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I have long been fascinated whilst listening to my favourite artists performing acoustic versions of their records which were originally written for three or four piece bands with electric guitar, bass, drums etc.
This got me to thinking. Some of the tracks in acoustic versions are very similar to the electrified ones, with maybe a few minor differences. But then some are a complete departure, with maybe the same vocal melodies , but with a very different texture and atmosphere ; Sometimes utilizing completely different chord progressions and voicings.
I would like to try my hand at making my own acoustic arrangements of some of the songs that the original authors have never ( to my knowledge ) done. I am thinking particularly of some Paul Weller tunes, Beatles, and some others.
Does anyone have any ideas on how I might go about this in some kind of systematic way ? I'd really appreciate any suggestions. Am I right in thinking that any song can be arranged for an acoustic version, or are some pieces just beyond that ?
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acoustic arrangements
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#2
dadfad 
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Posted 09 February 2006 - 05:22 PM
Yes, it's extremely rewarding to re-arrange tunes for the acoustic guitar. And you feel great when someone occassionally comes up and says "That was pretty good. I think I like it better than the original." Whether electric-rock or old piano-tune jazz standards, it's a lot of fun. I can give a few basic tips but it comes down to the old "Practice makes perfect" cliche.
Choose a "guitar-friendly" key. You don't wanna do a complex piano tune in the key of C# or something on your guitar. Get a good easily changeable capo like a Keyser. Capo where ever needed to get "in tune" with the recording (if you're using one to do it). Figure out the basic chords and key-licks, etc first. If it's in C#, put the capo on the first-fret and try it in C. Then on the fourth-fret and try it playing "as if" in A. Or on the sixth-fret playing "as if" in G. Etc, etc. Find the most friendly and conducive way to play it first like that. Then take it from there.
Of course you now no longer have to use the capo (unless you want to). You can play the basics from an open position now in another key, or whherever you want it.
Feel free to change it as you would. You can make a modern country tune into an old-time style one. Or bluesy. Or jazzy. You can make a tune from one genre fit more in line with your chosen genre specialty if you have one.
It's hard to give exact tips like "do this" or "do that" because each tune is different and depends on what you start with and where you wanna go with it. But it gets easier the more you do it (and of course the more guitar-skills you develop). Finding just the "right" voicing of a chord to sound "your way," etc.
Anyway, good luck. And have fun.
Choose a "guitar-friendly" key. You don't wanna do a complex piano tune in the key of C# or something on your guitar. Get a good easily changeable capo like a Keyser. Capo where ever needed to get "in tune" with the recording (if you're using one to do it). Figure out the basic chords and key-licks, etc first. If it's in C#, put the capo on the first-fret and try it in C. Then on the fourth-fret and try it playing "as if" in A. Or on the sixth-fret playing "as if" in G. Etc, etc. Find the most friendly and conducive way to play it first like that. Then take it from there.
Of course you now no longer have to use the capo (unless you want to). You can play the basics from an open position now in another key, or whherever you want it.
Feel free to change it as you would. You can make a modern country tune into an old-time style one. Or bluesy. Or jazzy. You can make a tune from one genre fit more in line with your chosen genre specialty if you have one.
It's hard to give exact tips like "do this" or "do that" because each tune is different and depends on what you start with and where you wanna go with it. But it gets easier the more you do it (and of course the more guitar-skills you develop). Finding just the "right" voicing of a chord to sound "your way," etc.
Anyway, good luck. And have fun.
Un-plugged is not the same as
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
#3
rickc
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Posted 09 February 2006 - 05:26 PM
QUOTE (dadfad @ Feb 9 2006, 10:22 PM)
Yes, it's extremely rewarding to re-arrange tunes for the acoustic guitar. And you feel great when someone occassionally comes up and says "That was pretty good. I think I like it better than the original." Whether electric-rock or old piano-tune jazz standards, it's a lot of fun. I can give a few basic tips but it comes down to the old "Practice makes perfect" cliche.
