Mark Knopfler would be a good example. I like the way you mix bends, slides and dynamic vibrato. I quit playing with a pick a few years ago and find it much more prone to transmit one's emotions. You have quite a unique style & tone to it. Cheers ! I almost forgot: in the large crowd of underrated guitar players with "feel" may I add Jack Griffiths, demonstrator for Peach guitars. Never understood (as well as for Greg Koch) how and why these phenomenal players keep on demoing guitars instead of standing in the front side of the scene…?
As a guitar teacher, I associate “feel” with the more proper term: “dynamic” - that is taught in traditional sheet music. A melody, a rhythmic pattern…a riff/lick…can all be very perfectly constructed, but the loud to soft dynamic is what gives it great feel…and Chris: you certainly have great “feel” - that’s why I’m here😉🙏🏻🎸
Very different from the "feel" our PE teacher was associated with. He left half way through the term one year in a police car and we never saw him again....
Matt Schofield, Joey Landreth, Ariel Posen, Michael Hedges, Robben Ford, Chris Buck, Eric Clapton, Mike Bloomfield. But Chris, we are really fortunate to have someone like you providing this wonderful content about something we all love. A sincere thank you for what you do. For me, feel is what happens when we escape the bounds of what we know, and express something in the moment in collaboration with other musicians and for our audience. The tension and release of music is a metaphor for our life experiences and is best experienced shared with others.
Andy Timmons. I think it's a lot about melodic phrasing, dynamics, and making it sound somewhat human. From pillow talk, to crying, to shouting in anger. Whatever the song calls for.
Let me say this Chris! You are a great player! In a class by yourself. You truly inspire me to play better! To me. You are very creative and the best guitarist I’ve heard in years!!
Which, together with a lot of other comments and your Sax thing is that it's about how well an instrument can do what the voice does and slide effortlessly between notes. Which, the guitar is not great at. Early doors they had a very staccato fast note thing, kind of like Les Paul played almost close to chicken picking. It's not unmusical but it's not got a lot of feel or emotion in it. Then people like Pete Townshend came along and they wanted long sustaining notes which is, partly behind the louder amps and distortion. As you suggest, Sax solos tend to sound better because of the legato the ability to play a long phrase of connected notes - like a voice. Guthrie tried to do it with 'wonderful slippery thing' lots of sliding and phrases playing by bending one note to create 3 or 4. Vai does it with a whammy bar - he also does it by using the wah wah pedal to remove the attack part of picking, and Jeff Beck did it with volume control swells and trem. The idea of creating phrases that are connected and legato with vibrato which is what, say, Julie Garland is doing when she sings 'Some.....where" - which suggests, I would argue - that feel is really about making your instrument imitate the human voice - and from that you have a better opportunity to invoke emotion in your audience (the thing that eludes Yngwie - he says "I don't know why people say I have no feel, I cry" but emotion in music isn't about Beethoven crying and playing notes, it's about him using the properties and dynamics of notes to create an emotion in the audience. You know, you don't create a horror story by writing words in the same room as an escaped crocodile hoping that the fear you're experiencing will somehow transfer via the pen to the readers. You write words that creates an image in the reader's own head that makes them feel fear. Of course with a musician you can hear your own music and it may move you but it's also a particularly academic exercise where one person (e.g Daniel Barenboim) can sit next to another pianist and teach him in pragmatic terms how to make Beethoven's piano concerto have better feel. It's not whoowhoo stuff, it's pragmatic advice - about the volume you play a certain phrase, the speed you play a certain phrase, how you lag the music. Of course, some people may well have a better instinct for it having listened to many performances they have a good enough ear to hear, but it's a mistake to think that feel is some ethereal thing, it's down to very pragmatic differences you'd do in the way that you'd play a section of a piece. For something like classical music anyone reaching a high level will usually be lucky enough to get a teacher like Barenboim to teach them it. In rock guitar when a lot of people are self taught and there's less of an emphasis on teaching, it ends up almost like the guitarists who have good 'feel' are the ones who come across it almost by chance - and then they struggle to explain what it is or how they do it. But search Daniel Barenboim on Beethoven and see him teaching it. And specifically when any of the pianists starts waffling whoo whoo, he's very quick to pull them back to pragmatic things - The music you create is down to pragmatic things about where you picked the string, how hard you picked, what you picked with, how you connect the notes of phrases, how