When YOU're playing what do you think about?

Ray Montee · Post by **Ray Montee** » 14 Sep 2014 5:01 pm

When you're playing a great instrumental or doing some exceptionally fine back-up for this vocalist or that one.......

WHAT? are you thinking about?

Do you guys REALLY worry about or even think about whether the melody is going to be played using this diminished chord, that augmented chord, this triad or that favorite suspended 13th? Do you really care what the name of the note is on this or that fret........?

Don't you really just play what the melody dictates so that you're playing will sound really nice while presenting a tune the audience can hum.....if they choose to? Isn't it the bassman and rhythm guitar players responsibility to give you that chordal tone?

Larry Lorows · Post by **Larry Lorows** » 14 Sep 2014 5:32 pm

The older I get, it's hard just to remember what key I'm in, and the chords,& that's no joke. I used to be able to smoke a cigarette, have a drink, and watch the girls go by.

My wife took care of the girl watching, my heart attack took care of my smoking, and I just don't drink much any more.

Larry Lorows · Post by **Larry Lorows** » 14 Sep 2014 5:33 pm

The older I get, it's hard just to remember what key I'm in, and the chords,& that's no joke. I used to be able to smoke a cigarette, have a drink, and watch the girls go by.

My wife took care of the girl watching, my heart attack took care of my smoking, and I just don't drink much any more.

Richard Sinkler · Post by **Richard Sinkler** » 14 Sep 2014 6:30 pm

If it is with a band that we do the song at every gig, I usually don't think about what I am playing. It is kind of like being on autopilot. But if it is a song I am not real familiar with, I will usually try to play something based on the melody of the song. Since the melody can be played at several places, I think of where I want to start. I decide on what fret, what pedals, what strings, etc... And there are times when I play solos that are not based on the melody. That takes a lot more thought to make sure I play something appropriate. Then I have to take a half hour break because brain over heated.

Richard Sinkler · Post by **Richard Sinkler** » 14 Sep 2014 6:32 pm

Oh... I also check out the ladies.

Alan Brookes · Post by **Alan Brookes** » 14 Sep 2014 6:56 pm

When I'm playing I think about bacon sandwiches, dripping with lard, covered in ketchup. In fact, since I've been on this terrible diet I've lost 40 lbs. and think of little else than the food I would like to eat but can't.

Alan Brookes · Post by **Alan Brookes** » 14 Sep 2014 6:58 pm

Larry Lorows wrote:The older I get, it's hard just to remember what key I'm in...

In fact, it's also hard to remember whether you've already clicked on the "SUBMIT", too.

Henry Matthews · Post by **Henry Matthews** » 14 Sep 2014 8:54 pm

I'm confused, are you supposed to think when you play?

Mike Perlowin · Post by **Mike Perlowin** » 14 Sep 2014 9:01 pm

Sex.

Christopher Woitach · Post by **Christopher Woitach** » 14 Sep 2014 9:46 pm

What's wrong with thinking about how the melody you're improvising fits with the chords? Why are you so against that? It makes absolutely no sense to me to avoid caring about the harmony you're playing over.

Bud Angelotti · Post by **Bud Angelotti** » 14 Sep 2014 10:44 pm

Do you guys REALLY worry about or even think about whether the melody is going to be played using this diminished chord, that augmented chord, this triad or that favorite suspended 13th? Do you really care what the name of the note is on this or that fret........?

You said it Ray. The voice of REAL experience.
Personally, when I'm focused, I try to keep it to about 3 things.
#1 Just making a "pleasing" sound.
#2 The ladies
#3 Iceland's role in WWII
I'm serious.
My objective is to go to another dimension mentally, and sound & music is the vehical.
I don't think many of the listeners care much about this diminished chord, that augmented chord either.
They just want to have fun.
Of course if some players want or need to think about this diminished chord, or that augmented chord
more power to 'em.

Savell · Post by **Savell** » 14 Sep 2014 11:27 pm

I can't remember playing a great instrumental.
Thought I would once. What was I thinking?
There's my trouble, come to think of it.

Mike Neer · Post by **Mike Neer** » 15 Sep 2014 3:55 am

Ray Montee wrote:
Do you guys REALLY worry about or even think about whether the melody is going to be played using this diminished chord, that augmented chord, this triad or that favorite suspended 13th? Do you really care what the name of the note is on this or that fret........?

Yes and yes.

