SEEKINGTrumpet, Violin, Other Percussion, Drums, Bass Guitar, Acoustic Guitar, Lead Guitar, Rhythm Guitar, Vocalist - Soprano, Vocalist - Tenor, Vocalist - Baritone, Vocalist - Bass, Vocalist, Saxophone, Keyboard, Piano, Background Singer, Harmonica, Flute, Other, Banjo, Mandolin, Fiddle, Dobro, Vocalist - Alto, Trombone, Bagpipes, Steel guitar.
Classically trained guitarist with interests in both classical and electric guitar. Play lead, rhythmm, solo. Experience with bands, duets, trios, and as a soloist.
- Screen name:
- Christopher Rude
- Member since:
- Apr 06 2010
- Active within 1 month
- Level of commitment:
- Very Committed
- Years playing music:
- Gigs played:
- Over 100
- Tend to practice:
- More than 3 times per week
- Available to gig:
- 2-3 nights a week
- Most available:
Bach to rock.
Combo & multi-effects with various guitars.
Barrios - Prelude in Em
Barrios - Prelude in Em Track number: 1 Year: 2010 Album: Studio Rude 1 Genre: Classical
Short classical study by a South American composer.
Ponce - Prelude #9
Ponce - Prelude #9 Track number: 2 Year: 2010 Album: Studio Rude 1 Genre: Classical
Prelude by a great mexican composer.
Bach - Tocatta
Bach - Tocatta Track number: 4 Year: 2010 Album: Studio Rude 1 Genre: Other
This is an arrangement of Bach's famous Tocatta for organ. I've expanded on the theme enough to explore some of the electric guitar's devices and capabilities, and used a tap delay to reinterpret the effect of cathedralic reverb. The texture of the fugue that normaly follows the tocatta doesn't lend itself to the electric solo guitar, so it has been omitted.
Irish Fantasie Track number: 3 Year: 2010 Album: Studio Rude 1 Genre: Other
This is an experiment for solo electric guitar. I have composed an irish jig in arpeggios (which serve as a metaphore for the broken coastline of Ireland) as a casing for a lovely, but obscure Bach Gavotte. The original Gavotte itself was strangely concealed by bach within another piece which does not transfer well to the solo elcetric guitar, thus necessitating a new container. By composing the container in the relative major key, I have clearly defined the ternary form of the piece with contrasting modality, but tied them together by mood and meter. I also added a flange effect that is intended to simulate the capricious winds and hills of the irish coast.