fast you're playing, your vibrato - there's no mystery to what feel is - excepting that we're tending to teach ourselves and there's nowhere near the level of formal training and analysis of rock music that there is of classical music. A few others (including Guthrie) have explored a fretless guitar - the problem, perhaps is that the downsides of fretless outweigh the benefits and that certainly means it's unlikely a fretless guitar would replace guitar so it would remain a niche thing - not like a violin and the other fretless instruments in an orchestra which can play nice long connected phrases thanks to both the lack of frets and the bow. So we're left with an instrument that cannot easily do what sounds good from a feel perspective. We're using a variety of tricks and things to try and get closer to it - overdrive, compression, reverbs, delays, volume pedals or volume control swells, bends (from fingers and whammy bars) slides - but we're stuck, in general, with an instrument that, because of the frets, plays discrete notes and that's difficult to play smooth phrases on. Lastly, of course, one of the key components of music and feel is harmony - and when it comes to playing single note runs, all of the harmony is created by whatever backing you have - something that a plethora of guitarists who sit trying to play lead lines miss entirely. For the love of god has feel primarily because of the parts that no one copies from Steve, the bass and sitarish background. If you're Ted Greene and creating the whole thing you can't ignore it - it's why his playing has so much feel compared with your average Jazz chord melody player because he somehow thought in 3 or 4 lines at the same time and used chord shapes to create them as well as playing whatever melody there was. If we get a bass player and a rhythm guitarist playing a part, we can get away with just playing the melody, but it's the interplay between the components that creates feel - it's why it's better to play with live musicians in the same room than over a backing tape.
IMHO: Duane Allman, Dickie Betts, Brian May, Chris Buck, Carlos Santana, Derek Trucks, Ralph Walsh, Lee Ritenour. Not only are all these extremely technically skilled guitarists, but also have the ability - or FEEL - to play in a brethtakingly beautiful melodic way and in a both interesting and heartwarming harmonic context. Of course there are tens and tens more that should be listed, but these are def on my absolute short list! And from a purely musical POV, Freddie Mercury is hard to beat. Thanks Chris for all the magnificent music, playing and thoughts you share. You really inspire!!!
I think the Italian word “sprezzatura” best aligns with our understanding for “feeling” in music. “Sprezzatura” refers to the outward appearance of effortless mastery, regardless the difficulty. One can break commonly held rules and structures because their talent surpasses such limitation. Conscious thought is not necessary to individuals possessing such a skill. They can “feel” their way through In kind, someone “playing with feel” may seem as if they’re not relying on a set piece of music and us unconcerned with how long the piece will be and what note comes next. They possess a skill that allows them such an ability, seemingly. When they “feel” the way to go is when it happens. I’m reminded of an interview where SRV commented on writing as “not listening to where my mind tells me, but instead where my heart wants to go”
Of all the speed players Eric Johnson, Satriani and Van Halen are the only ones I can think of that impress me with their "feel". The rest are impressive and I listen to them, but not for very long. I'd much rather listen to Gilmore or John Mayer.
Steve Rothery from Marillion can make you weep with his playing. Very melodic with subtle nuances that add an emotional element that really makes you “feel” what he’s saying with his guitar.
Revisiting this in 2024! Heard Brian May speaking a while back. He said he saw his solos as a continuation of Freddie’s vocals, and when he finished his solo he handed the part back…
The only person with as much feel is Derek Trucks. At a venue, the stage was lined with "The Greats" Clapton, Buddy Guy, B.B. King, Ron Wood, Richards etc etc.. And I cannot remember the song but after Trucks got playing his version, either King or Guy, turned to Trucks and into the mic said "I've heard that song played a million times. And you just played it the best I've ever heard. Truly. You have great abiliy."
This is an 'old' upload by internet's logic, but I couldn't help myself. When you posted about 'feel' players over on instagram, my mind (and comment) went directly towards Rory Gallagher. For me, his playing went perfectly with the words and sounds he'd come up with, his rhythm and way to fill voids . I, now, wholeheartedly agree with your vision that feel is subjective, for now my mind goes immediately towards Jeff Beck. Mainly, his rendition of A Day in tthe life. And I cannot, for the life of me, tell you why! As 'feel' being one of these vague atributes, I couldn't imagine Jeff being further away from it when you first posted about it. Now, he is solely what/who I associate with the term. Awesome musical thinking, as always. Cheers from Brazil.
