6-Tap Echo – real-time visualization of the stereo signal processing, can individually adjust the parameters of 6 echoes: feedback, panning, volume, etc.2-Line Compressor – real-time visualization of input and output signal, two RMS & Peak detection modes, soft knee support, auto power off and auto adjust.High order 8-band EQ – intuitive frequency response control, real-time visualization of the spectrum of input and output signals, support for single band.Elegant presets with Drag & Drop support.Equalizer with individual strumming rhythm.Select and define 2 chord modes, any chords can be tuned.
Strum Legato – Legato articulations can be played while strumming.14 strum notes + 28 ways to play each chord.There is – of course – more than one way to play the line, and it’s worth experimenting in order to find the one that works best for you. Once we’ve ascended the G#m arpeggio, we’re able to resolve into the C#7 chord by using some chromatic approaches:
#Torrent ghostnote series#
Chord tones are highlighted in blue, while scale tones are red:įrom there, we move into outlining the next chord, G#m, via a series of approach notes: Using plucking-hand raking will make it much easier to get this opening phrase up to tempo. We start out by descending a B major 7 arpeggio the rhythm is typical of figures played by jazz musicians from Charlie Parker onwards – this is something that I’ve also come across when transcribing solos from great improvisers like Bill Evans, Joe Henderson, Paul Desmond and Oscar Peterson. The harmony that I’ve used for this analysis is one of several possible interpretations, as there’s not much in the way of chordal support to give us context – there are other ways of breaking down the line and this may well not be how the composers think about it. Zooming out and seeing the ‘bigger picture’ shows us that we’re really just outlining three chords not so bad after all, is it? It’s important to break down lines like this into their most basic building blocks in order to help us understand them from a theoretical standpoint and to aid actually playing the damn things.
#Torrent ghostnote code#
Here’s the notation for the line, along with my preferred fingering: Cracking The Code
Although on first listen you might feel like it’s just a barrage of random notes, analysing the line in the context of a familiar jazz chord progression allows us to see that it’s really just a series of chord tones, scale tones and chromatic approach notes, albeit played at high speed. Lines like this are an excellent resource for building your technique in a musical way if you’ve spent any amount of time listening to (or even attempting to play) bebop heads and solos, then the language of this lick will feel familiar to you. The real reason for including ‘Swagism’ in this series is the monster unison lick that acts as musical ‘punctuation’ between the solos. My recommended tactic is to listen to the recording repeatedly in order to internalise where the accented notes are in the line and which notes are played using hammer-ons, as this has a huge impact on how the part sits with the other instruments. Notice the use of the tried-and-tested ‘question and answer’ compositional technique, seen here with two alternate endings:Īs you might expect, articulation is integral to getting the bass line to, well, groove it’s not just the notes themselves, it’s how you play them. The main bass groove is a straightforward four-bar pattern that outlines G#m (thinking of it this way rather than Ab saves us some enharmonic misery later on…).
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