Surf's Up Part II

Music projects come in waves, and adopting a surfer’s attitude to negotiate the inevitable ups and downs can be an effective strategy.

1. A surfer knows that the only way to live is by putting yourself out in the water. You can’t catch a wave by sitting on the beach.

2. It is certain that waves eventually end, so enjoy the moments of the wave when you’re riding it.

3. Pass on more waves instead of jumping on the first one that comes your way.

4. Remember each ride requires an investment of time and you’ll never get a second of it back.

5. Try to sense when a wave is ending and maneuver into calm water if you have a choice.

6. I understand shark attacks are a common cause of death in surfing. Pay attention to anything or anyone that may influence your ride.

When you’re on a great ride, it’s a big reward and one of life’s peak moments. There's always a chance of getting crushed by the next wave, but big rewards seem to require big risks. Cheers.

FLY DATES

I’ve been doing more fly dates this past year and traveling with a guitar has become a challenge. Options are limited:

(1) buy an additional seat for the guitar;

(2) check the guitar as baggage;

(3) gate check the instrument;

(4) take the guitar directly onto the plane and be instructed to put it in the overhead bin; or

(5) carry the instrument onto the plane and ask for the opportunity to place it in the flight attendants’ closet.

A 2002 Corona Telecaster tucked inside a Mono Classic Electric Guitar Case is my standard traveling rig. I don’t let the instrument out of my sight when flying, and purchasing an extra seat is cost prohibitive. This means I’m left with either option four or five above, and number five is becoming increasingly difficult to accomplish. On a recent trip, a flight attendant declined my request for closet storage and told me not to worry - “this airplane has big overheard bins.” Of course, this ignores obvious exposure to damage when other passengers decide to force hardshell suitcases on top of the guitar. However, on a separate trip, a flight attendant observed me coming down the jetway with a guitar and directed me to a vacant bin. The attendant then closed the bin in an effort to discourage other passengers from storing suitcases and packs; it worked.

Here’s the message: If you’re flying with a guitar (1) you have very few options, and (2) the flight attendant has complete control over the guitar’s destiny if you choose to bring it on board.

Note: In any event, I do not recommend traveling with a high-end piece or a guitar that holds sentimental value (although I would cry like a baby if my 2002 Telecaster was ever lost or damaged).

SOUND LIKE YOU

As a student of the game, I was fortunate enough to attend a Howard Roberts (“HR”) seminar early on. So you know, HR was a member of the Wrecking Crew and recorded guitar parts on many television soundtracks; e.g., I Love Lucy, The Munsters, Bonanza, The Brady Bunch, Gilligan's Island, Green Acres, The Twilight Zone, Batman, Beverly Hillbillies, Mission: Impossible, Dick Van Dyke, etc. He was a founding member of the Guitar Institute of Technology (currently Musicians Institute College of Contemporary Music). Gibson has produced two signature models under his name.

Our seminar only had eight attendees because of failed advertising. HR apologized and suggested that everyone accept a refund; he was not accustomed to working with small groups. We unanimously refused his offer. As the seminar progressed, he sat in front of each of us individually as we played and commented on our technique, choice of notes, and composition ability. That was an incredible experience. During my session with him, he asked me about my musical goal. I told him I wanted to sound like Lee Ritenour. HR told me, “[T]hen go out and buy every record he’s played on and learn his licks. You’ll never sound like him, but it’s the best you can do. I thought you were here because you want to learn to sound like you.”

“Sound like you” - great advice, enduring question. HR’s advice/question turned out to be a link in a chain for me. Here’s the best part; there’s no end to the chain. I’m always searching for the next link every time I pick up the instrument. HR’s guidance helped me realize the persistent journey toward sounding like me is truly the reward. Thanks HR.

TWO GUITARS, TWO INTERVALS

If you decide to play with one or more persons in ensemble form, it's fair to say you might be working with another guitar player.

I recently referred to the “Nashville number system”, meaning charts that rely on numerical form; e.g., “1”, “6-”, “4”, “5”. This progression applied to the key of C indicates the chords C, A minor, F, and G. [See Memorizing 100 Songs below]. Let’s glance into the basic intervals that make up the chords and the reason those intervals are powerful.

A major triad in the key of C consists of the notes C, E and G; note the interval created from C to E is a major third, and from E to G a minor third. Simply, a major triad consists of a major third with a minor third on top. Let’s use intervals to create a motif over a “1”, “6-”, “4”, “5” progression in the key of C:

Strike the notes C and E, creating a major third interval over the C chord;
Strike the notes C and E, now a minor third interval over the A minor chord;
Strike the notes A and C, creating a minor third interval over the F chord; and
Strike the notes B and D, creating a minor third interval over the G chord.

When another guitar player in your ensemble decides to play chords using an eighth note rhythm over a progression, you can use these intervals in whole note fashion to create a complimentary motif. And, although harmonically compatible, the use of minor third intervals will give the motif a darker sound; it should blend well.

Likewise, you can use these double stops, (the technique of playing two notes simultaneously on a stringed instrument), to reduce harmonic clutter and tighten up the ensemble. Cool. Keep in mind there is no magic to learning any of this.