Choose a "guitar-friendly" key. You don't wanna do a complex piano tune in the key of C# or something on your guitar. Get a good easily changeable capo like a Keyser. Capo where ever needed to get "in tune" with the recording (if you're using one to do it). Figure out the basic chords and key-licks, etc first. If it's in C#, put the capo on the first-fret and try it in C. Then on the fourth-fret and try it playing "as if" in A. Or on the sixth-fret playing "as if" in G. Etc, etc. Find the most friendly and conducive way to play it first like that. Then take it from there.
Of course you now no longer have to use the capo (unless you want to). You can play the basics from an open position now in another key, or whherever you want it.
Feel free to change it as you would. You can make a modern country tune into an old-time style one. Or bluesy. Or jazzy. You can make a tune from one genre fit more in line with your chosen genre specialty if you have one.
It's hard to give exact tips like "do this" or "do that" because each tune is different and depends on what you start with and where you wanna go with it. But it gets easier the more you do it (and of course the more guitar-skills you develop). Finding just the "right" voicing of a chord to sound "your way," etc.
Anyway, good luck. And have fun.
Choose a "guitar-friendly" key. You don't wanna do a complex piano tune in the key of C# or something on your guitar. Get a good easily changeable capo like a Keyser. Capo where ever needed to get "in tune" with the recording (if you're using one to do it). Figure out the basic chords and key-licks, etc first. If it's in C#, put the capo on the first-fret and try it in C. Then on the fourth-fret and try it playing "as if" in A. Or on the sixth-fret playing "as if" in G. Etc, etc. Find the most friendly and conducive way to play it first like that. Then take it from there.
Of course you now no longer have to use the capo (unless you want to). You can play the basics from an open position now in another key, or whherever you want it.
Feel free to change it as you would. You can make a modern country tune into an old-time style one. Or bluesy. Or jazzy. You can make a tune from one genre fit more in line with your chosen genre specialty if you have one.
It's hard to give exact tips like "do this" or "do that" because each tune is different and depends on what you start with and where you wanna go with it. But it gets easier the more you do it (and of course the more guitar-skills you develop). Finding just the "right" voicing of a chord to sound "your way," etc.
Anyway, good luck. And have fun.
#4
rickc
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Posted 09 February 2006 - 05:34 PM
Thanks dadfad . Tell me, have you re-arranged many songs for acoustic yourself ?
The more I play and listen to acoustic music the more I appreciate the huge variations of tone and texture you can get.
A friend of mine always says that he can produce a much wider range of sounds with his electric guitar, because he can twiddle the dials on the amp, and switch pickups etc. I know he has a point, but I would argue that it is also possible to produce a wealth of different sounds with my basic ol' flat top, and this is why I want to arrange some myself, so I can show him the error of his ways !
The more I play and listen to acoustic music the more I appreciate the huge variations of tone and texture you can get.
A friend of mine always says that he can produce a much wider range of sounds with his electric guitar, because he can twiddle the dials on the amp, and switch pickups etc. I know he has a point, but I would argue that it is also possible to produce a wealth of different sounds with my basic ol' flat top, and this is why I want to arrange some myself, so I can show him the error of his ways !
#5
dadfad
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Posted 09 February 2006 - 05:51 PM
Yes, quite a few. From Hendrix to Fats Waller to Sinatra to Thelonious Monk to Stephen Foster. I generally play in a fingerstyle, so I tend to go toward that. I also generally like older style country-blues, Appalachian, etc. So I often take a tune more into something like that. Some are pretty easy. A few simple added techniques and it sounds like it's another genre. Some are pretty complex. I like old piano-tune standards because they are good for complex fingerstyle. I recently did (for someone else) a more-less contemporary-classical piano tune for fingerstyle solo.
