BeThisBell will be back in OKC performing on Friday, April 13th, at ACM@UCO Peformance Lab (on Sheridan Ave. in Bricktown) as part of the Music College's LiveLink Concert Series.
Blog
Spring 2012
BeThisBell is currently experience band personnel technical difficulties, sort of like when your girlfriend runs off with your best friend and no so secretly becomes an axe murderer. Meanwhile, back at the bat cave, the songs must be written, and so they are. All this shall pass. And before the world ends this year, there will be a CD. And hopefully, the seredipity of a tour coming to a town near you where you and then we shall rock!
Exciting Band News!
Well, we've gone & done it! Our new band is up & has been rehearsing for our first shows in Dallas, TX, at Liquid Lounge (Friday, Aug. 19th, 10pm) and at The Save The Poet's Eyes Concert at Poor David's Pub (Sunday, Aug. 21st, 6pm) and our show the following week in OKC, OK at the ACM@UCO back to school party at the ACM Performance Lab in Bricktown! We've also got a new BeThisBell Facebook Band Page for the band (with 65 fans who signed up the first day it was up!) and a new BeThisBell ReverbNation Page!
BeThisBell is:
Beth Isbell • Vocals, Guitars, Bass
Justin Hays • Vocals, Guitars, Bass
Sean Henry • Vocals, Bass, Guitars
Derek Davison • Drums, Percussion
BeThisBell is:
Beth Isbell • Vocals, Guitars, Bass
Justin Hays • Vocals, Guitars, Bass
Sean Henry • Vocals, Bass, Guitars
Derek Davison • Drums, Percussion
The One That Makes The Muses Dance
I wrote this poem this morning for a contest to write a poem, 20 lines or less, to Bob Dylan. You can enter your own ode to Bob here. Maybe we'll both win! Peace, Beth :),
The One that Makes the Muses Dance
(A poem about Bob Dylan)
by Beth Isbell © 7/20/2011
I alienate the waterfall,
from which the flowing vision fell,
my pride is low, my soul is tall,
for that I live my own sweet hell,
But you have only time to give,
and words that live, and words that live.
The waves crash hard upon my soul,
like silent footprints in the snow,
I start to cry, I've lost control,
the sound of God I do not know,
But you have only thoughts to give,
and words that live, and words that live.
The river carries on below,
of love and hope and sweet romance,
and words live on, as does the song,
the one that makes the muses dance,
But you have left your love to give,
and words that live, and words that live.
And I'll take your words and pass them on,
within the song, within the song.
The One that Makes the Muses Dance
(A poem about Bob Dylan)
by Beth Isbell © 7/20/2011
I alienate the waterfall,
from which the flowing vision fell,
my pride is low, my soul is tall,
for that I live my own sweet hell,
But you have only time to give,
and words that live, and words that live.
The waves crash hard upon my soul,
like silent footprints in the snow,
I start to cry, I've lost control,
the sound of God I do not know,
But you have only thoughts to give,
and words that live, and words that live.
The river carries on below,
of love and hope and sweet romance,
and words live on, as does the song,
the one that makes the muses dance,
But you have left your love to give,
and words that live, and words that live.
And I'll take your words and pass them on,
within the song, within the song.
Blues Lesson - Where to Resolve?
I've been doing a lot of playing, learning & thinking recently. So this post is really for me, but good for you too!
Remember when playing the blues over your standard 12 bar progression, you can end your licks on any chord tone (1, 3, 5) of the chord that you're playing over, plus the b7 of that same chord (that's the blues), or the 9 (or 2) of that same chord if it's a 9th chord (or even a 7th chord in a progression that is suitable to substituting 9th chords for 7th chords), or on the b3 of the I, IV or V like when moving the entire box 1 shape up to the IV chord or V chord root position. Mix it up and get out of the habit of ending on the root 1 of every chord! Another one is the b5 of the I, IV or V as your passing over them, typically resolved back to the root, but if you leave it hanging, gives you a very eery Led Zeppelin kind of sound over the chord that you hang it over. If you're playing over a purely major blues - think about using the 2 and 6 the same as you would your b3 and b7 over a regular blues or minor blues. Just a thought. :), -- And remember you can bend up into any of these resolution points or slide down into them ... but it just takes practice & planning to get into the habit of doing that ... add a little vibrato to you're bent or unbent resolution - now, that's the blues!
