From what I've gathered, it was during the sessions for "Let it Bleed" that Ry Cooder, who was playing mandolin etc on some tracks, and who was known to have played often in open G tuning, was the earliest involvement with open G that Keith was shown. Whether he was shown, or picked it up, he began to use it more and more from then on.
You play it beautifully, but for someone learning it got the first time, respectfully, I spent too long trying to work out which strings you were playing and where your fingers were. If you add tab I could save time working it out, but because time is limited, I decided to find another tutorial. I have huge respect for your playing and many may think I’m mad, but I believe in honest feedback as it is an opportunity to learn. Thanks for the huge effort and sorry I couldn’t do it . Peace and respect.
@@paulthew8636 I get it! I've always found it hard to see what someone is doing when looking from the front. A view from across the shoulder down to the fingerboard is best, because that is what it looks like to you yourself when you play. This hard to do, and I can recommend checking out James Taylor's channel which has a few lessons on hiw to play his songs. Whether you like hisbstuff or not, these videos were the only ones I'd seen where the camera showed you what he played as you would see it. Also the right-hand fingerings for his songs were shown with a camera mounted inside the guitar viewing out through the sound hole, showing his fingerings from the open side of his hand... so much easier to see what's actually going on. I learned the basic idea of Honky Tonk Women from tablature in Guitar Player Magazine back some time in the 80's or 90's, but even with tabs you don't really know if they're playing out of a chird shape or just totally single note lines or riffs without a visual clue. In the end I never played Honky Tonk as it was by the Stones, instead using a few familiar riffs from the song but jamming out on them in my own way. This is better than slavish imitation any way, and you can be sure that ( obviously) the artist who played the song you're trying to learn, didn't play it from tabliture, or from a score,( unless it's Steely Dan!), or necessarily in imitation of another player. Although this does sometimes happen, because we're all influenced by what we hear consciously or subconsciously, in all likelihood the person that played on the track you're learning to cover, or learn licks from probably just found a few things that seemed to fit the tune, and improvising on them came up with something cool with the inspiration of the moment enriched by reacting to the other players on the track. This is something that you have to do 70% of the time you are learning... ie getting out and doing it, until you figure stuff out by trial and error. Experience is a better teacher than the, maybe 30% of time one should ( in my opinion) spend sweating the engineering the structural bits of guitar playing in detail like visual reference of finger positions on the neck, or right hand movements of picking or fingerpicking, or chord diagrams or charts. Obviously you need a few actual bits to get started, but better to get a few bits and see how much you can get out of them by jamming them in different tempos,or with other players until you've got lots of ideas out of the least amount of actual bits ( chords, riffs, or licks) As a beginner it's tempting to think these top players are machine-like marvels following a "Cad-Cam" type of prescribed architecture with the athletic execution of a machine operator, but much of the time these wonderfull players have done all their homework already and are learning actively at a faster rate by instead of following a plan to assemble a structure, are luxuriating in the passion of the creative momentum generated as a side effect or bow wake of the deep musical activity to which they're surrendered and leapt into unhesitatingly. Rely on your ear first, your eye second, and your experience third ; fourth maybe, is something learned from a teacher. Considering how long I've been playing, I should be 200% better than I am, especially in techniques, but as long as I have the basics, I can only improve by HOW I play, rather than WHAT I play.
Fantatastic teaching and sound as usual but why did you play it on 6 strings ? is it for the studio version ? On most of the stage 's footages Keith plays it on his famous 5 strings openG
Great lesson and channel! The opening of the solo reminded me of a lick Peter Green did live on Stumble in his later days. Been playing all kind of songs in open E for a few weeks since I first found your Jumping Jack Flash video. 😄I replied to Trevor below on the SG rumor for HTW by the way. Some other songs to cover could be Satisfaction (very cool rhythm guitar and fills from Keith there which I´m not sure I´ve heard anyone nail yet, at least soundwise) and Chinese Rocks with Johnny Thunders. Same thing with great fills on that one.
I think Keith used an ES330 with P90's on this. Hyde Park is the only time (That I've heard) HTW sound anywhere remotely like the album and you can see him use it then. On Ya Ya's I think he used the Custom and while good it doesn't have that drunken dirty fat rolling P90 tone...at least IMO. One thing is for sure you can't get that tone on a Tele. Even Keith can't get it.