CONNECTIONS

Tommy Tedesco, (LA Studio Guitar Czar), noted that a job should offer one or more of the following qualities: (1) good money, (2) fun, (3) future connections, or (4) learning. In my experience, these qualities can be (and are often) mutually inclusive. I have also discovered “future connections” can present in different forms.

One of the highest profile and best paying gigs I have ever been invited to play occurred when a bandleader heard me playing in a music store. As a store employee with some extra time, I decided to sit in a corner and work on a chord melody arrangement of Chick Corea’s “500 Miles High”. The leader approached me at one point and introduced himself. After we talked for about 30 minutes, he offered me a gig supporting some notable contemporary country music performers. I would later find out another guitar player recommended me, which prompted the leader to be at the store in the first place. Likewise, the leader listened to me play for about 20 minutes before he introduced himself. I didn’t realize a small block of spontaneous playing in a music store could take the form of an audition.

I have come to understand that every time I play in public someone is listening to a degree. It could be a single festival or club attendee, a venue owner, or a staff member who likes what they hear and knows someone I should meet. It may be a website viewer or another musician in an adjoining rehearsal studio who wants to hear more. I don’t have any way of knowing when a connection will develop. However, I have learned that playing guitar in front of just one other person means there is no private moment, and that someone significant to my future might be paying attention.

MEMORIZING 100 SONGS

One of the best pieces of advice I’ve ever received came from my former guitar instructor, Don Mock: you can’t break the rules until you know what they are. I would eventually learn the “rules” meant not only basic music theory, but concepts like the dynamic order of a major scale, interval qualities, chromatic syllables, the quality and class of chords, and the process of tone resolution. Keep in mind there is no magic to learning any of this.

The “Nashville number system” is a good example of chord quality and class application. Many (or perhaps all) of you know this method relies on numerical form; e.g., “1”, “6-”, “4”, “5”. This progression applied to the key of C indicates the chords C, A minor, F, and G. The same progression in the key of E flat involves chords E flat, C minor, A flat and B flat, and so on. To use the number system effectively, it is implied the performer recognizes (1) the difference between major and minor chords, and (2) has ear training to the degree the interval between a “1” chord and/or a “4” or “5” chord is easily distinguishable. Know this system well enough, and you should be able to write a basic chart or memorize fundamental song changes without picking up an instrument. Likewise, it will not matter if you tune a guitar down to E flat, D or another key. A “1” chord will still be a “I” chord.

I’m a lucky guy. This year I have the privilege of performing at several prominent venues, which will require me to memorize a lot of songs quickly and with very little or no group rehearsal prior to the performance. Many of the songs will be structured from scale degrees familiar in mainstream song writing, and with changes comfortably identifiable according to chord quality and class. I’ll be looking for themes in song structure, familiar turnarounds, and common tones within different chord triads. Harmonic rhythm and cadence will also get my attention.

“[R]ules” have been indispensable in my effort to memorize a volume of songs quickly, and provide the best artist support I can summon. Otherwise, I might still be wandering through a song measure by measure and hoping the next thing I play is consonant enough to fool most people.

Soundtracks and Songs

As many of you know, I compose music specifically designed for use in cafes, restaurants, hotel lobbies, and retail environments. A great soundtrack can play a significant role in creating and sustaining the right atmosphere. As it turns out, however, the composition usually takes the form of a song that can stand on its own. I’m going to start posting parts of these songs (or sometimes the whole song) on my website. Stay tuned - I think you’re going to be surprised.

https://youtu.be/Rg7QGBMIxo8

New EP One Benefit Out Now!

Artist: Lee Pence

EP: One Benefit

Available on Spotify, iTunes, Apple Music, Soundcloud, and many more streaming sites.

“Although the music in my head is always changing, the composition of the band is usually made up of the same core pieces; two guitars, bass and drums. I’m attracted to instrumentals with orchestral arrangements, so the challenge is creating symphonic musical sketches for performance by a traditional rock ensemble. One Benefit is a response to that challenge. Really, it’s turned out to be the kind of music you hear playing in the background when you’re doing some of your favorites things”

One Benefit is an EP containing three original tracks. It was mixed and mastered by five-time Grammy nominated producer, engineer and musician Paul Moak at The Smoakstack in Nashville. The EP’s single, “The Showdown Circle” was released on March 18th and is best described as a display of guitar pop tune-meets-commentary discussing the contemporary country scene.

Lee Pence is Cornish College of the Arts alumni. He has performed in hundreds of theaters, clubs and festivals. Although guitar is his primary instrument, he is also proficient on keys and no stranger to the studio. Pence played and/or programmed all of the instruments on One Benefit.

“I am always looking for the celebration music creates. Joy, sorrow, love, charm of the soul; celebration seems to contain many elements. To me, it includes that feeling of being lifted to a different level of imagination. One Benefit is a collection of songs meant to embrace celebration in the music, however it is described.”

One Benefit Tracklisting:

- The Showdown Circle

- 16 Satellite Drive

- Symbol of a Magical Sum