Love your playing Chris, very inspirational. Also love the likes of Jimmy Herring, Jon Herington (Steely Dan), Josh Smith, Larry Carlton and Robben Ford to name but a few. So many tasteful players around these days.
And this is why you're a stellar player! What a fantastic analysis, and a spot on explanation of 'feel' technique. You are a born inspiration.💯 Bravo Chris!
That solo was pure Peter Green so realistically Mayer's a fan, but they weren't Mayer licks. It was basically the opening to I need your love so bad (recorded 1967 ish) which Chris expanded on.
At the end of the day, feel is emotion. Ignoring music for a minute, as humans we become emotionally attached to people that we can relate to. We connect with people who are in a similar emotional space to us. Transition that to guitarists, playing with feel is about expressing emotion through music. And as such, we “feel” music that is expressing the emotion we are feeling at that point in time. It’s why people listen to country after a break up. I think that’s why everyone has a different perspective of what feel is.
You Chris have some of the best "feel" I've heard in years. I think the finger pick/hybrid picking players tend to have a bit more "feel", but there are also several of the players you mentioned that I agree have some incredible fee and they only play with a pickl. The other guy that I think has some pretty amazing feel is Danish Pete Honore over at Anderton's. I could listen to you and Pete play for days! Great stuff as usual Chris. God Bless and Rock on!
So feel is in the ear of the beholder! Sounds about right me. Great video subject and discussion point. And of course great playing and feel! 🤘🏻🎸👍🤘🏻🎸🤘🏻🎸👍🤘🏻🎸👍
Hey Chris, bit later to the party, Jeff Fielder is an incredible feel player. I see you and he in a very similar place, feel-wise. Question... Is it possible to teach musical feel? I've asked Adam Neely too. Genuinely fascinated! 😉
Only Jimi Hendrix could turn something that was very close to "noise", and make it beautiful..... He had an uncanny feel. It's as if "frets" didn't exist. Jimi played guitar like a violin!! Truely unique "Feel" player.
David Gilmour is hard to top. Only discovered Danish Pete, Rabea & the rest of the Andertons related crew over the last year or so but some of them are in there too.
I've only been playing about 3 years, phrasing and feel are what I really need to develop. I love certain types of singers and despite guitar being in much of my favourite songs it's the singing voice (not so much the lyrics) that are the key that makes or breaks the song for me. In some ways looking at it from a voice perspective helps me quite a lot. I think the Les Paul is an excellent choice for trying to emulate a voice because it has that natural timber and warmth that most human voices have. Great video, thanks :)
'Synchronicity' by the Police was the first album I bought when I was a kid. I couldn't help mentioning it seeing it's cover framed on your wall.... interesting album, still is.
The first time I heard you I “discovered” what later I found is called “touch sensitive”. I would like to play that way some day. Recently I read that the amp tube rectifier helps that. Maybe a compressor pedal also ?
Feel to me is all about dynamics, speed variations, note emphasis or the lack thereof, and of course supporting the song...and your playing epitomizes all of these elements...
I am also romantic and spiritual about music but feel is about being playful, surprisingly, patient, tender and aggressive with rhythm, phrasing and dynamics. That’s not what I’m thinking when playing, but that’s what it is.
Bradley Nowell of Sublime is my all time fave especially some of their rough albums where they are just practicing in the studio or live improv. like your style too
It seems "feel" is basically flexibility/spontaneity within the structure of the song that comes from a lot of active listening, i.e., channeling your instincts through your technique.
Peter green is perhabs my favorit! I Do agree and i had to chose but I shift among all kinds of players. And as mentioned singers, horns etc. If I like it it is good!
Hi Chris great video again. Could you possibly do a video on why you wrap your strings over the bridge, coz I’ve seen some videos. And some say it effects the tuning etc. Be great to hear your feedback about it and why. Cheers
Id say feel is your connection to your instrument and the way your left and right hand work together. But also how good you fit in with the groove of the rest of the band. Its kind of two things, your rhythm and your connection to your instrument. If that makes sense
Thanks for mentioning Lindsey Buckingham. The man plays rhythm and lead in such a well composed combination that Fleetwood Mac has to hire two guitarists to replace him every time he leaves, for whatever reason.