Anyway, good luck & have fun with it!
Peace,
Beth
Remember when playing the blues over your standard 12 bar progression, you can end your licks on any chord tone (1, 3, 5) of the chord that you're playing over, plus the b7 of that same chord (that's the blues), or the 9 (or 2) of that same chord if it's a 9th chord (or even a 7th chord in a progression that is suitable to substituting 9th chords for 7th chords), or on the b3 of the I, IV or V like when moving the entire box 1 shape up to the IV chord or V chord root position. Mix it up and get out of the habit of ending on the root 1 of every chord! Another one is the b5 of the I, IV or V as your passing over them, typically resolved back to the root, but if you leave it hanging, gives you a very eery Led Zeppelin kind of sound over the chord that you hang it over. If you're playing over a purely major blues - think about using the 2 and 6 the same as you would your b3 and b7 over a regular blues or minor blues. Just a thought. :), -- And remember you can bend up into any of these resolution points or slide down into them ... but it just takes practice & planning to get into the habit of doing that ... add a little vibrato to you're bent or unbent resolution - now, that's the blues!
Anyway, good luck & have fun with it!
Peace,
Beth
A Simple Way To Understand Modes!
Here's a series of articles I authored explaining how to understand, use & apply guitar modes in simple & easy to comprehend method:
Modes Article - Part 1
Modes Article - Part 2
Modes Article - Part 3
Modes Article - Part 4
Modes Article - Part 1
Modes Article - Part 2
Modes Article - Part 3
Modes Article - Part 4
10 Excellent Guitar Soloing Tips!
10 Excellent Guitar Soloing Tips: (1) Learn songs, Learn licks (they are your brain's library!) (2) Don't just play scales (vary the order, add style, timing, dynamics), (3) Finish your sentences (end your licks on purpose & punctuate your licks!) (4) Play on the beat (the song's tempo is a rhythmic template), (5) Exploit chord changes - target chord tones, (6) Mix minor & major, (7) Use solo themes, (8) Play shorter solos, (9) Sweat every note (make each one count!), (10) Be in the music! It really is about the song!
- Anthony Stauffer, StevieSnacks (Facebook page and Lesson website)
Here's a tip on mixing major and minor: I always think of major & minor as "over and under" ... the major pent boxes fit over the top of a position 1 or 2 barre chord (ie., over where your third finger is positioned to make the chord), while the minor pent boxes fit under the top of those chords (between your first & third fingers) ... just try it, play a position 1 (E shape) barre chord or a position 2 (A shape) barre chord - for major think going up (over the top of the chord), for minor think going down (under your highest/top finger making the chord, i.e., between top & bottom)
Finally one last sweet tip - practice adding vibrato to every note you bend - bend to that sweet spot then add vibrato to make the note sing!
- Anthony Stauffer, StevieSnacks (Facebook page and Lesson website)
Here's a tip on mixing major and minor: I always think of major & minor as "over and under" ... the major pent boxes fit over the top of a position 1 or 2 barre chord (ie., over where your third finger is positioned to make the chord), while the minor pent boxes fit under the top of those chords (between your first & third fingers) ... just try it, play a position 1 (E shape) barre chord or a position 2 (A shape) barre chord - for major think going up (over the top of the chord), for minor think going down (under your highest/top finger making the chord, i.e., between top & bottom)
Finally one last sweet tip - practice adding vibrato to every note you bend - bend to that sweet spot then add vibrato to make the note sing!