Ray Montee wrote: Don't you really just play what the melody dictates so that you're playing will sound really nice while presenting a tune the audience can hum.....if they choose to? Isn't it the bassman and rhythm guitar players responsibility to give you that chordal tone?

No and no.

Bob Hoffnar · Post by **Bob Hoffnar** » 15 Sep 2014 5:23 am

Mike Neer wrote:
Ray Montee wrote:
Do you guys REALLY worry about or even think about whether the melody is going to be played using this diminished chord, that augmented chord, this triad or that favorite suspended 13th? Do you really care what the name of the note is on this or that fret........?
Yes and yes.

Ray Montee wrote: Don't you really just play what the melody dictates so that you're playing will sound really nice while presenting a tune the audience can hum.....if they choose to? Isn't it the bassman and rhythm guitar players responsibility to give you that chordal tone?
No and no.

I am with Mike on this. It is very important to be aware of the harmony and my place within it. Also I keep rhythm And feel in mind. If the band is not together I avoid playing rhythm so as not to further confuse the sound. Or if things are grooving I may play a rhythmic backup in unison with another player to help the ensemble. I play close attention to the drummer's and singers phrasing and try to act as a bridge between them.

I also listen for register. It is important to be aware of how high or low the sounds are in the ensemble. Then I can choose to play above, below or in the same range depending on what the song needs.

I do my best to "hear" what I am playing before I play it. If I find myself chasing chords during a song I get in trouble usually.

I also think about structure. If my big moment is during the second chorus then that means lay out in the verse before. Or if the story of the song is wrapped up in the 3rd verse I may lay out in order to not distract from the narrative.

My brain is going full blast while I am playing but it doesn't feel like thinking really. It is more like staying aware of my options and the meaning of those options while music pours out of my heart.

Btw: I do my best to leave plenty of room in my brain to pay attention to the good looking women dancing by and wonder if I left my laundry in the dryer.

Patrick Strain · Post by **Patrick Strain** » 15 Sep 2014 7:01 am

I'm not much of a player, but the parts I play are simple. I'm usually thinking about singing. I find it much harder to play steel and sing than to play six-string and sing.

admin · Post by **b0b** » 15 Sep 2014 7:33 am

When I'm at my best, I'm thinking ahead. I have issued instructions to my body on what to play in real time, and I'm actually a few beats ahead of that in my mind. This advance planning makes better solos, in my opinion.

When I'm at my worst, the music is ahead of me and I'm struggling to catch up. I can stay in key (almost always) but the solo makes little musical sense, no tension and release, barely in touch with the chord progression.

Doug Palmer · Post by **Doug Palmer** » 15 Sep 2014 7:48 am

A Mind reader went to hear a band. While they were playing he read each players mind. The guitar player was thinking, "There's a good crowd tonight, we should make good money". The Drummer was thinking, "Man what a lot of hot chicks. I should get lucky tonight". The Steel Player was thinking, " What am I doing playing with these Bozos. They can't even play an augmented chord." The Bass player was thinking, " C G C G C G."

Mike Perlowin · Post by **Mike Perlowin** » 15 Sep 2014 8:01 am

I actually concentrate on the physical aspects of playing. Mostly trying to intonate correctly, sometimes on which strings to pick.

chris ivey · Post by **chris ivey** » 15 Sep 2014 9:21 am

chicks!

Dean Rimmer · Post by **Dean Rimmer** » 15 Sep 2014 11:11 am

the existential dilemma

Lane Gray · Post by **Lane Gray** » 15 Sep 2014 11:28 am

The ultimate question of Life, the Universe and Everything: to which we know the answer is 42.

Mike Perlowin · Post by **Mike Perlowin** » 15 Sep 2014 12:55 pm

Actually Lane, I think the answer is 49.

Herb Steiner · Post by **Herb Steiner** » 15 Sep 2014 1:15 pm

I'm singing the song, with my guitar but as close to emotionally lyrical as I can get. I'd actually like to be Sinatra.

Also, a good deal of what Bob Hoffnar said about being aware of your musical surroundings and acting appropriately. Especially correct about laying out, if possible, before you either solo or fill. Occupying the aural space previous with even a subtle pad previous to your entry will lessen its impact.

Robert Dominick · Post by **Robert Dominick** » 15 Sep 2014 1:18 pm

I'm with Richard on this one!

John Billings · Post by **John Billings** » 15 Sep 2014 3:45 pm

No clue. I zone out. Never play the same song twice the same way, except for required signature licks. It's as if another sub-conscious part of my brain takes over.

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When YOU're playing what do you think about?

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