Where do you put stuff, to be handy?

Highway Man said:
:ROFLMAO: :ROFLMAO: :ROFLMAO: :ROFLMAO: :ROFLMAO: :ROFLMAO: :ROFLMAO: :ROFLMAO: :ROFLMAO: :ROFLMAO:
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We may mean different things by music. I love classical music where the music is melodic, structured and develops and has direction. That is what guitarists like Ritchie Blackmore, Mark Knopfler and Brian May do with their solos. Other guitarists are equally brilliant technically, maybe better, but they don't understand the fundamentals of musical progression.
 
Its all about appreciation of music which is very subjective and why we all like different styles, we all have ears that tune into different frequencies, feeling the music is when you are playing an instrument and hitting the right frequencies that sounds good to you and hopefully to others. As far as I am concerned musical theory is just an old fashioned concept unless of course you are playing classical music, in the world of rock and pop it is sort of irrelevant other than the circle of fifths.
 
Highway Man said:
Its all about appreciation of music which is very subjective and why we all like different styles, we all have ears that tune into different frequencies, feeling the music is when you are playing an instrument and hitting the right frequencies that sounds good to you and hopefully to others. As far as I am concerned musical theory is just an old fashioned concept unless of course you are playing classical music, in the world of rock and pop it is sort of irrelevant other than the circle of fifths.
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Exactly. Horses for courses.

This is an interesting analysis from Google which has helped me understand a bit more about why I prefer this sort of thing. Right at the end there is a bit on the finger techniques he uses which I don't have a clue about. Do you get what that means.

'The outro to "Tunnel of Love" (1980) is widely cited by musicians and critics as a masterclass in musical development and narrative soloing. Unlike solos that serve as technical showcases, Mark Knopfler’s performance here functions as an "extended, intensifying conclusion" that mirrors the song's emotional arc.

Why the Solo Works Like a Composition
The solo is often described as a "little symphonic piece" because it follows a clear structural path rather than relying on repetitive blues licks:
  • Pacing and Dynamics: It begins at roughly 6:00 after the music has fallen into a "quiet reflectiveness" led by the piano. It starts with sparse, lyrical phrasing and gradually builds in both volume and complexity.
  • Harmonic Awareness: Knopfler is noted for his "jazz-like" approach, choosing notes that specifically outline the underlying chord changes (chord tones) rather than just staying within a single pentatonic scale.
  • Narrative Phrasing: The phrasing is often compared to human speech, using carefully placed pauses and expressive bends to "convey emotion" and "tell a story".
  • Technical Artistry: Played entirely fingerstyle, the solo utilizes Knopfler's signature "clawhammer" and "thumb-finger" techniques to achieve a percussive, vocal-like quality that a plectrum (pick) cannot easily replicate.'
 
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