I read somewhere that Keith used a SG in the studio for this song, turned up really loud. If I recall correct it was more unclear which amp was used, maybe even Keith couldn´t remember. Got the page or text saved somewhere, will let you know the source if I find it. Hyde Park is one of my favourites, absolute magical sound. I like Mick Taylor´s primitive rhythm playing on HTW. Then that 1958 Flying V on Sympathy.... what a tone! A guitar tech speculated that the PA-system had a lot to do with the sound on that concert, I don´t know.
I have 3 books with HTW tab and everyone is different, as always. With the years i developed my version of the song. These note for note is nothing for me anymore. This video is good for good beginners but I like to watch your vids and two others and the rest are .....
Sort of, it's a 2011 R8 that has the truss rod cover and grover tuners like Harrisons. Not his signature model, but very close and wasn't stupid money. :-)
I think the fingering is explained well enough - it's really just a couple of licks and some killer Keef style rhythm with lots of his usual sus stuff. Agree on the voice. @12footchain, I think you switched to using a lapel mic for your voice. If so, good - if not, try it. 😃 Apart from that, excellent! I'd probably have done it tuned to concert pitch myself, but you're absolutely right - it's not that on the record, which is what you're discussing. Keep it up!
From what I've gathered, it was during the sessions for "Let it Bleed" that Ry Cooder, who was playing mandolin etc on some tracks, and who was known to have played often in open G tuning, was the earliest involvement with open G that Keith was shown. Whether he was shown, or picked it up, he began to use it more and more from then on.
You play it beautifully, but for someone learning it got the first time, respectfully, I spent too long trying to work out which strings you were playing and where your fingers were. If you add tab I could save time working it out, but because time is limited, I decided to find another tutorial. I have huge respect for your playing and many may think I’m mad, but I believe in honest feedback as it is an opportunity to learn. Thanks for the huge effort and sorry I couldn’t do it . Peace and respect.
@@paulthew8636 I get it! I've always found it hard to see what someone is doing when looking from the front. A view from across the shoulder down to the fingerboard is best, because that is what it looks like to you yourself when you play. This hard to do, and I can recommend checking out James Taylor's channel which has a few lessons on hiw to play his songs. Whether you like hisbstuff or not, these videos were the only ones I'd seen where the camera showed you what he played as you would see it. Also the right-hand fingerings for his songs were shown with a camera mounted inside the guitar viewing out through the sound hole, showing his fingerings from the open side of his hand... so much easier to see what's actually going on. I learned the basic idea of Honky Tonk Women from tablature in Guitar Player Magazine back some time in the 80's or 90's, but even with tabs you don't really know if they're playing out of a chird shape or just totally single note lines or riffs without a visual clue. In the end I never played Honky Tonk as it was by the Stones, instead using a few familiar riffs from the song but jamming out on them in my own way. This is better than slavish imitation any way, and you can be sure that ( obviously) the artist who played the song you're trying to learn, didn't play it from tabliture, or from a score,( unless it's Steely Dan!), or necessarily in imitation of another player. Although this does sometimes happen, because we're all influenced by what we hear consciously or subconsciously, in all likelihood the person that played on the track you're learning to cover, or learn licks from probably just found a few things that seemed to fit the tune, and improvising on them came up with something cool with the inspiration of the moment enriched by reacting to the other players on the track. This is something that you have to do 70% of the time you are learning... ie getting out and doing it, until you figure stuff out by trial and error. Experience is a better teacher than the, maybe 30% of time one should ( in my opinion) spend sweating the engineering the structural bits of guitar playing in detail like visual reference of finger positions on the neck, or right hand movements of picking or fingerpicking, or chord diagrams or charts. Obviously you need a few actual bits to get started, but better to get a few bits and see how much you can get out of them by jamming them in different tempos,or with other players until you've got lots of ideas out of the least amount of actual bits ( chords, riffs, or licks) As a beginner it's tempting to think these top players are machine-like marvels following a "Cad-Cam" type of prescribed architecture with the athletic execution of a machine operator, but much of the time these wonderfull players have done all their homework already and are learning actively at a faster rate by instead of following a plan to assemble a structure, are luxuriating in the passion of the creative momentum generated as a side effect or bow wake of the deep musical activity to which they're surrendered and leapt into unhesitatingly. Rely on your ear first, your eye second, and your experience third ; fourth maybe, is something learned from a teacher. Considering how long I've been playing, I should be 200% better than I am, especially in techniques, but as long as I have the basics, I can only improve by HOW I play, rather than WHAT I play.
