#1
Friedman's answer to this question might be of interest to many guitar players. There is a lot to learn. Comments and opinions welcome.


Q: But aren’t you considered a technical player?

Marty Friedman: "Yes, but only if “technical” means that I have my own style—not that I’ve mastered “book” techniques. I can sit in with any musician in the world and nail something with them, because I’ve been playing music for so long. But if someone were to ask me to play the Mixolydian mode at a metronome setting of 200, I probably couldn’t. I never had the interest in doing such a thing, and, for the record, I dislike difficult-sounding guitar music. You’re not going to wind up in the studio with Paul McCartney one day, and hear him say, “Alright, mate, can you play some of those arpeggios a little faster?” There’s no reason to get stuck on stuff that won’t have any real-world application. I’d even go as far as to say that if any technique has a name on it—like “string skipping”—beware! You can do wonderful sweep picking in your bedroom, but if you play it inside a song, you can’t follow changes, and it’s absolutely useless. Learn to master rhythm. Rhythm guitar builds songs—not technical acrobatics."
#3
Quote by bangoodcharlote
Source? None of that applies to anything I've heard him play.


I don't remember. Probably from an interview on some guitar site. But don't worry, he really said that. I did not improvise it, if that is what you mean.
#4
Would be nice to see the original article, but it sounds like something Marty would say.
#5
Quote by Lumiere Rouge

Marty Friedman: Learn to master rhythm. Rhythm guitar builds songs—not technical acrobatics."

Well that's true.
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#6
Wasn't it from the interview that was posted here?
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#8
Well said, Marty! While I can "respect" players like Yngwie and others who know their modes frontwards, backwards, etc. I find them completely ****ing boring because all of their solos sound the same. Hell all of their songs sound the same. Now, give me someone who can write a clever but simple hook to a song, or a solo with some feeling, and I'd choose listening to it over the arpeggios, sweeping, etc. any day.
#9
Quote by Whiskey Tango
Now, give me someone who can write a clever but simple hook to a song, or a solo with some feeling, and I'd choose listening to it over the arpeggios, sweeping, etc. any day.
You're aware that most of Friedman's material contains incredibly difficult passages that require techniques like sweep picking, right?

"I don't play fast."
-The guy who plays 16th-note triplets in the 190bpm Tornado of Souls solo
Last edited by bangoodcharlote at Feb 8, 2009,
#10
Quote by bangoodcharlote
You're aware that most of Friedman's material contains incredibly difficult passages that require techniques like sweep picking, right?

"I don't play fast."
-The guy who plays 16th-note triplets in the Tornado of Souls solo

His statement does go a bit too far but it's on the right track. He cares more about good phrasing and melody, and after that's done then he starts going fast. I think Tornado of Souls is the best example of that.
#11
As long as we're name dropping in support of our claims: List of people who would disagree with what you're trying to assert with that quote...

- Bach
- Brahms
- Beethoven
- Salieri
- Haydn
- Mozart
- Chopin
- Berg
- Webern
- Schoenberg
- Scriabin
- Sibelius
- Bartok
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#13
Quote by bangoodcharlote
Hey Arch, how about some guitarists we've heard of?


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Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#15
^^ that would be pretty interesting to hear, lol. I find Marty quotes like this strange, because if you look back to the Cacophony albums and Dragon's Kiss, he's still awesome and incredible at creating beautiful melodies and hooks, but he's totally into the fast stuff too. Now he seems to be more on the side of saying it's just not necessary.. oh well... I guess his taste just evolved. But damn right he's a technical player, and anything demeaning he says about technicality, IMO, is nullified by his earlier work.
#18
This is from the article that was posted here about a month ago.
Quote by Lumiere Rouge
Marty Friedman: "Yes, but only if “technical” means that I have my own style—not that I’ve mastered “book” techniques. I can sit in with any musician in the world and nail something with them, because I’ve been playing music for so long.
I somehow doubt Friedman ever said that, and if he did...
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#19
Notice how Cacophony didn't really get big.
Maybe that's a testament to what Marty's talking about.
Sure, that stuff was amazingly fast, but it was a commercial failure.
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#21
Quote by bangoodcharlote
Source? None of that applies to anything I've heard him play.

Marty Friedman knows what he is doing. Learn how to play your damn guitars, folks.


Guitar Player magazine, July 2007. Got a copy of it sitting on my lap right now.
#22
I think it means he just cares more about melody then sweeps.

He probably plays fast stuff to entertain us and maybe himself to a degree, but he probably only listens to simple music.

He made a few records which are purely melodical, like Scenes and his self titled album.

But check all the Japanese stuff he does, he only plays fast if he is with other guitar players or on a show where he needs to act cool.

In his own 'environment' he always plays bluesy/melodic without any flashy stuff for the sake of flash.

I think it's pretty truthful what TS posted, but it just is misinterpreted out of context.

I bet at home he probably just plays melodies, which would describe why his phrasing is praised, cause his fast stuff seriously isn't that "thought out" and structured at all, like for instance Paul Gilbert's work.

And the fast stuff that is worked out, isn't that complex in nature, but only technical on the fingers.


To Rammty;


Yes he can probably play with every musician. Over time you develop not only a good ear, but also a psychological thing, where you feel what the next chord will be what the other player plays. This is not always the case, but Marty Friedman bends "out of key" into the key so often, that he probably perfected this to a point where he can literally play any bum note and bend it like it's meant too.

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