Hi There Buck And Evans, not sure if you read these feedback mate, but welcome to the Southern Hemisphere of Auckland New Zealand. Would you please like to show me the Amp and Effects you were using on this Video, & maybe your other vids when you next do then, Regards Gib
Wilander Xavier : Just curiosity: do you mean his recent tone (Dumble overdrive)? Dumble overdrive are awesome, but I really believe that Carlos best sound comes from the old Mesa Boogie Mark I.
Although it was a bit different in terms of phrasing and note choices, the feel Chris (and tone) exhibited in the Instagram clip was very reminiscent of B.B.King -- whom I'm sure comes prominently to mind when one thinks about who has "feel." Jeff Beck and Kirk Fletcher are a couple others who also come to mind. My fave feel players are B.B. and Chris.
So, who are YOUR favourite ‘feel players’?
Mark Knopfler would be a good example. I like the way you mix bends, slides and dynamic vibrato. I quit playing with a pick a few years ago and find it much more prone to transmit one's emotions. You have quite a unique style & tone to it. Cheers ! I almost forgot: in the large crowd of underrated guitar players with "feel" may I add Jack Griffiths, demonstrator for Peach guitars. Never understood (as well as for Greg Koch) how and why these phenomenal players keep on demoing guitars instead of standing in the front side of the scene…?
You - no doubt. Never heard anything like it.
The very underrated Andy Latimer of prog band Camel.
Peter Green is the best feel player!!!
Hendrix, srv, gilmour, bonamassa, kirk fletcher, roben ford, rodrigo y gabriela, REESE WYNANS
Got me at "Liked by Slash" mate :-) Naahh we know you`re a great player Chris! Cheers!
Now he’s get slash posting about him :)
As a guitar teacher, I associate “feel” with the more proper term: “dynamic” - that is taught in traditional sheet music. A melody, a rhythmic pattern…a riff/lick…can all be very perfectly constructed, but the loud to soft dynamic is what gives it great feel…and Chris: you certainly have great “feel” - that’s why I’m here😉🙏🏻🎸
Very different from the "feel" our PE teacher was associated with. He left half way through the term one year in a police car and we never saw him again....
Matt Schofield, Joey Landreth, Ariel Posen, Michael Hedges, Robben Ford, Chris Buck, Eric Clapton, Mike Bloomfield. But Chris, we are really fortunate to have someone like you providing this wonderful content about something we all love. A sincere thank you for what you do.
For me, feel is what happens when we escape the bounds of what we know, and express something in the moment in collaboration with other musicians and for our audience. The tension and release of music is a metaphor for our life experiences and is best experienced shared with others.
Now that is a list of guitarist's right from my heart. Lol. We have very similar taste in players!
Robbed Ford, YES.
Chris seems to be able to play an entire solo with just bending at one fret 😳
Feel is a heart attached with 6 strings💜
Good point!
Andy Timmons.
I think it's a lot about melodic phrasing, dynamics, and making it sound somewhat human. From pillow talk, to crying, to shouting in anger. Whatever the song calls for.
YOU CHRIS for a start! Then John Mayer, then Mr Clapton, then S R V, then Ariel Posen, just for starters. 👍❤️
I agree with Chris it doesn't have to be leads. Keith Richards played with feal and he played primarily rhythms.
I think ‘feel’ is capturing the spirit of the music your playing. Whether it be a song or a piece of music you are playing over.
Danish Pete. Love that guy.
Keith Scott is an amazing guitarist with great feel. His solo on the track Native Son is absolutely superb
Derek Trucks. So glad you mentioned him. Brings me to tears.
Really appreciate the way Chris defended JOE SATRIANI's playing in this video!👍 That was really classy!
Feel is about emotion. That means knowing when and what NOT to play as well. Great episode, lots to learn here!!
Feel is making the notes sing and phrase like a gospel singer
Really happy to hear this conversation. In my opinion this is by far more important than how many notes you can fit in a bar.
Great shout for Keith Scott. 'Cuts Like a Knife' is one of my favourite guitar solos. Beginning, middle and end, and fits the song perfectly.
You are an amazing guitar player. I could just watch you play solo for hours. Big SMILE
Kossoff, Green and Rory - The epitome of feel.
This video sold me a ticket to see you in London at The 100 Club. Fascinated by that fast semitone bend to mimic the feeling of vocals!
