Assignment code: SHR3C003R~002

Student ID: 24104713

Contextual studies creative practice reflection

Introduction

In creative practice I often find inspiration from various artists that I listen to (especially Marcin Patrazełek and Alan Gogol). Recently I’ve learned the notes of the fretboard to a point where I can figure out scales fast enough to improvise which I have found helped a lot in the creative workshop.

Improvisation

For the last project I played the bass rather than the guitar as classical guitar did not fit the music. As I play classical guitar I knew where the octaves were and how to use scales, so improvising was easy. However, my improvisation was too much for the ensemble. I think sticking to root notes and maybe 5th and 7th notes would have been more effective. There are so many other instruments in the ensemble that as a bass player I should have just supported rather than take a lead role as I usually do being a solo guitarist. Since I play primarily modern finger style (tapping, slapping, thumping etc) I wanted to prove myself which in hindsight was not good for the band. These techniques are extended guitar techniques and are also associated with bass. These techniques, specifically slapping and tapping meant that my hands, which are used to low actions, nylon strings would not fatigue easily. Playing with other people with out a musical score meant that every person’s part was uncertain.

In the first term I played my nylon stringed guitar and struggled to fit in as there was already a guitarist. I found that being in and unorganised ensemble I had to take a back seat and just play chords; the other guitarist however (electric) will be more suited to the job.

Learning from new musical experiences

Since I already play classical guitar, I could use rest strokes which is common in bass playing and classical guitar also thumping and tapping, but these were the only transferable skills.

After I had first played bass, I watched on YouTube how people covered songs with a bass as I did not want to be a boring bass played and just play root notes with a basic rhythm. I primarily listened to ‘darthstephius’ on YouTube and some bass covers of ‘Alan Gogoll’s Friendly elephants and bellflower burrows by Nathan Bueno. This however was misleading as these more interesting styles of bass take the main stage, which in a duo or solo setting is much more appealing but, in a group, it becomes overwhelming, and the virtuous aspect becomes irritating. Learning to take a backseat in group settings in music, helped be with timing and rhythm, with my solo playing the tempo it is always rapid, and the timing and rhythm always takes the longest to get right. With the slower setting I was surprised to find that I could take more time figuring out the tempo and enabled me to improve my improvisation which I do not really do live, rather I just noodle until I find something I like.

As well as learning to improvise, I have never composed original material, only covers so composing original material with other people was an easier introduction to composition. I was able to see how other people composed and use their approaches: Raffael becoming the centre point which other people base their ideas off of; the piano being one of the louder instruments and being the main chord player. Aiden soloing and playing chords like a rhythm guitar. Both musicians primarily used music theory to compose rather than noodle until it sounds good which I find was better in an ensemble. Talking to these two musicians also made me realise the importance of effective practice. Playing a relatively transportable, acoustic instrument I take practice time for granted. Rafael needs a piano so must set aside time to practice whereas I can play whenever and wherever I like if I am quiet enough as to not disturb anyone. Their practice efficiency has inspired me to improve my own by using a metronome, improving focus etc.

Creative practice

The way I practice my creative abilities is by trying to arrange covers, usually I try to arrange as close to the original composition as my fingers can handle on the guitar. Recently however I have learned the intervals of the scales which makes live improvisation more structured. I do not do much improvisation outside of noodling apart from melody lines when I am listening to music, playing the guitar, and practicing down picking or picado essentially in these scenarios the creativity has been done for me. When I arrange covers in modern finger style, I give my self creative freedom, letting myself play harmonics, percussion and one handed. When I do these arrangements, I always go overboard and the arrangement sound messy so I hope that the creative practice I have done in the group setting will help me clean up my own arrangements.

My biggest challenge was refraining by from doing too much as I don’t ever want people to underestimate my abilities or be outshined especially by another guitarist, challenging this selfish thought process helped the group make a more cohesive piece of music even if there was more impressive thing I could have done.

Conclusion

In conclusion I have found the creative workshop helpful in my insight into how others compose, work together musically etc. This has helped me understand better how to be part of an ensemble/band by finding a place with out trying to outshine or over bear the other instruments.

Bibliography:

Bass inspiration:

Moves like jagger bass cover

Alan Gogol bass covers

Friendly elephants https://m.youtube.com/watch?v=Gpj84UZbmSY&pp=ygUXTmF0aGFuIGJ1ZW5vIGFsYW4gZ29nb2w%3D

Bellflower burrows