What a great tribute to Charlie and great playing! You’re channel is so cool 😎
Thanks so much!
Fantatastic teaching and sound as usual but why did you play it on 6 strings ? is it for the studio version ? On most of the stage 's footages Keith plays it on his famous 5 strings openG
just because I didn't want to go through the trouble of removing the string. you can still ignore the string and play on just the 5
Awesome job
Another great lesson. Thank you. The first band I ever saw were The Stones in 1976.
Awesome, what a great first!
You're a great teacher I learned a lot from you thank you..
Glad to hear that!
Great lesson and channel! The opening of the solo reminded me of a lick Peter Green did live on Stumble in his later days. Been playing all kind of songs in open E for a few weeks since I first found your Jumping Jack Flash video. 😄I replied to Trevor below on the SG rumor for HTW by the way.
Some other songs to cover could be Satisfaction (very cool rhythm guitar and fills from Keith there which I´m not sure I´ve heard anyone nail yet, at least soundwise) and Chinese Rocks with Johnny Thunders. Same thing with great fills on that one.
Great, loved it!
You are one of the top five out there, thank you! Think it's woman singular ..
I originally thought so too, but discovered it is actually Women / plural en.wikipedia.org/wiki/Honky_Tonk_Women
Great lesson. Could you please do a lesson on Tumbling Dice from Exile?
Absolutely
Taylor said, that HTW was already complete, but rough. He said, that he played the country liks between verses aso.
Perfect
Thanks
Thank you
This is two years late but is that Gibson amp behind and off to your right a Gibson Falcon (GA-19 RVT)?
Yes it was, I have since sold it
Starts at 6;30
Keith connect rhytm and lead that follows the melody or is the melody.
I think Keith used an ES330 with P90's on this. Hyde Park is the only time (That I've heard) HTW sound anywhere remotely like the album and you can see him use it then. On Ya Ya's I think he used the Custom and while good it doesn't have that drunken dirty fat rolling P90 tone...at least IMO. One thing is for sure you can't get that tone on a Tele. Even Keith can't get it.
I read somewhere that Keith used a SG in the studio for this song, turned up really loud. If I recall correct it was more unclear which amp was used, maybe even Keith couldn´t remember. Got the page or text saved somewhere, will let you know the source if I find it. Hyde Park is one of my favourites, absolute magical sound. I like Mick Taylor´s primitive rhythm playing on HTW. Then that 1958 Flying V on Sympathy.... what a tone! A guitar tech speculated that the PA-system had a lot to do with the sound on that concert, I don´t know.
I have 3 books with HTW tab and everyone is different, as always. With the years i developed my version of the song. These note for note is nothing for me anymore. This video is good for good beginners but I like to watch your vids and two others and the rest are .....
Excellent
There's a little bit of Mick Taylor for you
@@12footchain I am observing that thank you very much sir and good luck on your channel
I was wrong, guess Mick could handle more than one!
Awesome 👍😎👍
3:48 how sharp?
Don't know precisely.
Ah, you have the Clapton Harrison guitar.
Sort of, it's a 2011 R8 that has the truss rod cover and grover tuners like Harrisons. Not his signature model, but very close and wasn't stupid money. :-)
Good teacher but doesn't explain fingering very well and doesn't dwell on it .
I find it hard to hear him properly it must just be me I guess
I think the fingering is explained well enough - it's really just a couple of licks and some killer Keef style rhythm with lots of his usual sus stuff. Agree on the voice. @12footchain, I think you switched to using a lapel mic for your voice. If so, good - if not, try it. 😃 Apart from that, excellent! I'd probably have done it tuned to concert pitch myself, but you're absolutely right - it's not that on the record, which is what you're discussing. Keep it up!
Not a great lesson when you’re constantly slipping over little changes that are very distinguishable
dude, great lesson but you talk too much
You talk too Much ! Play it !