Let me say this Chris! You are a great player! In a class by yourself. You truly inspire me to play better! To me. You are very creative and the best guitarist I’ve heard in years!!
I find trying to follow a great sax solo helps with my feel. It's a life long journey. Enjoy it.
Which, together with a lot of other comments and your Sax thing is that it's about how well an instrument can do what the voice does and slide effortlessly between notes. Which, the guitar is not great at. Early doors they had a very staccato fast note thing, kind of like Les Paul played almost close to chicken picking. It's not unmusical but it's not got a lot of feel or emotion in it.
Then people like Pete Townshend came along and they wanted long sustaining notes which is, partly behind the louder amps and distortion. As you suggest, Sax solos tend to sound better because of the legato the ability to play a long phrase of connected notes - like a voice. Guthrie tried to do it with 'wonderful slippery thing' lots of sliding and phrases playing by bending one note to create 3 or 4. Vai does it with a whammy bar - he also does it by using the wah wah pedal to remove the attack part of picking, and Jeff Beck did it with volume control swells and trem. The idea of creating phrases that are connected and legato with vibrato which is what, say, Julie Garland is doing when she sings 'Some.....where" - which suggests, I would argue - that feel is really about making your instrument imitate the human voice - and from that you have a better opportunity to invoke emotion in your audience (the thing that eludes Yngwie - he says "I don't know why people say I have no feel, I cry" but emotion in music isn't about Beethoven crying and playing notes, it's about him using the properties and dynamics of notes to create an emotion in the audience. You know, you don't create a horror story by writing words in the same room as an escaped crocodile hoping that the fear you're experiencing will somehow transfer via the pen to the readers. You write words that creates an image in the reader's own head that makes them feel fear.
Of course with a musician you can hear your own music and it may move you but it's also a particularly academic exercise where one person (e.g Daniel Barenboim) can sit next to another pianist and teach him in pragmatic terms how to make Beethoven's piano concerto have better feel. It's not whoowhoo stuff, it's pragmatic advice - about the volume you play a certain phrase, the speed you play a certain phrase, how you lag the music. Of course, some people may well have a better instinct for it having listened to many performances they have a good enough ear to hear, but it's a mistake to think that feel is some ethereal thing, it's down to very pragmatic differences you'd do in the way that you'd play a section of a piece. For something like classical music anyone reaching a high level will usually be lucky enough to get a teacher like Barenboim to teach them it. In rock guitar when a lot of people are self taught and there's less of an emphasis on teaching, it ends up almost like the guitarists who have good 'feel' are the ones who come across it almost by chance - and then they struggle to explain what it is or how they do it.
But search Daniel Barenboim on Beethoven and see him teaching it. And specifically when any of the pianists starts waffling whoo whoo, he's very quick to pull them back to pragmatic things - The music you create is down to pragmatic things about where you picked the string, how hard you picked, what you picked with, how you connect the notes of phrases, how fast you're playing, your vibrato - there's no mystery to what feel is - excepting that we're tending to teach ourselves and there's nowhere near the level of formal training and analysis of rock music that there is of classical music.
A few others (including Guthrie) have explored a fretless guitar - the problem, perhaps is that the downsides of fretless outweigh the benefits and that certainly means it's unlikely a fretless guitar would replace guitar so it would remain a niche thing - not like a violin and the other fretless instruments in an orchestra which can play nice long connected phrases thanks to both the lack of frets and the bow. So we're left with an instrument that cannot easily do what sounds good from a feel perspective. We're using a variety of tricks and things to try and get closer to it - overdrive, compression, reverbs, delays, volume pedals or volume control swells, bends (from fingers and whammy bars) slides - but we're stuck, in general, with an instrument that, because of the frets, plays discrete notes and that's difficult to play smooth phrases on.
Lastly, of course, one of the key components of music and feel is harmony - and when it comes to playing single note runs, all of the harmony is created by whatever backing you have - something that a plethora of guitarists who sit trying to play lead lines miss entirely. For the love of god has feel primarily because of the parts that no one copies from Steve, the bass and sitarish background. If you're Ted Greene and creating the whole thing you can't ignore it - it's why his playing has so much feel compared with your average Jazz chord melody player because he somehow thought in 3 or 4 lines at the same time and used chord shapes to create them as well as playing whatever melody there was. If we get a bass player and a rhythm guitarist playing a part, we can get away with just playing the melody, but it's the interplay between the components that creates feel - it's why it's better to play with live musicians in the same room than over a backing tape.