Start simple. Take a simple rock and make it acoustic by doing something a little more than simply strumming the same chords but on an acoustic guitar. Make a faster one slower, with more potential for expression (whether vocally or instrumentally). Just mess around with a few things. Pick something totally outside of your normal stuff. Some... whatever... old '50s pop-tune or something. Listen to the recording (and the odds are it'll be in some horn/brass/piano key to start with) and try to take it apart until you can play it well. There are some great old gems out there if you look for them. Tunes as appropriate today as when they were written. Or even more so. Don't discard a genre out-of-hand. There might be a few nice tunes that you can really do something with. And the more you do it, the easier it becomes and the more you can see the "potential" of a tune when you hear it.
Your friend really isn't aware of the diversity of an acoustic guitar. Besides, any dial he can "twiddle" on his electric can also be twiddled on an acoustic's PA or amp anyway. If he really thinks that dial-twiddling is some kind of art!
Start simple. Take a simple rock and make it acoustic by doing something a little more than simply strumming the same chords but on an acoustic guitar. Make a faster one slower, with more potential for expression (whether vocally or instrumentally). Just mess around with a few things. Pick something totally outside of your normal stuff. Some... whatever... old '50s pop-tune or something. Listen to the recording (and the odds are it'll be in some horn/brass/piano key to start with) and try to take it apart until you can play it well. There are some great old gems out there if you look for them. Tunes as appropriate today as when they were written. Or even more so. Don't discard a genre out-of-hand. There might be a few nice tunes that you can really do something with. And the more you do it, the easier it becomes and the more you can see the "potential" of a tune when you hear it.
Your friend really isn't aware of the diversity of an acoustic guitar. Besides, any dial he can "twiddle" on his electric can also be twiddled on an acoustic's PA or amp anyway. If he really thinks that dial-twiddling is some kind of art!
Un-plugged is not the same as
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
#7
matt_theripper
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Posted 10 February 2006 - 07:59 PM
QUOTE (rickc @ Feb 9 2006, 03:34 PM)
Thanks dadfad . Tell me, have you re-arranged many songs for acoustic yourself ?
The more I play and listen to acoustic music the more I appreciate the huge variations of tone and texture you can get.
A friend of mine always says that he can produce a much wider range of sounds with his electric guitar, because he can twiddle the dials on the amp, and switch pickups etc. I know he has a point, but I would argue that it is also possible to produce a wealth of different sounds with my basic ol' flat top, and this is why I want to arrange some myself, so I can show him the error of his ways !
The more I play and listen to acoustic music the more I appreciate the huge variations of tone and texture you can get.
A friend of mine always says that he can produce a much wider range of sounds with his electric guitar, because he can twiddle the dials on the amp, and switch pickups etc. I know he has a point, but I would argue that it is also possible to produce a wealth of different sounds with my basic ol' flat top, and this is why I want to arrange some myself, so I can show him the error of his ways !
Agreed. I have started using a percussive slap-strum on acoustic that is pretty much impossible to duplicate on electric. Or at least it doesn't sound the same. I don't use it all the time, but it's a cool trick to use occasionally. Really gives the tunes a different feel.
#8
dadfad
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Posted 11 February 2006 - 08:16 AM
I use it myself on some tunes. The old blues-guy Bukka White used a very powerful technique of doing it pretty often. He called it "Spankin' the Baby."
Un-plugged is not the same as
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
#9
rickc
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Posted 11 February 2006 - 08:39 AM
QUOTE (matt_theripper @ Feb 11 2006, 12:59 AM)
QUOTE (rickc @ Feb 9 2006, 03:34 PM)
Thanks dadfad . Tell me, have you re-arranged many songs for acoustic yourself ?
The more I play and listen to acoustic music the more I appreciate the huge variations of tone and texture you can get.
A friend of mine always says that he can produce a much wider range of sounds with his electric guitar, because he can twiddle the dials on the amp, and switch pickups etc. I know he has a point, but I would argue that it is also possible to produce a wealth of different sounds with my basic ol' flat top, and this is why I want to arrange some myself, so I can show him the error of his ways !
