Finally, #playforChris6 – is ready! Feel free to share it with your friends or communities.
It was a long journey. Thank you to all participants for the sounds and images you have given me to play with. You don’t know… but I have developed a relationship with each one of you by seeing you and listening to you every day in the past 2 months. You were my band mates, my friends. I felt the love that you have put in your recordings, even those who, previously, were not so emotionally connected to Chris’ music.
Thank you to my Patrons for supporting me financially, for believing that what I do is worth it. Thank you to all my friends who encouraged me and shown me excitement in seeing the final result, as I was describing what I wanted to do.
This is was huge task, something hard to top, as some friends told me. I would like to say that the purpose wasn’t ever to do better than previous editions. It never is about outdoing myself. The only important purpose is to gather Chris’ fans and celebrate his music together, whether we do another one like this or we get back to the original format… or.. who know what might happen… as long as we Play for Chris!
Here is the remaster of my 2010 arrangement of Onward. The picture quality hasn’t improved but hopefully the sound is much better and you will hear the effect of the resounding guitar harmonics.
Below I have copied the commentary of the original post from 2010.
Thanks for watching!
I am playing my 4001 CS bass which is unplugged. Holding it against the back of my (plugged) 360 guitar… a Rickenbacker Kiss.
I experimented with different guitar tunings that would resonate well with the song’s tonalities. Onward is a based one the I, VI, V and vi of C major, and modulated a step higher afterwards.
The guitar tuning I did (eventually using a capo) was selected to accommodate all these chords. Ones sound better than others. B minor was, for example, a bit less successful, as well as all passages with an F sharp.
Then I adapted the whole piece – melody and a sort of accompaniment with the lower register which is not related to the actual bass line. The initial riff is my transformation of the original intro, and the coda.. I came up with a way to modulate back to C major. A bit dangerous too cause B flat (G minor) and A flat (F minor) were used… but then finally I got the best resonance spot to end the piece on an improvised Safe-like finale.
One very interesting thing is that – after tuning both instruments with the tuner, I found the resonance wasn’t happening… so I fine tuned on my bass by ear, and found the resonance spots for each string… maybe a few cents lower than the “right” tuning. I know it’s still not perfect but it’s a fact that it wasn’t working with both guitars tuned by the tuner. I think this has to do with the tempered scale of the fretboard that is “fighting” with the natural harmonics of the guitar’s open strings.
While not optimal, I decided to post it to show you the idea. It has some interesting sounds and with more time I will come again to it!
Tunings (bottom to top)
Bass – E A D G
Guitar (Capo 8th fret) – C F A D G B
11/08/2020 in More Music, Solo
Tagged 360, 4001, 4001CS, bass, bass cover, Bass Driver, bassline, Chris Squire, DI, electric bass, Falcão, guitar, Miguel, Miguel Falcão, miguelbass, Onward, Rickenbacker, Rickenbacker Kiss, Sansamp, Squire, Tormato, YES