@@michael1Really great write up, very insightful 👍
IMHO: Duane Allman, Dickie Betts, Brian May, Chris Buck, Carlos Santana, Derek Trucks, Ralph Walsh, Lee Ritenour. Not only are all these extremely technically skilled guitarists, but also have the ability - or FEEL - to play in a brethtakingly beautiful melodic way and in a both interesting and heartwarming harmonic context. Of course there are tens and tens more that should be listed, but these are def on my absolute short list!
And from a purely musical POV, Freddie Mercury is hard to beat.
Thanks Chris for all the magnificent music, playing and thoughts you share. You really inspire!!!
My favourite feel player is Robin Trower especially daydream and still is awesome at 70 plus one of the greats
I think the Italian word “sprezzatura” best aligns with our understanding for “feeling” in music. “Sprezzatura” refers to the outward appearance of effortless mastery, regardless the difficulty. One can break commonly held rules and structures because their talent surpasses such limitation. Conscious thought is not necessary to individuals possessing such a skill. They can “feel” their way through
In kind, someone “playing with feel” may seem as if they’re not relying on a set piece of music and us unconcerned with how long the piece will be and what note comes next. They possess a skill that allows them such an ability, seemingly. When they “feel” the way to go is when it happens. I’m reminded of an interview where SRV commented on writing as “not listening to where my mind tells me, but instead where my heart wants to go”
Woah! This guy has so much feel!
Eric Johnson has the feel perfectly expressed.
Of all the speed players Eric Johnson, Satriani and Van Halen are the only ones I can think of that impress me with their "feel". The rest are impressive and I listen to them, but not for very long. I'd much rather listen to Gilmore or John Mayer.
@@Bozemancurtis One modern rock guitarist that is very good but I get tired of is Mark Tremonti. He shreds the same stuff over and over.
Ian Thornley should be considered if no one has mentioned him yet.......insane talent.
Steve Rothery from Marillion can make you weep with his playing. Very melodic with subtle nuances that add an emotional element that really makes you “feel” what he’s saying with his guitar.
Absolutely! He's certainly my favourite player, being a stupidly big Marillion fan!
Revisiting this in 2024! Heard Brian May speaking a while back. He said he saw his solos as a continuation of Freddie’s vocals, and when he finished his solo he handed the part back…
Love Keith Scott .. brilliant player, has an awesome Strat sound live
Chris regarding David Gilmore, he does killer feel on The Division Bell's 'Poles Apart'. David uses an EBow, too...Loved this vid! Awsum lesson!
4 bars of absolute magic, Cheers mate 👍🏼
feel is for me accepting imperfection in your playing and loving it
The only person with as much feel is Derek Trucks.
At a venue, the stage was lined with "The Greats" Clapton, Buddy Guy, B.B. King, Ron Wood, Richards etc etc..
And I cannot remember the song but after Trucks got playing his version, either King or Guy, turned to Trucks and into the mic said "I've heard that song played a million times. And you just played it the best I've ever heard. Truly. You have great abiliy."
This is an 'old' upload by internet's logic, but I couldn't help myself. When you posted about 'feel' players over on instagram, my mind (and comment) went directly towards Rory Gallagher. For me, his playing went perfectly with the words and sounds he'd come up with, his rhythm and way to fill voids . I, now, wholeheartedly agree with your vision that feel is subjective, for now my mind goes immediately towards Jeff Beck. Mainly, his rendition of A Day in tthe life. And I cannot, for the life of me, tell you why! As 'feel' being one of these vague atributes, I couldn't imagine Jeff being further away from it when you first posted about it. Now, he is solely what/who I associate with the term. Awesome musical thinking, as always. Cheers from Brazil.
Saved into my "Guitar Lessons" playlist for future reference. Thanks Chris.
Love your playing Chris, very inspirational. Also love the likes of Jimmy Herring, Jon Herington (Steely Dan), Josh Smith, Larry Carlton and Robben Ford to name but a few. So many tasteful players around these days.
And this is why you're a stellar player! What a fantastic analysis, and a spot on explanation of 'feel' technique. You are a born inspiration.💯 Bravo Chris!