The more I play and listen to acoustic music the more I appreciate the huge variations of tone and texture you can get.
A friend of mine always says that he can produce a much wider range of sounds with his electric guitar, because he can twiddle the dials on the amp, and switch pickups etc. I know he has a point, but I would argue that it is also possible to produce a wealth of different sounds with my basic ol' flat top, and this is why I want to arrange some myself, so I can show him the error of his ways !
Agreed. I have started using a percussive slap-strum on acoustic that is pretty much impossible to duplicate on electric. Or at least it doesn't sound the same. I don't use it all the time, but it's a cool trick to use occasionally. Really gives the tunes a different feel.
Hey matt,
I'm really interested in the slap/strum method you mention. I wondered could you describe it for me.
I was playing a friends guitar the other night. It is just a nylon strung box really. It was made by an ex-patient of his on a psychiatric unit in the occupational therapy unit. The point is that the finish on the box of the instrument is rather crude to say the very least ( though the tone is surprisingly good,
and it's a sweet instrument to play ).
Because the finish is so rough ( hand varnished , with a poor quality varnish, and not rubbed down ) it is possible to get a rhythmic sound to any strummy kind of piece. I strum with the pad of my thumb and then use my fingertips to produce a kind of shifting rhythm on the soundboard. It is a really interesting style and I would like to develop it further, and replicate it on my own guitar.
Herein lies a problem. Because my guitar has a highly polished factory finish on the soundboard, rubbing my fingertips over it does not produce any sound. It is really disappointing !. Now , I'm toying with the idea of taking a sheet of rough grade sandpaper to an area on the soundboard just big enough to reproduce that great sound. Trouble is, I can't bring myself to do it in case it turns out to be a total disaster, and I end up ruining my prized possession.
What do you think? am I being too squeamish, and allowing the nancy in me to chicken out. Should I sacrifice the poncey good looks of my guitar, for the sake of my art ?. Or is there a third way, which I havn't thought of yet, that I can achieve that sound without taking such drastic measures ?
It sounds like you are achieving the same kind of sound that I would like to develop. Any advice would be much appreciated.
#10
dadfad
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Posted 11 February 2006 - 10:59 AM
Some guys do certain things for certain effects. A friend of mine has a small disc of corrugated metal (think of a wash-board or something) glued (with "safe" glue) to the top of his guitar. He gets a very wash-board-type sound using his fingerpicks on it (similar to what an actual wash-board player gets with his thimbles and bottle-opener). You can buy pick-guard material (or similar hardware-store plastic "protective-stuff") and put that on (it often comes with self-adhesive backs). Or a piece of sand-paper stuck on the top. I have a friend who has a snap mounted on his guitar. He also has a tamborine with the opposide-side snap mounted on that. He sometimes snaps them together to be able to get a percussive tamborine sound along with the guitar. (I did a similar thing once for a little while. At a guitar and acoustic instrument workshop performance I was doing a number of years ago, some people were paired together to do a tune in order to be able to fit all of the instructors into a reasonable length set. I was paired with a female Gaelic Bodrahm player instructor! (Talk about a mis-match!). We did a very percussive Mississippi Fred McDowell tune where I used a National Steel (with a slap-technique similar to what Bukka White did on his National) and she simply accompanied it with a tamborine (and she was very skilled). It sounded so good and came off so well that for a while I experimented with a (can't think of the Arabic name... like a tamborine-on-a-stick... strapped to my ankle and mic'ed as I tapped my foot). Worked pretty well, but was kind of a pain-in-the-ass so I dropped it.
Anyway, there are lots of things to do to get different rhythmic textures as you play. You don't always need them, and sometimes their over-use can become too much of a good thing, but having and using things like that keeps you guitar-work from becoming too much the same.
Anyway, there are lots of things to do to get different rhythmic textures as you play. You don't always need them, and sometimes their over-use can become too much of a good thing, but having and using things like that keeps you guitar-work from becoming too much the same.
