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Country Vocals Lessons: Working with Players - Lari and Guthrie - "Love Right"

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So working
with a player.
Working with a player.
Working with a fellow musician, and
we're gonna actually just like have you-
>> I've been called worse.
>> [LAUGH]
>> [LAUGH]
>> Meet Guthrie Trapp.
>> Howdy.
>> Guthrie Trapp is a fellow Nashvillian,
we are here in Nashville at my studio,
The Holler.
Which is a little bit west
of downtown Nashville.
And Guthrie actually
introduced me to ArtistWorks.
Guthrie teaches the country guitar class,
>> You're not gonna hit me
when you say that, are you?
>> Are you kidding?
>> [LAUGH]
>> I worship guitar player's, man.
>> I'm just kidding.
You got me into this.
>> Guthrie is one of the best
guitar players on the planet, and
I'm tickled to death that he
introduced me to ArtistWorks.
And so, we are actually playing
a gig together tomorrow night,
Guthrie plays every Wednesday night
at ACME in downtown Nashville.
They've invited me to come sit in and
do a couple songs tomorrow night.
And so, I thought it would be good for you
to see how a rehearsal actually goes down.
We've got this one song that's
you know fairly straightforward,
but it's got a couple
tricky moments in it.
Couple of five four bars and a lick in
the middle that goes into a modulation
that's you know a little
bit of a challenge.
So we're gonna work through the chart.
I've made up a chart for this song,
it's called Loved Right.
And Guthrie and
I are just gonna work through this chart,
make sure that the chart is really
clear and easy for him to follow.
And that's the same chart
that the rest of the band,
there's actually a full band
playing tomorrow night.
So there'll be a drummer,
and a base player, and
Guthrie on guitar, and
keyboard player too?
>> Yep.
>> So we'll have a full band, but you're
gonna watch us work down this chart.
And we're gonna talk about things
like feel and tempo and licks.
And just kind of work through what we
want to happen when we get up on stage
to perform it.
>> Absolutely, and you know something that
you might wanna mention real quick is,
this is a Nashville number chart, which
means since your course is on vocals.
The beauty of having
a Nashville number chart is,
if you wanna change the key,
you just change the key.
You don't have to completely
rewrite the chart.
Which is not, like she said,
not a crazy complicated chart, but
there's some timing things and rhythms,
and different things like that.
So that's one of the beauties
of the Nashville number system.
>> Yeah, and
we actually do even in the vocal chords,
we're working on some music theory stuff.
And how to chart with chords, but
also how to get into the Nashville
number system for that very reason.
>> Yeah, that's great.
>> So this is a tune called Loved Right.
It's from my Green Eyed Soul record, and
Guthrie's got an incredibly soulful
band on the stage tomorrow night.
So I thought it would be fun
to do this song with them.
We'll listen to it a little bit.
So we're following through
the chart right now,
just making sure that all the chords
that are written out are accurate.
So far I think we're good right?
>> Yeah.
On the chart, I also have the key.
I'm playing it in E flat.
Okay, so that's basically the feel,
I like to take it a little
quicker than that tempo live.
This was the record tempo, and
it's nice and groovy and kinda chill, but
live I like to take it up maybe two or
even three, four beats per minute,
so that it's more like,
>> Cool.
>> So I'd probably do it up there.
>> Yeah.
>> Live, so
the first thing is this
funky lick at the top.
Yeah, that's it right there.
>> Cool.
>> Yeah.
>> [MUSIC]
then there's
a stop.
Goes right to the sixth minor.
Extra beat, one, yeah, that's it.
Another five, four measure here.
Yeah, that's perfect.
It doesn't stop.
And whack.
Second chorus, yep, that's it.
And then it
does this figure
right here, so
it's right here.
Sorry, let me find that.
That's it right there.
That's that little figure.
So this is the second chorus.
And here
comes this bar here
with the figure.
that's it.
Does that make sense?
>> So it's a flat three, so,
so, flat three would be
>> It's basically a half step up from
the two minor.
