your cup of tea but the dude can play. He can get soft and really soulful too, the sign of a true master. peace
Cool! Thanks for the input. So say Green's in A pen minor (A,C,D,E,G) what notes are unique that he bends?
Here's a totally different style from that same show:
Re: OT: Peter Green's technique (guitar players)
Posted by:
TheDailyBuzzherd
()
Date: June 21, 2012 20:50
Quote
MCDDTLCQuote
treaclefingersQuote
NICOSQuote
mitchflorida1
Peter Green was up there with Jeff Beck. I think he went crazy from taking LSD and then ended up on a commune somewhere in Germany. He was Jewish and became a Jesus freak. Never heard from him since.
That was Jeremy Spencer not Peter Green..............
I will pay you $1000 if you can get a copy of that to me on the London label in the next 24 hours.
Well - there are part's of this that are somewhat true all over the place.
...
Spencer has done well with The Children of God and has performed
here'n'there over the years. Yes, he's older and bald but has lost
little of his humor and welcomes the attention from past fame, but
he wisely keeps it in perspective. Face it - the guy just had it
with "the business" and particularly since he saw firsthand what
happened with Green, so one can't blame him for leaving. It's
interesting to note that in its prime, Fleetwood Mac Mk1 competed
with The Beatles in sales and popularity. It wasn't until the '75
lineup that its popularity would surge again, all kudos to Bob Welch
and Danny Kirwan, who also seems to have made peace with his past.
Re: OT: Peter Green's technique (guitar players)
Posted by:
dadrob
()
Date: June 21, 2012 21:19
Peter Green's technique is very much rooted in Freddie King and BB King (sixties era).....very dynamic, the ability to switch from a heavy to a lighter attack and vise versa. the power and grace of his left hand....and above all being able to access those emotions and portray them with his voice and guitar..
DK had much faster vibrato but was also a truly gifted player singer and writer.
JS has come through Chicagoland a couple of times in the past few years and plays nicely with the band he has. Still doing mainly Elmore James stuff.
Greeny did play some slide and some harp here and there as well.
He also learned a lot from opening for John Lee Hooker when Greeny was a Bluesbreaker.
Green's stuff with Eddie Boyd and Otis Spann is very very good and worth seeking out
Edited 1 time(s). Last edit at 2012-06-21 21:20 by dadrob.
DK had much faster vibrato but was also a truly gifted player singer and writer.
JS has come through Chicagoland a couple of times in the past few years and plays nicely with the band he has. Still doing mainly Elmore James stuff.
Greeny did play some slide and some harp here and there as well.
He also learned a lot from opening for John Lee Hooker when Greeny was a Bluesbreaker.
Green's stuff with Eddie Boyd and Otis Spann is very very good and worth seeking out
Edited 1 time(s). Last edit at 2012-06-21 21:20 by dadrob.
Re: OT: Peter Green's technique (guitar players)
Posted by:
Naturalust
()
Date: June 21, 2012 22:43
Quote
TravelinMan
Cool! Thanks for the input. So say Green's in A pen minor (A,C,D,E,G) what notes are unique that he bends?
He sometimes bends the F# up a whole step instead of hitting the G in that scale. Obvious bends are the D and the G.
Maybe less obvious are the many hammer on's he uses, both 1 fret and 2 fret types. Like a quick C to C# before landing ob the topic A again. Or more interestingly D to D# then down to C, A. or better yet D to D# to E (next string) then back down to the A.
Try D then C to C# hammer-on then right to the A, then bend the C and land on A. That's the old time blues riff that built alot of songs.
In this last one he uses alot of droning Low E or high e strings as he noodles inbetween them causing interesting blues harmonies. peace
Re: OT: Peter Green's technique (guitar players)
Posted by:
TravelinMan
()
Date: June 22, 2012 05:56
Very interesting stuff. What I find fascinating is the bending up to a G#, which would be part of the harmonic minor correct? Interesting, because traditional Jewish music was an influence he cited.
The hammer-ons must be the rhythmic part that keeps it flowing. I guess I didn't pick up on all the half-step hammer-ons going on.
I appreciate your input, anything else would be great too.
The hammer-ons must be the rhythmic part that keeps it flowing. I guess I didn't pick up on all the half-step hammer-ons going on.
I appreciate your input, anything else would be great too.
Re: OT: Peter Green's technique (guitar players)
Posted by:
TravelinMan
()
Date: June 22, 2012 06:00
Quote
dadrob
Peter Green's technique is very much rooted in Freddie King and BB King (sixties era).....very dynamic, the ability to switch from a heavy to a lighter attack and vise versa. the power and grace of his left hand....and above all being able to access those emotions and portray them with his voice and guitar..
DK had much faster vibrato but was also a truly gifted player singer and writer.
JS has come through Chicagoland a couple of times in the past few years and plays nicely with the band he has. Still doing mainly Elmore James stuff.
Greeny did play some slide and some harp here and there as well.
He also learned a lot from opening for John Lee Hooker when Greeny was a Bluesbreaker.
Green's stuff with Eddie Boyd and Otis Spann is very very good and worth seeking out
Thanks, I agree about Kirwan. Very gifted. This might be my favorite number by him which definitely showcases the Peter Green influence:
Re: OT: Peter Green's technique (guitar players)
Posted by:
Naturalust
()
Date: June 22, 2012 08:01
Yeah TravelinMan you got it. In that A harmonic minor scale the other interesting 1/2 step is the G# to A which can be played straight, as a hammer-on or as a hammer-on-pull-off, where you are starting on the G# , hammering the A, and immediately pulling off back to the G#. Flamenco guitarists use it frequently and with some practice you can pull off a flurry of notes all in the scale, pun intended. 
