Tag Archives: Neumann TLM 102

Slack Key Bach (Bourrée in Open A Taro Patch)

I went through a phase a few years back where I was regularly listening to the Pablo Casals recordings of the Bach cello suites.  They were on the USB stick with music I had in my car, and for some reason the memory of listening to them that stands out is that of making my way home from Kapiolani Park after yoga class.  Driving along Paki Avenue, listening to the mellow cello suites as the moon was coming out, looking up through the sunroof of my Honda at the moonlight filtering through the intricate silhouettes created by the canopy of Monkeypod trees lining the avenue, an amazing textured design.

Recently, I decided to arrange part II of the Bourrée from Bach’s Cello Suite 4 (BWV 1010) in Taro Patch tuning.  Rather than the usual Open G, I used a capo on the 2nd fret to play the piece in Open A which helped make some of the stretches a little easier.  This arrangement is based on Stanley Yates’s excellent arrangements of the cello suites for guitar (Mel Bay).  In further adapting it for Taro Patch, I decided to use various fingerings and add some harmonics in place of fretted notes – things that one wouldn’t normally do, but which were part of the fun of playing this piece in an open tuning.  Hope you enjoy.

Greensleeves

Here is an arrangement of Greensleeves I did back when I was teaching guitar full time.  The arrangement was meant for intermediate to advanced students, and is both a little challenging and fun to play.  Greensleeves (a/k/a What Child is This?) is often thought of as a Christmas classic, but the song actually originated as a love ballad in late 1500’s England.  The tune quickly became a staple of popular culture, even to the point of Shakespeare seeming to have a bit of fun with the song’s widespread prevalence in The Merry Wives of Windsor.  And the tune remains well known, even to this day.  Hope you enjoy.

“Let the sky rain potatoes, let it thunder to the tune of ‘Greensleeves’…”
    — William Shakespeare, via Falstaff, The Merry Wives of Windsor (Act V, Scene 5)

Welsh Dragonfly (812ce)

Here is another version of my song Welsh Dragonfly, which was written after listening to some of the ‘acoustic’ music born out of Led Zeppelin’s retreat to the Welsh countryside.  That music had an atmosphere at once both ethereal and bucolic, a vibe I try to tap into myself from time to time.  This version of Welsh Dragonfly was recorded on a guitar with rosewood back & sides and a redwood top – the rosewood’s scooped midrange provides a nice separation between the bass and treble parts, fitting well with this arrangement.  The redwood top mellows out the song a little – evening out the volume dynamics (adding sustain at times), and producing a warm sound.  This song makes me feel relaxed and peaceful when I play it.  Hope you enjoy.

Dragonfly at Dawn (Improv)

Dragonfly at Dawn is part of what has become a small group of improvisations (dubbed Dragonfly Songs) exploring related ideas and textures.  This improv serves as a meditation of sorts, with a recurring set of phases floating over a drone from the lower strings.  It also feels like a contemplative interlude between some of the other improvisations in the group.  Hope you enjoy.

Dragonfly in the Rain (Improv, 812ce)

Recorded during a thunderstorm, this improvisation expands upon some of the ideas and textures from my song Welsh Dragonfly.  This recording and some other, related recordings made on different guitars and at different times, have formed into a small group I’ve dubbed  Dragonfly Songs.  Sometimes it’s good to further explore familiar musical terrain and approach existing themes from a new angle.  Hope you enjoy.

Irish Well Wishes

Irish Well Wishes is an improvisation inspired by my love of Ireland and the Irish people. When I recorded this, I had recently been reflecting on my visit to Ireland years ago; the beauty of the land and the warmth of the Irish people is often talked about and portrayed in various films, etc., but actually traveling there I found it really did meet and exceed expectations (and yes, it really was ‘that green’). Also, at the time of recording this, I had been listening to a fair amount of Tony McManus and Martin Simpson – all of this gave rise to the improvisation here around some pieces of melody from Danny Boy and various other Celtic guitar ideas. Hope you enjoy.

Punahele – Ray Kane Slack Key Cover (Longer Version)

Here is another, slightly longer version I recorded of the classic Ray Kane slack key song “Punahele.”  According to the Dancing Cat liner notes, Punahele (“favorite” or “pet”) came to Ray “one night in 1938 at Zablan’s Beach in Nanakuli. ‘Back in those days there were no cars, it was pitch black. So I sit there in the dark in the nice cool breeze and I hear the waves bouncing on the sand and see the moonlight flicker on the water. It inspired me, something so nice. So mellow. That’s what gave me my inspiration.’”  Hope you enjoy.

The Bantry Girl’s Lament (alt take)

Here is an alternate take of The Bantry Girl’s Lament, a traditional Celtic song which dates back to the early 1800’s.  The arrangement is based on Martin Simpson’s version from his fine album “Leaves of Life.”  While Martin used a Drop D tuning for the song (or rather its equivalent on Baritone guitar), I play it here in open G6: (D-G-D-G-B-E).  To me, this is a peaceful, meditative song that gives pause.  Hope you enjoy.

After the Solstice (Early Take)

After the Solstice and its harmonic laden chorus came to me one day after a winter solstice.  It’s a quiet, peaceful time of year where the days are gradually getting longer and your mind turns to the hope of a new cycle.  (I think it’s also fine for the already long days of summer too though.)  Hope you enjoy.

Here Comes the Sun – Fingerstyle Beatles Cover (Taylor 412ce)

One of the classic George Harrison songs from the Abbey Road album, Here Comes the Sun is a bright, happy tune that sounds great on acoustic guitar.  This is an alternate take of my  fingerstyle arrangement of the song.  Hope you enjoy.