So many great players. Glad I learn't just by listening to them. Also glad to hear a new guitarist/musician thats got it.
Love you approach Chris. I'll make use of it. Thank you ❤️😊
No one mentioned John Mayer??🤯
i was thinking the same thing, i mean...that "feel" solo of him is all about mayer's licks
Never heard of him.
It has a Peter Green feel
That solo was pure Peter Green so realistically Mayer's a fan, but they weren't Mayer licks. It was basically the opening to I need your love so bad (recorded 1967 ish) which Chris expanded on.
that's because everyone else goes on about him lol
At the end of the day, feel is emotion. Ignoring music for a minute, as humans we become emotionally attached to people that we can relate to. We connect with people who are in a similar emotional space to us.
Transition that to guitarists, playing with feel is about expressing emotion through music. And as such, we “feel” music that is expressing the emotion we are feeling at that point in time. It’s why people listen to country after a break up.
I think that’s why everyone has a different perspective of what feel is.
i have been trying to use much more finger picking, i think it gives the notes that much more expression.
more warmth than picks
Thank you Chris Buck for you wish to transmit, you just help me going out of the pentatonic thing - to the melody thing I am looking for
You Chris have some of the best "feel" I've heard in years. I think the finger pick/hybrid picking players tend to have a bit more "feel", but there are also several of the players you mentioned that I agree have some incredible fee and they only play with a pickl. The other guy that I think has some pretty amazing feel is Danish Pete Honore over at Anderton's. I could listen to you and Pete play for days! Great stuff as usual Chris. God Bless and Rock on!
I hear r&b mixed into your playing. Feels great.
Señor Buck has genuinely been one of the most impressive players I’ve seen but the most mind blowing has probably been Derek Trucks. 🤯
Ha, I posted this before watching. Definitely Derek.
Derek truck with a slide is the best ive seen i think.
Most definitely!
Brian May. Every single time
yes!
Playing with feel means communicating emotion through your playing.
Finally someone who actually understands music
Ry Cooder! He has amazing feel
Superb and illuminating.... as ever.
I play acoustic but this video was still really eye opening for me
Honestly never looked at it like that but just makes so much sense. Incredible work Chris and thanks for sharing your ideas.
There is no doubt in my mind that you're a great 'feel' player. Really super video - I found it very instructive - thanks!
So feel is in the ear of the beholder! Sounds about right me. Great video subject and discussion point. And of course great playing and feel! 🤘🏻🎸👍🤘🏻🎸🤘🏻🎸👍🤘🏻🎸👍
Hey Chris, bit later to the party, Jeff Fielder is an incredible feel player. I see you and he in a very similar place, feel-wise.
Question... Is it possible to teach musical feel? I've asked Adam Neely too. Genuinely fascinated! 😉
Only Jimi Hendrix could turn something that was very close to "noise", and make it beautiful..... He had an uncanny feel. It's as if "frets" didn't exist. Jimi played guitar like a violin!! Truely unique "Feel" player.
David Gilmour is hard to top. Only discovered Danish Pete, Rabea & the rest of the Andertons related crew over the last year or so but some of them are in there too.
Steve vai. Tender surrender. No words needed.
Feel is what makes you pull funny faces. I could win a gurning competition listening to you play!
This is why I loved ur playin bro 👍👍👍
My go to playin style, cause I couldn't shred
nothing to say but nice job and thanks for sharing !
I've only been playing about 3 years, phrasing and feel are what I really need to develop. I love certain types of singers and despite guitar being in much of my favourite songs it's the singing voice (not so much the lyrics) that are the key that makes or breaks the song for me. In some ways looking at it from a voice perspective helps me quite a lot. I think the Les Paul is an excellent choice for trying to emulate a voice because it has that natural timber and warmth that most human voices have. Great video, thanks :)
I would love to see and hear you play with John Mayer together! That would be a perfect match!
'Synchronicity' by the Police was the first album I bought when I was a kid. I couldn't help mentioning it seeing it's cover framed on your wall.... interesting album, still is.
The first time I heard you I “discovered” what later I found is called “touch sensitive”. I would like to play that way some day. Recently I read that the amp tube rectifier helps that. Maybe a compressor pedal also ?
Hello Chris! Mihai from Romania and I want to ask you about the Gary Moore feeling when was playing? Wish you all the best 🤗🙏👍🎸
Feel to me is all about dynamics, speed variations, note emphasis or the lack thereof, and of course supporting the song...and your playing epitomizes all of these elements...