One of my favorite licks using this stuff is in Am but played in the first position, it order to get extra open notes (E and B ) quickly added to the scale. Starting with the first position Am chord in the 1st and 2nd frets, something like:
each line below is played on on a different consecutive string starting on the high E string and ending on the A string.
Am (Chord), F , G#, F then pull off to the E
D, then pull off to the C AND then the B (double pull-off on the B string)
A , (G#, A, G#) - parenthesis hammered on and pulled off
F, (E, F, E ) - paraenthesis hammer-on/ pulled off again, then D (pulled off)
C, B, A , Am (chord)
To spice it up I often add a quick high E drone to ring right after the F is played on the D string, right in the middle of the hammer-on pull-off. It ends up sounding lightening fast but the open strings and such make it fairly easy to play. You are getting lots of hammered and pulled off notes quickly that you don't have to pick. I've seen Keith play a similar version of this lick as well.
Hope that wasn't too much, non-standard explanation. It makes sense to me. peace
Edited 1 time(s). Last edit at 2012-06-22 11:11 by Naturalust.
One of my favorite licks using this stuff is in Am but played in the first position, it order to get extra open notes (E and B ) quickly added to the scale. Starting with the first position Am chord in the 1st and 2nd frets, something like:
each line below is played on on a different consecutive string starting on the high E string and ending on the A string.
Am (Chord), F , G#, F then pull off to the E
D, then pull off to the C AND then the B (double pull-off on the B string)
A , (G#, A, G#) - parenthesis hammered on and pulled off
F, (E, F, E ) - paraenthesis hammer-on/ pulled off again, then D (pulled off)
C, B, A , Am (chord)
To spice it up I often add a quick high E drone to ring right after the F is played on the D string, right in the middle of the hammer-on pull-off. It ends up sounding lightening fast but the open strings and such make it fairly easy to play. You are getting lots of hammered and pulled off notes quickly that you don't have to pick. I've seen Keith play a similar version of this lick as well.
Hope that wasn't too much, non-standard explanation. It makes sense to me. peace
Edited 1 time(s). Last edit at 2012-06-22 11:11 by Naturalust.
Re: OT: Peter Green's technique (guitar players)
Posted by:
champ72
()
Date: June 22, 2012 08:24
Quote
Naturalust
Yeah TravelinMan you got it. In that A harmonic minor scale the other interesting 1/2 step is the G# to A which can be played straight, as a hammer-on or as a hammer-on-pull-off, where you are starting on the G# , hammering the A, and immediately pulling off back to the G#. Flamenco guitarists use it frequently and with some practice you can pull off a flurry of notes all in the scale, pun intended.
One of my favorite licks using this stuff is in Am but played in the first position, it order to get extra open notes (E andquickly added to the scale. Starting with the first position Am chord in the 1st and 2nd frets, something like:
each line below is played on on a different consecutive string starting on the high E string and ending on the A string.
Am (Chord), F , G#, F then pull off to the E
D, then pull off to the C AND then the B (double pull-off on the B string)
A , (G#, A, G#) - parenthesis hammered on and pulled off
F, (E, F, E ) - paraenthesis hammer-on/ pulled off again, the D (pulled off)
C, B, A , Am (chord)
To spice it up I often add a quick high E drone to ring right after the F is played on the D string, right in the middle of the hammer-on pull-off. It ends up sounding lightening fast but the open strings and such make it fairly easy to play. You are getting lots of hammered and pulled off notes quickly that you don't have to pick. I've seen Keith play a similar version of this lick as well.
Hope that wasn't too much, non-standard explanation. It makes sense to me. peace
Youtube it for us!
Re: OT: Peter Green's technique (guitar players)
Posted by:
Tumblin_Dice_07
()
Date: June 26, 2012 18:55
Quote
NaturalustQuote
Tumblin_Dice_07
I may not be a "really advanced guitar player"....don't know how you'd define one of those.....but I have played for 15 years and I'm a pretty good blues-based player. I don't agree with that "It's all about the right hand" statement at all. Never heard anybody else say that either. It's alot more than just the right hand.
Do you play with a pick mostly? Do do do any fingerstyle or claw hammer where you are picking out the bass lines and the lead line simultaneously?
By advanced guitar players I mean mostly solo artists who can carry a show with just their guitar playing and possibly their singing. Most of these players will all talk about a period of discovering the importance of the right hand, where the rhythm transmits to the guitar and the notes get defined in many different tonal variations( sharp, full, dampened, false harmonic, harmonic, etc)
Also, where the left hand basically has responsibility for the notes, the right hand has both the notes and the rhythm. An in addition to that the right hand work is much less forgiving than the fretting hand. And accuracy and speed are usually both determined more by the right hand. The left or fretting hand seems to learn lots of tricks and ways to sluff off a lick and still pull it off. peace
I play with a pick sometimes, I also play fingerstyle sometimes. I play blues, blues-rock, a bit of country, but that's about it. I'm very influenced by the British blues players. I don't do any "clawhammer" playing. Always associated that with the banjo as I live in the heart of bluegrass country. I think for most players, as ChrisM stated, it's what you do with both hands, together,that matters. You may feel that your right hand technique is more important for your playing though.
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