This is the fun part. I’m spending today considering the musical accompaniment of the songs I’m writing, but at this stage I won’t be touching an instrument. Freed from the constraints of my abilities, today I’m better than Jimi Hendrix, Ali Farka Toure, Richard Thompson, Derek Gripper, John Williams and Martin Simpson all rolled into one, if only in my head.
My decision to write these songs purely on the guitalele will be a major influence on how these songs turn out. Its higher, happier sound lends itself from certain sounds over others. For instance, I’ve been yearning to write some reggae tunes but feel these would benefit from more bottom end that a proper guitar lends. The same goes for those Mali desert blues. For now, I’ll leave those on the shelf.
One the main areas I want to explore is the kind of African fingerstyle playing I’ve started to explore already, on songs such as Love’s A Big Word. The video below is another good example of the form want to further emulate – in fact, accidentally finding this video on Youtube was what led me to get a guitalele in the first place:
Of course, African fingerstyle is a preposterously broad definition, so more specifically it’s the playing of old musicians such as Bosco (from Congo) and Daniel Kachamba (from Malawi) that I want to emulate. A useful resource in this regard is the DVD African Fingerstyle Guitar by John Low, in which he breaks several examples of this playing, all the while looking deeply uncomfortable about the whole experience. Some of these he even plays capo-ed on the fifth fret, so the key is the same as the guitalele’s. Back in September I began work on a couple of tunes in this style. I didn’t get very far but those fragments might serve as starting points for this project.
Looking over the work from the last couple of days, certain songs appear like they might suit such an approach: Bold Little Weasel, Let’s Make Our Bed Together, Confide in Me. Of course, at this stage I’m speaking in the vaguest of vaguest terms as the songs are still in the primordial sludge phase of their evolution.
When The City Is Home is being written to possibly soundtrack one of my wife’s documentaries, so with this in mind it can’t grow as freely as the others. My wife’s suggested the music reflect Cairo, and she’s particularly interested in Sufi music. It’s an attraction I share, but I’m not sure how the arabesques will translate onto the guitalele – the fixed frets mean it can’t express the microtones which are such a feature of Eastern music. Still, I’ll give it a go – as usual, even if I fall short of my goal I might well end up somewhere different but worthwhile. A Different Kind of Light and Dusty, Dirty & Polluted are also about Cairo, so if I make any kind of progress with this music I might find accompaniments for those too.
Here’s some Sufi music, apparently performed by “El Tony”.
The final idea I’m toying with is trying to master some complicated charango rhythms and applying them to the guitalele. I used to play charango a little when I lived in Peru, but never got very far mastering the wonderfully complex, bouncing strumming, as demonstrated by this Boliviano from La Paz. It would be quite fun, but looking back to the lyrics I’ve been writing, I’m not sure if any of the titles really fit this kind of sound. Perhaps Pass Without Trace?
And if you need a bit more charango, and don’t mind quite a lot of viento, look no further!
So basically I’ve just spent the day dwelling on musical fantasies, and avoiding the real challenge of actually trying to play some of them! Perhaps that starts tomorrow?
N.B. For the time being, I’ve turned off the automatic email alerts whenever I publish a blog. As this is going to be happening several times a week, I don’t want to clog up people’s inboxes with endless updates. If you’re worried about missing a post, the best approach is to follow my Facebook page.