Well, there are different pitches or notes you can play. If you played in the key of E, your notes in the scale would be E, F#, G#, A, B, C#, D#. Playing "in the key" of something is just setting that first pitch(In this case, E) as your tonal center and what you play revolves around that. Hopefully this makes sense, but your question is a little vague. You can switch to a different key(modulation), etc.
Basically: Playing in the key of "X" means that what you are playing revolves around "X" note or pitch.
Baby powder. I've used it for the last few years. I use it immediately after a sunburn and a couple of days after. It seems to help mine clear up quicker and not have to deal with the itching. Oh, and drink a lot of water if you don't already.
As others have mentioned(and if you don't have time to have a weekly, one hour lesson, you don't have time to practice either. You're probably just unwilling, right?) get a teacher. Get a good teacher. Not one that will allow you to learn the notes of something and move on to the next one. If possible, get a teacher from a university if you're nearby. If not, just get one who has a good rep and can play pretty damn well. They'll guide you. Should you not follow that....
Learn how to read music. Get good at reading intervals so you're not thinking "C..E...G.." you see it in thirds, sixths, etc. Being able to do both are very useful- especially in sight reading. Check out Czerny's "Introduction to the School of Velocity" and in a few months maybe Hanon's "Virtuoso Pianist". The czerny etudes and Hanon together are excellent for technique work.
Bach is great for technique. Play some inventions, preludes, anything playable really. Some simple Bartok pieces would be good for rhythm. To really begin to explore your musicality, an easy Chopin prelude or two would be nice. Maybe Chopin's Prelude in B minor.
Beforehand, a primer book or two would be nice too just to get you going.
Practicing and playing tipsshould be similar to guitar) 1. Practice slowly. (Who doesn't know that?) 2. Make sure you play everything correctly- always. (I know, that is common sense, but you'd be surprised how often we musicians try to let things slide. Screwing up in performance is one thing, but always fix your mistakes in practice. It will help avoid screw ups in a performance) 3. Listen very, very carefully. Listen to the music as you play. What direction is it going? What are you trying to express? Are you bringing out the melody? Are the inner voices too overpowering or maybe not expressed quite strongly enough?
Hope this helps a little bit and good luck to you. I think I'll go practice some now.
Reynbo, I would definitely agree that you can learn a lot by listening to instruments other than your primary instrument. Of course, listening to a wide range of music for improvement is no secret either. I don't know why it works. It just does.
I figured this might be interesting. For those of you who play more than one instrument, how has guitar playing effected your other instrument or vice versa?
For me, playing guitar for a few years really helped me pick the piano back up almost two years ago. I believe studying guys like Vai and Satriani(and a little bit of Paul Gilbert even though I played more of his stuff) really helped me bring out my musicality. Not only that, but it gave me, and still is giving me, a wider array of ideas on how to bring more sounds, licks, melodies, etc. out of the piano.
The intense study of the piano(especially this past year in school) has really helped me out rhythmically on guitar and brought about new ideas and rhythms I used to either not be capable of making or creative enough to come up with. It has also helped out my musicality further on guitar and helped me understand better how to play the instrument. While my guitar technique, or anything about my guitar playing isn't what it was a couple of years back(all the time has gone into piano), I have managed to improve in several ways from my guitar playing (particularly rhythms) and managed to keep a fair amount of my finger strength and even have more relaxed hands whilst playing. I believe if I had the urge to get back into some jazz lessons like I took before as well as working on my technique again, etc. I would see a large improvement far beyond what I had before I quit practicing the guitar regularly.
Anyone else got anything? I hope this can spark an interesting discussion.
Don't be satisfied, don't become complacent, be happy with what you are doing, stop giving a shit, and give a shit. When you do this, you'll understand it. (I am aware the list seems to contradict itself. Seems to work for me though)
I stopped playing as much. I haven't quit caring about it though. I started playing less last October when I decided I wanted to be a piano major in school. Now I play a few times a month, but I plan to eventually get close to the level I was when I practiced 4+ hours a day. (Well, I guess I won't get close without doing the same, but whatever.)
@Connor I'll take your word on it. I haven't came across any situations where I've had to really put my knowledge of them to use, but maybe I will. Until then, my statement will stay the same. Nice to get some feedback from "both sides" though.