Un-plugged is not the same as
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
#11
matt_theripper
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Posted 11 February 2006 - 01:55 PM
My slap/strum thing is kinda hard to explain. I use my whole thumb to slap the strings I'm using in whatever pattern I'm feeling at the time. I also use my fingers to clawhammer down, using the backs of my fingernails to hit the strings. It sounds really good if you are hammering into a chord,
Something like this:
0
1
0h2
0h2
0
0
For an Am.
I know that's not a great description, but I'm at work right now and don't have my guitar. I might be able to make a better description when I have my actual guitar in my hands. I also might try to see if I can post a video, but I'm not sure where I'd be able to host it at.
Something like this:
0
1
0h2
0h2
0
0
For an Am.
I know that's not a great description, but I'm at work right now and don't have my guitar. I might be able to make a better description when I have my actual guitar in my hands. I also might try to see if I can post a video, but I'm not sure where I'd be able to host it at.
#12
TheJosh
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Posted 12 February 2006 - 12:48 PM
this is a great topic...
i hope this post isnt too offtopic but....
ive been lookin to add some percussion to my solo-stuff-
im already singin lots off craziness from my own songs to american folk/roots/blues songs like peg and awl & deep river blues, and folky arrangements of like jimi and even a rap medley- and i play harp and kazoo on a rack, but i really would like to add some percussiveness besides tappin my foot real loud.
i can get a groovy beat goin w/ my heel and toes alternating hitting the ground, and i've tried stomping on this little tambourine ive found but that sounds kinda lame....
any suggestions?
oh...and another question
i aint the loudest singer, and i've been playing in a coffeehouse where micing up would be kinda silly because of the size of the room. i have been trying to figure out a non-electric way of slightly amplifing my voice, like i dunno-making a cardboard megaphone and putting on a stand- has anyone seem that before??
i hope this post isnt too offtopic but....
ive been lookin to add some percussion to my solo-stuff-
im already singin lots off craziness from my own songs to american folk/roots/blues songs like peg and awl & deep river blues, and folky arrangements of like jimi and even a rap medley- and i play harp and kazoo on a rack, but i really would like to add some percussiveness besides tappin my foot real loud.
i can get a groovy beat goin w/ my heel and toes alternating hitting the ground, and i've tried stomping on this little tambourine ive found but that sounds kinda lame....
any suggestions?
oh...and another question
i aint the loudest singer, and i've been playing in a coffeehouse where micing up would be kinda silly because of the size of the room. i have been trying to figure out a non-electric way of slightly amplifing my voice, like i dunno-making a cardboard megaphone and putting on a stand- has anyone seem that before??
"if the river was whiskey, mama- i'd be a divin' duck"
hear my songs, y'all http://www.myspace.com/pholksinger
http://mp3.com.au/deadrespect
http://www.myspace.com/deadrespect
hear my songs, y'all http://www.myspace.com/pholksinger
http://mp3.com.au/deadrespect
http://www.myspace.com/deadrespect
#13
rickc
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Posted 12 February 2006 - 05:12 PM
One method I use is to dampen all of the strings with my left hand ( being right handed )...and then use a soft plectrum to beat out a rhythm on the bottom of the strings right next to the bridge. I think this is the obvious thing that everybody uses. It's interesting to hear the different effects you can get by moving your right hand up and along the strings. but you can also add the heel of your palm, thump- a- thumping to give a kind of backbeat. Takes some practice though.
When you use this method to inject some percussion into your playing you can really start to have fun.
I saw a geezer from Dublin recently...He used this style to great effect, and would then use both hands to beat a groove on the soundboard like he was playing bongo's or something. He would move the position of his hands to get a different resonance from different parts of the soundboard. He mixed all these things to achieve a very percussive sound to his performance...and the crowd loved it !
When you use this method to inject some percussion into your playing you can really start to have fun.
