The studio guitarist’s guide to happiness and personal fulfilment, as related by session ace Mitch Dalton. This month: Existentialism for dummies.
The title ‘Self Employed Musician’ carries with it any number of assumptions, most of them utterly erroneous. But I’ll refrain from trotting out clichés describing sleep patterns which begin and end at 3 (am and pm), heroic consumption of craft beers and an intimate relationship with the Department For Work And Pensions.
The reality is very different. And without engaging in some critical self-analysis, can be as dark as a dawn December commute wearing prescription Ray-bans. So the next time you engage an itinerant ukulele player in conversation, I’d avoid patience-testing enquiries as to what ‘real’ job he undertakes when not attempting to entertain the great unwashed. Unless you’ve a thing about A&E departments.
First off, the combination of constant insecurity and the reliance on random offers can be more than enough to puncture even Mary Poppins’ positivity. And secondly, there is a corrosive emotional aspect to periods of unemployment in the creative arts. Musicians feel defined as much by what they do as by what they are. And by extension therefore, what they don’t.
The loss of any job is a source of anxiety. But when a factory closes or relocates to Slovakia it is rarely accompanied by the notion that you - personally - aren’t good enough. So, before punching ‘Beachy Head’ into your sat-nav, it might be helpful to remember that most of the stuff that happens has little to do with you. Here are just some of the causes of angst in Showbiz, made infinitely worse by the fact that you’ll never know for sure if all or any of the following lies behind your vigil by an apparently disconnected telephone.
Denne historien er fra February 2019-utgaven av Guitar Techniques.
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Denne historien er fra February 2019-utgaven av Guitar Techniques.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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THE MOODY BLUES
This month Stuart Ryan delves into the picking style of this British prog legend whose acoustic guitar has powered many a Moody Blues song.
WAYNE KRANTZ
This issue Nick Mellor provides an insight into this brilliant jazz stylist, focusing on his approach to improvising over static chords.
OPEN G TUNING
Open tunings are great fun and can help create exciting new ideas. Simon Barnard shows how to incorporate open G tuning into your playing.
RODRIGO GOUVEIA
Last month we featured Mateus Asato, and mentioned the importance of the neo-soul style in his playing. Here we turn to his fellow Brazilian, the master of neo-soul fusion.
MARK KNOPFLER
Our topic this month is a master craftsman as both guitar player and songwriter. His style is unique and his influence spreads far and wide.
U2
Martin Cooper checks out the chiming pedal delay tones of this stadium-filling band from Dublin, Ireland, and guitarist The Edge.
LUTHER ALLISON
It’s blues with a touch of soul this month, as David Gerrish explores the dynamic, expressive style of an often overlooked Chicago bluesman.
JOHANN KASPAR MERTZ Capriccio
This month Declan Zapala explores the music of Austria at the turn of the Romantic period with a fiery caprice to level up your fingers and unlock your inner virtuoso.
THE CROSSROADS Michael Landau
John Wheatcroft explores the playing of a session ace _ and blazing blues-rock maestro who graces the top-flight m band of singer-songwriting legend, James Taylor.
VIDEO MASTERCLASS Troy Redfern
This month GT welcomes this slide guitar virtuoso. If you've been wanting to take your slide playing to the next level then this is one's for you. With Jon Bishop.