>> I see what that, okay.
I see, yeah, yeah, that's the hit.
>> That's the hit, exactly.
>> I was looking past that, sorry.
>> Yeah, yeah.
>> Okay, right.
>> So here's the two minor.
That's it.
>> Okay, cool.
>> Exactly.
three, four,
Solo, so this will be a guitar solo.
>> Right.
>> [COUGH]
>> So
that was-
>> The tricky lick.
It's actually
an ascending.
>> Let's see.
>> Yeah, here's the end of the solo.
I wrote
the numbers
So like 5, 6, 1, 2,
3 in that key and E flat.
>> Something like that.
>> Exactly, and
it goes right into the mod.
Right into a whole step mod into F.
>> And I can grab,
does that
make sense?
>> Well, yeah but, let's see.
So that
would be
the new
>> Yep, that's the new key.
>> So the mod happens right
on that two minor there?
>> Yes.
No no no.
This two minor is part of the solo.
This whole line right here is the solo.
>> That's underneath it.
>> Right, so this is the bar five.
There's no chords happening underneath it.
>> Just that riff.
>> Just the lick and
it's a band unison thing.
>> Right.
>> Base and everything.
>> So when it comes back in the key of F,
you're still in the 2 minor of F.
>> Of the new key.
>> The new key, yeah, yeah.
>> So you're at G minor.
then you're in G minor and F.
>> Okay, cool.
>> Yeah.
>> So let's just play that,
like one more time, just the rift.
>> [MUSIC]
>> Was
that Jerry McPherson playing that solo?
>> Yeah.
>> Does it do that nicely?
>> No, it goes up the key.
>> Is that it?
It ends right there?
>> There's a one more shelf.
That's the last four notes.
Cuz then you're in the new key.
By the time you get to these,
you're in F.
Yeah, that's the last note.
>> That's not right.
>> No.
>> So it's five, six, one, two, three.
>> And then,
that's it.
That's it.
>> That's it.
Okay, I got you.
Yeah, yeah, okay.
>> That's it.
>> Okay, cool, yeah.
>> That's it.
>> All right.
>> So here's the solo.
>> One more time,
let me try to listen to this here.
>> The second lick,
>> That's not right.
>> I think that second lick is lower.
>> Hold on, play that one more time.
>> Yeah, that's it right there.
That's it.
>> Okay.
>> That's it.
>> Wow.
>> Yeah.
I shouldn't have tried singing it in that
low octave.
>> That's all right.
>> That's it.
And then you're on the G minor.
Yup, that's it.
Okay, here's the solo one more time.
That's it.
>> Okay, cool.
>> [LAUGH]
That's it.
a big
>> Okay, cool.
>> That's it.
And we're not doing the playback in.
>> Yeah, okay.
>> [LAUGH] Yeah, okay.
>> I remember learning this tune when
we played with you a couple years ago.
And man it's a funky track.
You gotta play this with
your subwoofers on.
>> Yes, it is funky.
>> The bass is bad.
>> That bass is slamming, I know.
>> Who played bass on that?
>> Michael Rhodes.
>> Okay, that's what I thought yeah,
yeah, yeah. >> Yeah, smacking it.
>> And Chad?
>> No, Dan Needham.
Do you know Dan?
>> Yeah.
>> Comes out of
the contemporary Christian.
>> Yeah.
>> Great, great drummer.
>> Yeah, yeah.
That's cool.
>> Pretty fun.
Yeah, I know I was supposed to pick a song
that was more simple for tomorrow night.
>> No, this is great.
This is not,
it looks like there's a lot going on.
And there is, but
it's simpler than it looks.
>> It's simple 90% of the time,
and then that one 10% of the time,
where the couple five four bars, and
that one, but you nailed it, you got it.
That's totally it.
>> Well let's see if we can do it now.
>> Play through it one time.
>> Yeah, if I can do it.
>> Okay, all right.
So the opening lick is
really a keyboard thing.
You can play it if you want,
or we can make it an all-band.
