Forum - Banjo Ben Clark

Discuss the Guitar lesson: Five Principals of Ballad Backup

#1

https://banjobenclark.com/lessons/five-principals-of-ballad-backup-guitar-advanced

Let’s cover some advanced, yet also foundational, principles of backup. And don’t let it fool you–this lesson isn’t just for ballads or even only guitar. This lesson is applicable to all instruments…and even life.

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#2

But… It’s much easier (and less humbling) to just play without paying attention.

Just kidding. Good stuff!

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#3

#3… not having to play the full chord every time…. Excellent advice… been doing that for years - keeps the guitar from dominating in a delicate part of a song. Love this…

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#4

I am a HUGE believer in knowing the melody, so that I know where the lead player is going so I can invent around what he and she is doing.

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#5

This is my first time on the forum, but so what’s the difference between a motif and a “hook?”

#6

In the classical world, a “motif” is a phrase that keeps showing up at different places in a song … think of the MOTIF from beethoven’s 9th symphony du du du DUNNN! It’s the one thing everyone remembers from that composition. In my mind, the motif doesn’t have to be “front and center” to serve its purpose, whereas a “hook” …think opening riff to Sweet Home Alabama (would that be a hook by your definition?) is very much front and center.

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#7

I was thinking more in terms of “Day Tripper” which appears at various points throughout the song. I always thought of that as a hook, but maybe that’s a motif?

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#8

In that case…. I think they are one and the same. Good call on daytripper!

#9

Great answer, @Mr_G. I think of motifs as being more broad and visible throughout a song. In Nashville when you say hook, you’re talking about the lyrics of a song that “makes” it. What we’ve called a hook in this thread, we call signature lick in Nashville.

#10

Too cool. Thanks!

#11

What about the Five Principals of a 1980’s Power Ballad Backup?

  1. Start with arpeggiated chords for the intro and verse
  2. Chosen chords should never include a major third. Minor and Sus2 chords are encouraged
  3. Choruses always will start with a heavily overdriven and heavily sustained power chord
  4. The power backup balladeer must look soulfully/painfully/longingly into the camera at all times during the video shoot, except when the same balladeer may be looking away from the camera as if to hide the falling tears (that fall before their eyes)
  5. Last but not least, advanced power balladeers will use the guitar and strap much like a hula hoop and sling the guitar up and around their bodies. Extra credit is given when the guitar returns to the playing position right on the downbeat
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#12

This was really helpful to me, because I always made myself sort of the star and tried to play some “fancy” backup. I never really thought about any motif either. Thanks Banjo Ben! -strangs n such-

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#13

What’s up Emil?

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#14

don’t forget the “lean forward with one leg in front of the other, slightly bent at the knees” power stance.2022-05-16_12-07-01%20(1)

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#15

What I appreciate the most is now recognizing all the songs that you have applied those principles to. Very good advice.

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#16

Wow, that’s a killer compliment. Thank you!

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