I am also romantic and spiritual about music but feel is about being playful, surprisingly, patient, tender and aggressive with rhythm, phrasing and dynamics. That’s not what I’m thinking when playing, but that’s what it is.
This reminds me of another you by John Mayer so much feel your technique is very John I love it! You're amazing! Inspired!
One of your best FFw.
Shredders with feel? Marty Friedman, Paul Gilbert. Non shredders with lot of feel? Davis Gilmour, Brian May, Tony Iommi, BB King ... loads of them.
Slash, Mark Knopflers, Joe Perry, Eric Johnson, Stevie Ray Vaughn
jimmy page
@@michelejoyce281 feel and dance :D :D :D
Frusciante
Bradley Nowell of Sublime is my all time fave especially some of their rough albums where they are just practicing in the studio or live improv. like your style too
I'm feelin this...
Will Goodfellow oooh er
Peter Green gets overlooked again grrr
And Danny Kirwan, real feel players both
Deff hints of I need your love so bad to that.
stevie o'kane yea because John Mayer literally chord for chord stole I need your love so bad lol
was about to say haha
my god if he named every guitar player that used delay it would of been a very long video lol!
Applying the style and phrasing of great singers to guitar is interesting.
It seems "feel" is basically flexibility/spontaneity within the structure of the song that comes from a lot of active listening, i.e., channeling your instincts through your technique.
Feels = Dynamics and Timing
That's really beautiful and has so much feel that the feel has feel. Can you share the backing chords?
Peter green is perhabs my favorit! I Do agree and i had to chose but I shift among all kinds of players. And as mentioned singers, horns etc. If I like it it is good!
I think Angus Young's leads have a lot of feel.and there are so many others. Far too many to list here.
Thanks! this will help me a lot to improve my playing
I find myself distracted by that GORGEOUS Les Paul...
Hi Chris great video again. Could you possibly do a video on why you wrap your strings over the bridge, coz I’ve seen some videos. And some say it effects the tuning etc. Be great to hear your feedback about it and why. Cheers
Id say feel is your connection to your instrument and the way your left and right hand work together. But also how good you fit in with the groove of the rest of the band. Its kind of two things, your rhythm and your connection to your instrument. If that makes sense
Thanks for mentioning Lindsey Buckingham. The man plays rhythm and lead in such a well composed combination that Fleetwood Mac has to hire two guitarists to replace him every time he leaves, for whatever reason.
Excellent content, narration, and guitar playing to really appreciate...
Had to subscribe, very tasty playing indeed! :-) :-)
Wonderful channel.
Playing with feel is when you feel the notes you're playing
Hi There Buck And Evans, not sure if you read these feedback mate, but welcome to the Southern Hemisphere of Auckland New Zealand. Would you please like to show me the Amp and Effects you were using on this Video, & maybe your other vids when you next do then, Regards Gib
Larry Carlton, Norman Brown, Peter White, B.B. King, John Houghton, Ritchie Kotzen, Eric Clapton, Robert Cray, just to name a few
Very brave video Chris, a hard concept to nail
IG vid Sounds like "Send Me Someone to Love" - is that the tune?
Exactly John Mayer
Players with “feel” are those who make you feel something. There are hundreds.
CARLOS SANTANA!!!!!! Carlos has always said he got a huge influence from vocalists: Aretha Franklin, Marvin Gaye, Ella Fitzgerald, Sam Cook, etc.
Santa is amazing love his phrasing, but his tone inhibits clarity in his picking.
Wilander Xavier : Just curiosity: do you mean his recent tone (Dumble overdrive)? Dumble overdrive are awesome, but I really believe that Carlos best sound comes from the old Mesa Boogie Mark I.
Dave Gilmour & Mark Knopfler are two obvious examples, but my favourite feel guitarist is Richard Thompson.
There’s 2 main “feel players” for me, Eric Clapton and Peter Green, amazing players.
Although it was a bit different in terms of phrasing and note choices, the feel Chris (and tone) exhibited in the Instagram clip was very reminiscent of B.B.King -- whom I'm sure comes prominently to mind when one thinks about who has "feel." Jeff Beck and Kirk Fletcher are a couple others who also come to mind. My fave feel players are B.B. and Chris.