Chords for Bocchi The Rock Ep12//Worship Guitarist Reacts//Kessoku Band/If I Could Be A Constellation 星座になれたら

_ _ [Ebm] Okay, _ [Eb] now that [Ab] is smart.
This right here folks is what we're talking about.
In my band dynamics classes, I teach that you can only creatively give up [E] as much as
you take in.
Your listening diet is supremely important in feeding the musician inside you, and I
encourage a wide range of listening, including non-worship music.
I believe they can serve as learning opportunities where we can pause to reflect on our own playing,
and perhaps even incorporate ideas to make us better musicians.
This anime is called Bachi the Rock, and let's see what we have.
[C] Okay, we have a classic 4-piece rock band.
2 guitars, [Gb] 1 [Db] bass, 1 drums.
[Bb] _ Just right off the bat, this is beautifully and [C] accurately animated.
[Bb] Those drum hits are spot on, the bass slap and pop is spot on, and the guitars are playing
the correct chord and lead positions.
[A] This attention to detail [Ab] is insane.
I like how the [E] band started the song by facing each other so that they get the hits of the intro right.
One of the first things I do when I work with a worship team for the first time is to check
their stage layout and the line of sight between band members.
When your line of sight is obstructed, you instantly disconnect from your band and tend
to play in your little corner.
With this simple scene, you can feel the connection between the band because there's nothing
in between them, not even a music stand.
Cue [Bb] boomer musician nagging number 1.
Memorize your [Ab] music.
_ _ _ [F] _ That's a [Cm] nice Les Paul Junior in palo blue, although the headstock is a [Fm] little weird.
[Ab] That's a nice Les Paul Custom, but I don't see the typical [Eb] neck binding.
Japan-only [F] model, perhaps?
Let's talk about the guitar tone.
No discernible delay, and not a very high gain either.
It sounds like they were going for an amp-breakup style tone with a good amount of midrange,
where full chords can be distorted but still ring with clarity, and single note lead lines
pop without dropping off.
There's nowhere to hide with such bare-bones tone.
Every note that lands on a fretboard is crystal clear, even the mistakes.
Heavy compression and high gain hides sloppy technique.
So this has been a personal challenge of mine for the past couple of years, to play with
less gain and really focus [B] on the connection between my fingers and the fretboard, and
I invite you to join me on this challenge.
Let's talk about parts.
Both guitarists are using Gibson Les Pauls, so the chord tone is going to be in the same tonal territory.
In my classes, I usually advocate for the guitars to be sonically different.
If one's a Les Paul, the other should be a Strat or a Tele.
But if both guitars are similar, here's where parts allocation is going to be critical.
I love how the guitarists are dividing parts.
The rhythm guitarist is tanking chord changes with bigger voicings, not just power chords.
[G]
This leaves the lead guitarist with single note lead lines that must complement both
the groove and the melodic space between the chords.
That lead guitarist is almost taking a horns or trumpet approach to her part, with the
emphasis on the rhythmic elements of [Gb] staccato jabs rather than on the [Ab] specific notes.
_ _ _ _ _ [Bb] _ _ _
Oh man, that part is [Ab] so cool.
It's a shame they aren't animating the part.
That's a G-sharp [Bb] major pentatonic line, all [Ab] cleanly alternate picked.
Whoever recorded this is a [D] technician.
The reason this works is because there's nothing going on that will clash with the lead guitar.
The rhythm guitar is laying down chords.
That's it.
This [Eb] provides the guitarist true freedom to devise any parts she wishes, as long as it's
within the parameters of the harmony as outlined by the chords.
And to make the pre-chorus pop, it's a jump in activity, from 1 to 2 note staccato jabs
to a full-on 16th note run.
Great compositional choice [Ab] there. _
_ [Bb] _ _ _ _ [Cm] _ _ _
_ [Bb] _ _ _ _ _ _ _
_ _ _ [Ab] _ _ _ _ _
_ [Cm] _ _ _ _ [Fm] Ah, the E-string broke.
[Ab] She's trying to get the E-string to be in tune, and that random [F] girl is saying that
she won't [Cm] be able to solo now.
[Fm] _ _
[Bb] _ _ _ _ _ _ [Ab] _ _
She's worried that her [Gm] band's performance will [Bb] fail due to her equipment failures.
_ _ _ [Db] _ _ _ [Eb] _ [Fm] _
_ [C] _ _ [Dbm] _ _ [Eb] _ Oh cool, the rhythm [Ab] guitarist stepped in to take over the solo spot.
And it looks like [Gb] it's to give the lead guitarist time to recover.
I know it's an anime, but that's [Eb] servanthood in action.
The band members could very well throw her under the bus for bringing faulty equipment
to a gig, but they're supporting her by improvising an extra solo section.
Just recently, my first keys was having technical issues with a keyboard with intermittent sound,
and she had to start the service since she was in charge of the song.
My second keys was to provide pad support underneath the first keys' piano sound.
Without hesitation, he got my first keys to come over to his station, he changed the sound
to a piano sound, and he gave up his spot just so that my first keys could start the song.
Now that's a way to lift up support and encourage one another on the team.
Perhaps we can all ask ourselves, how have we been supporting our musicians [Gbm] on the team
when they encounter technical difficulties?
Do we let them crash and burn, or do we lift them up any way that we can, even to the point
of forgoing our own playing?
Moving on, let's see how the lead guitarist is going to recover from this. _ _
_ [Eb] _ _ _ _ _ [Ab] _ _
_ [Eb] _ _ _ [Ab] _ _ [Db] _ _
_ [Bb] _ _ [Cm] _ _ _ [Db] _ _
_ _ [Fm] _ _ [Gb] _ _ _ _
[Eb] _ _ _ _ [Db] He [Ab] changed it up to a slight solo.
[N] This is exactly what Guffrey Govan did on tour with Hans Zimmer.
The high E string broke, and with no time to check if the rest of the strings are in
tune, he grabbed a slide to solo.
A slide is a fantastic way to play with broken and out of tune strings because you're now
able to pitch in between the frets and to reach beyond the 22nd or 24th fret for higher notes.
It does take a lot of practice to basically be your own intonation though, so fair warning,
it's not as easy as this anime makes it appear.
[A] But with recent worship songs incorporating lap steel and slide playing, you might want
to sharpen your slide chops.
[Eb] _
_ _ [Db] _ _ _ _ [Ab] _ _
I can totally relate to that sigh of [Fm] relief.
Good [C] job.
Good [N] job.
In conclusion, while this anime scene is fictitious, I'm pretty sure we've all encountered the
same situations, and we can all learn valuable, practical things to incorporate into our mystery.
What have we learnt?
Eye contact is important, we can learn to play with less effects and to intentionally
divide our parts.
Rather than tear someone down encountering technical difficulties, we can serve them
and prop them up.
And finally, if you do encounter string breakage, take a breather, come up with a strategy,
and continue playing, which could mean reaching over for a slide.
What about you?
What gig disasters have you encountered, and were you able to solve them?
I'd love to hear your stories and comments below.
That's it from me, thanks for watching this video.
Here on my channel, I'm committed to helping you get the best tone out of your gear, as
well as playing your best for the Sunday service.
[C] If you're a worship musician on the same journey, consider liking, subscribing, hitting
that bell icon, and sharing this video with someone whom you know could benefit.
Those guitar tones in the anime were a light on effects, weren't they?
I've previously talked about rethinking the approach to pedalboard sizes, and made a video
about how much gear I actually need on a Sunday morning.
I cover strategies to make the most sound out of the least gear, so before you get that
giant pedalboard, watch that first.
I'll see you there.
Until next time,