Cuz Mackee, Steve's actually played
this chart several times before, so.
Yeah, so we can make
it a keyboard thing.
>> Yeah, either me and
Jimmy can cover it now that I know it.
Who knows if he'll listen to this or not?
>> [LAUGH]
>> Musicians, man,
you can't rely on them for anything.
So this, I'm wondering,
there was one little spot on here
where I didn't play something right.
>> This is supposed to be-
>> I didn't do that right.
>> No, no, that's supposed to be a sixth
minor, it's cuz the chart is wrong.
>> It is?
>> Yeah,
it actually goes to a six minor
the whole bar like this one.
>> So no five over six?
>> Exactly, you can just axe that.
>> We'll just axe that out.
And if you ever correct your chart,
do it in pencil.
>> So you can recorrect it later.
>> [LAUGH]
>> Okay.
>> So, once we're finished with this
rehearsal, I will actually make new copies
of this chart with any changes
that we make right now.
And take that to the gig
with me tomorrow night, so
that everybody's got the same
chart with all same changes on it.
>> Cool.
>> Mm-hm, all right?
>> All right, let's try it.
>> Okay, so I'm gonna take it [SOUND],
one, two, three, four.
You ain't ever been loved right.
You ain't ever felt it so strong.
You been thinking love's a losing fight.
Just another lonely night but
you got it so wrong.
You ain't ever heard the real thing.
You ain't ever held a heart that's true,
that's it, you ain't ever been loved
like the way I'm gonna love you.
But it broke into your, five, I'm hurting,
that's it, stole the life from your eyes.
You locked the door and pulled on
the curtain, given up and I know why.
You ain't ever been loved like, yeah okay.
>> Okay, that's just one stop.
>> Yep, yeah.
>> So-
>> So from the two minor.
>> Yeah.
>> Love like the way I'm gonna love you.
You have
never felt it so
Even thinking love's a losing fight,
another lonely night, you got it so wrong.
You ain't, bah it's that push thing.
>> Right, yeah.
>> So one two three, bah.
You ain't ever held a heart that's true.
You ain't ever been loved like
the way I'm gonna love you.
Guitar solo.
>> One more time, that's it.
>> That's it, that's it.
>> One more time.
>> Love like, that's it.
You ain't ever felt it so strong.
You've been thinking
love's a losing fight,
just another lonely night,
but you got it so wrong.
You ain't ever had the real thing,
you ain't ever held a heart that's true.
That should be a 6 minor there.
Where are we at in the last-
>> Right there.
>> This is the last one, yeah,
that should be a 6 minor too.
>> Okay.
>> That should be a 6 minor.
>> Okay, cool.
>> Yeah,
that really should be a 6 minor over 5.
Does that make sense?
>> Mm-hm.
>> And that should too, yes.
Okay so here let's go from this two minor,
second half of the last chorus.
Yeah, yep.
>> Okay, last chorus?
>> Last chorus, second half, two minor.
>> Two, three, four.
>> Real thing,
you ain't ever held a heart that's true.
You've been thinking
love's a losing fight,
just another lonely night,
you got it so wrong.
You ain't ever had the real thing, yeah.
You ain't ever held a 6 minor, yeah.
Never been loved like the way
I'm gonna love you.
Six, seven, that's it.
Loved like the way I'm down.
This should be a retard, yeah.
Yeah, yeah there it is.
It's on there.
Okay, that's it.
That's it.
>> Yeah cool.
>> Uh-huh.
>> Awesome.
>> Okay, and
I will take this off the chart, cuz
we're not going back into that play out.
>> The reprise.
>> Yeah.
>> Yeah, cool.
>> That's it.
Thank you, baby.
>> Awesome.
You got it.
[LAUGH] Love that.
>> It's going to be great.
>> Funky, funky.
>> Funky, funky.
>> Hey,
who says Nashville's just country, right?
>> Yeah, they don't know, they don't know.
>> All right.
>> Thank you, darling.
>> Cool, yeah.
>> That's great.
>> Absolutely.