#1
Has anyone else invented (or do you believe you have invented) a little piece of their own personal technique that they're proud of? For me, it's downstrumming and subtracting strings. I downstrum all of the strings necessary for the chord, then donstrum again without the lowest string, and then repeat again and again. Anyone else got something like this?
#3
I do this thing where I hold the strings down with my fingers. It's pretty insane.

OT:

I like the way I don't pick the B string when descending while doing a series of 3 string arp's. Pretty useless lil thing, but I like how fluid it makes them sound
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#4
Slap and pop on my 8-string and other percussive techniques. It doesn't sound like a guitar, nor a bass, and it ain't a drumkit... but it sounds good either way.
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#5
Well, one time I scissored off all my guitar strings, rather than unwinding them, and I ****ed my bridge up!

Well, I can't say I'm proud of that
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#6
Quote by TextOnTheScreen
Has anyone else invented (or do you believe you have invented) a little piece of their own personal technique that they're proud of? For me, it's downstrumming and subtracting strings. I downstrum all of the strings necessary for the chord, then donstrum again without the lowest string, and then repeat again and again. Anyone else got something like this?


Hate to break it to you but I, and most other people also do this. It's a pretty common thing.
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#7
Quote by funkbass369
Hate to break it to you but I, and most other people also do this. It's a pretty common thing.


Yes, it's great that you've found that you don't have to strum all the strings at once, it will help in the future.

However you'll probably find that most things you think you created are infact being used by other people as well. That doesn't discount the fact you discovered it in the same way as others, just that it's not as unique as you think it is.
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#8
Not something I've invented, but something I'm proud of is the fact that I can alternate pick gallops like 0-0-0---0-0-0---0-0-0 in 240bpm 1/32notes.
#9
I pull the high E string off the neck and pull it around the side. It will catch an upper fret and that note will sound, so you can bend the note close to an 5 or 6 steps. Pretty cool, haven't found many practical uses for it though because you have to pull back to that original note.

Actually rounded off the side of the neck on one of my old guitars to make the transition more smooth.
#10
I think I may actually have something to add here that is pretty original, but I don't do it anymore for reasons that will become obvious, and I don't refer to it as something I'm "proud" of so much as something strange about my history as a guitarist.

When I first started playing guitar, I'd sit down with it across my lap facing the ceiling, as if it was a keyboard. But instead of pulling some kind of Stanley Jordan deal, my left/fret hand would only use my thumb on frets, with my thumb sliding all across the neck to make lines, in conjunction with opens; my right hand would just pick the strings overhand. Lots of hammerons, pulloffs, and slides.

I exploited about as much as I possibly could with this route for about 3 years before flipping the guitar over and starting to play it properly. Obviously this was way too limiting, as I couldn't play chords this way (although I did play double stops made of parallel 4ths, and major 3rds on the B and G string) and I depended way too much on open strings. But it sure caught people's attention.
Last edited by Brainpolice2 at Aug 17, 2011,
#11
i dont really think i do anything too original. the only thing i can think of is even when im using a pick, ill tend to do sort of a percussive backhand down stroke with my other fingers. i just find its more percussive than the pick and you can kind of ring out all the notes at onces without hearing the raking of the pick across the strings.

another thing would be sometimes i will bend a string and i will on purpose catch an open string above the string im bending. if it rings out not too much, it gives a cool effect and makes the guitar howl. only works with overdrive. if not it just sounds like a mistake.
#12
Quote by Brainpolice2
I think I may actually have something to add here that is pretty original, but I don't do it anymore for reasons that will become obvious, and I don't refer to it as something I'm "proud" of so much as something strange about my history as a guitarist.

When I first started playing guitar, I'd sit down with it across my lap facing the ceiling, as if it was a keyboard. But instead of pulling some kind of Stanley Jordan deal, my left/fret hand would only use my thumb on frets, with my thumb sliding all across the neck to make lines, in conjunction with opens; my right hand would just pick the strings overhand. Lots of hammerons, pulloffs, and slides.

I exploited about as much as I possibly could with this route for about 3 years before flipping the guitar over and starting to play it properly. Obviously this was way too limiting, as I couldn't play chords this way (although I did play double stops made of parallel 4ths, and major 3rds on the B and G string) and I depended way too much on open strings. But it sure caught people's attention.

Umm...Jeff Healey played with the guitar in his lap and I'd hardly consider his playing "limited". And he was blind.
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#13
I like to pull the high e string off the fretboard and let the string touch the body of the guitar, and then................ SUPER VIBRATO!!
#14
Quote by ChucklesMginty
I have a little quirk I use in solos where I play and a note then immediately slide down a tone or semitone (depending on the scale) and then bend up to original note. It's kind of Eastern sounding if you repeat it several times. It's kind of Marty Friedman-esque. I think I nicked it from Freak Show Excess by Steve Vai though.


Interestingly enough, I do something almost exactly like this, except instead of sliding I do a pull-off, bend, and hammer-on. I could swear I've heard Guthrie do something sonically similar, perhaps even identical, and I wouldn't be surprised if plenty of other players have done that at some time or another. The strange thing about it is that I always feel that I have to leave the note after I've hammered back on it, even if it's a chord tone or relatively consonant (I.E. playing C-pull-B-bend-C-unbend-B-hammer-C over a basic C major triad or Cmaj7 always makes me want to leave the C; this applies to a large range of contexts in which I do use this type of phrase).
You might could use some double modals.
#15
Quote by elloel
Not something I've invented, but something I'm proud of is the fact that I can alternate pick gallops like 0-0-0---0-0-0---0-0-0 in 240bpm 1/32notes.

I find that hard to believe. Perhaps you mean sixteenth notes?
E:-6
B:-0
G:-5
D:-6
A:-0
E:-3
#16
Quote by TextOnTheScreen
Has anyone else invented (or do you believe you have invented) a little piece of their own personal technique that they're proud of? For me, it's downstrumming and subtracting strings. I downstrum all of the strings necessary for the chord, then donstrum again without the lowest string, and then repeat again and again. Anyone else got something like this?


I can play entire songs by memory. It's an old trick, but I kinda enjoy doing it.
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#17
In blues soloing, because it is acceptable to play in minor over a major progression I often use harmonic minor as I get the minor sound of the m3 and m6, but keep the major 7 to give it a gypsy feel. When used appropriately, it is actually fairly subtle. I also use chromatics and play outside of the scale a lot.

Oh, and I often look at what notes the key I'm in have in common with another key not related to the song I'm playing over (eg. playing in E minor, looking at D major), and using only those notes. Because the notes the two keys have in common may be non connosant it gives the solo a different feel. I call it "implying another key", but it's probably something else.

I doubt I will ever do anything truly original.
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Last edited by Banjocal at Aug 18, 2011,
#18
Im sure its been done before, but i can play a harmonic without picking or playing a note previous. It sounds pretty awesome amid a flurry of notes just a random harmonic in there.
Erm, my signature play style would be using 2 or 3 octave intervals in chords to double up the sound, or in lead work as im passing up the fretboard i'll use a massive vibrato technique like slide guitar sound.

I dunno, i just think i've got a pretty distinctive playing stlye (not neccessarily my own tone yet, working on that) compared to a lot of amateur guitarists i hear around. I'd love to have more original techniques, but what i guess it comes down to is original sounds.
Always waiting for that bit of inspiration.