I saw a geezer from Dublin recently...He used this style to great effect, and would then use both hands to beat a groove on the soundboard like he was playing bongo's or something. He would move the position of his hands to get a different resonance from different parts of the soundboard. He mixed all these things to achieve a very percussive sound to his performance...and the crowd loved it !
#14
rickc
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Posted 12 February 2006 - 05:22 PM
By the way...I forgot to add...the cardboard megaphone sounds really cool !.
I've never seen it done, but it could add a whole new dimension to your live sound. You could also try an orange and white traffic cone mounted on a broomstick or something....far out !.
I've never seen it done, but it could add a whole new dimension to your live sound. You could also try an orange and white traffic cone mounted on a broomstick or something....far out !.
#15
dadfad
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Posted 13 February 2006 - 01:03 PM
QUOTE (TheJosh @ Feb 12 2006, 12:48 PM)
this is a great topic...
i hope this post isnt too offtopic but....
ive been lookin to add some percussion to my solo-stuff-
im already singin lots off craziness from my own songs to american folk/roots/blues songs like peg and awl & deep river blues, and folky arrangements of like jimi and even a rap medley- and i play harp and kazoo on a rack, but i really would like to add some percussiveness besides tappin my foot real loud.
i can get a groovy beat goin w/ my heel and toes alternating hitting the ground, and i've tried stomping on this little tambourine ive found but that sounds kinda lame....
any suggestions?
oh...and another question
i aint the loudest singer, and i've been playing in a coffeehouse where micing up would be kinda silly because of the size of the room. i have been trying to figure out a non-electric way of slightly amplifing my voice, like i dunno-making a cardboard megaphone and putting on a stand- has anyone seem that before??
i hope this post isnt too offtopic but....
ive been lookin to add some percussion to my solo-stuff-
im already singin lots off craziness from my own songs to american folk/roots/blues songs like peg and awl & deep river blues, and folky arrangements of like jimi and even a rap medley- and i play harp and kazoo on a rack, but i really would like to add some percussiveness besides tappin my foot real loud.
i can get a groovy beat goin w/ my heel and toes alternating hitting the ground, and i've tried stomping on this little tambourine ive found but that sounds kinda lame....
any suggestions?
oh...and another question
i aint the loudest singer, and i've been playing in a coffeehouse where micing up would be kinda silly because of the size of the room. i have been trying to figure out a non-electric way of slightly amplifing my voice, like i dunno-making a cardboard megaphone and putting on a stand- has anyone seem that before??
Strap it on your ankle (and mic it if you want). Mount it on a short little stand and use a cheap drum-kick pedal, or on top of a hi-hat instead of the cymbal. Or use a cymbal like some one-man-band guys use.
A "stomp-box" (a very-short wooden "box" maybe a inch high, hollow inside with a mic inside (or outside) can make your toe/heel-taps a lot more powerful. I made one, and used it a few times. I worked well, but was a pain to drag around.
Some guitarists put taps (cleats, even metal beer-bottle caps) on their heels and/or toes for a stronger foot-tapping.
I knew (actually just met) a guitarist who had a little vest he wore and it had all kinds of.... contraptions... mounted on it. Little sand-boards, rub-boards, clickity-sticks, tambourine-jangles. Even a little thumb-bell like little kids have on their tricycle handle-bars. He did all kinds of... er... novel... rhythmic things as he played!
Un-plugged is not the same as
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
#16
rayvon87
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Posted 14 February 2006 - 02:19 AM
Tommy Emmanuel does some awesome purcussive stuff on his guitar. If you ever get the chance to see him play Initiation or Mombasa live, you'd be awestruck. Massive percussion solos, scraping sounds using sanded down parts of his guitar to make wind sorta sounds, he even used a snare brush bashing both his guitar and his mic. Absolutely incredible. For a small taste, see if you can find a live version of Initiation or even the version on his 'Determination' CD is pretty good.
Tommy Emmanuel C.G.P.
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