In certain styles of music, modes are still used quite a bit. They are something I use in Jazz guitar, for example.
I can see that. That makes sense. However, as some users posted above, they are commonly sought after in the wrong contexts. As if, in order to do studio work for Miley Cyrus I need to be able to use the locrian mode. Right.
@Awsomo Somehow I doubt that Chopin sat down and thought when he composed the Revolutionary Etude, "Hmm...Ok. Let's see, this is mainly going through a C Harmonic minor. Oh shit! What mode is it? I won't be able to complete it without knowing! OH, it's like a G Phrygian Dominant! Eureka!"
Like I said, useful, but not necessary. Also, for modes to mean anything, they have to have a background and base.
I don't read this website much at all anymore, but I remember a year or so ago, modes were all the rage. (They may still be) We sort of stroked modes by their names in my theory class a month ago or so, and it reminded me of spending all the time reading articles and columns on here about them. I wanted to implement them into my playing and eventually before I quit playing guitar so much to focus on piano, I labeled them useless to what I played.
I guess, mode vs. scale was intriguing. I never really NEEDED to know how to use them. They're cool to know and maybe in a very rare situation useful, but really, does anyone have an answer why there was or still is such a concern for the modes on this website?
So I saw this dude at the gym yesterday doing squats. He was going so low that his ass was almost touching the ground and I thought to myself that has got to be too low and that he has gone out of the right ROM. Is this right? How far down do you go when you squat?
In training I usually go about ATG. Competion day is just below parallel. It's partially personal preference and well, what your body allows you to do.
I can't tell you you are screwed, but I can agree with everything the above poster said.
I recently auditioned for piano(Well, as in 5 and a half months ago) and it was sort of tough to say the least. I shot a bit higher than what was needed, but they want you to know what you're going to be working on in school. Don't expect to be playing Smoke On The Water(if you did audition with that, get it on a recording please...you'll be a legend), but learning the jazz and classical will open up many other opportunities.
The techniques used, structures, etc. All of that can lead into what you like playing.
All that said, I have two useful things you can do along with a possible option:
1. Email the professors. Now! Or as soon as you read this. Ask THEM what would be suitable. I emailed and even called one of the professors quite a bit prior to my audition to make sure what I was doing would be ok and anything else I should work on. Do that.
2. Learn something, quick.
3.(optional, and not a bad idea) go into the first semester undeclared. When audition time comes around for the 2012 Fall semester, audition then. Basically, spend your first year knocking out general ed. and save yourself for the next year, audition for the program. Of course, practice for what you would need. This would give you plenty of time to prepare should you use it wisely.
Also, don't be surprised if they want you to sight read off of SHEET MUSIC. That will need to be worked on. I maybe could have got an even bigger scholarship had my sight reading been up to par. Everything you do in that audition will count. If I were you, even though it's not the fun one, I'd do a mix of option 1 and 3. Email the professors, learn some more about it, and then audition your next year of college.
I have an equal balance. I always like to meet musicians more because we already share something in common, but non musical friends are great to have. I like to connect with everyone and try to lift everyone up equally in what they do.
Yes. As recently as well, the dumb bitch fell in love with me. Ended up having to stop having sex with her all together and hooked her up with my best friend. Seriously, the girl wouldn't leave me alone. She didn't realise I just wanted sex. Nothing more;nothing less.
Trust me, it's quite easy. You just go in with your thoughts gathered on what may be on the test. It's of course easier if you know in the first place what the questions are going to be. At least knowing the material covered of what might be on the test is what helps the most. Then you just write it all out quickly.
The thing is what is the standard? What are the standards for making something better? Obviously you have your subjective tastes, but actual skill or quality of musicianship or film is usually set by a general standard. For films, is the plot decent? Are there holes that lead to no where or make things obvious to the viewer? Is there a resolution? For that matter, does there need to be a resolution or should it be followed up and resolved in a later work? The thing is, you can go several different directions. The taste of one may want some bit of mystery while others may want the answer resolved. That's just one subjective matter of film.
Music? Well, let's go with guitarists abilities. As an above user stated, you aren't going to see Joe Jonas playing a melodic minor scale in 15/7 time anytime soon. How much does the person know about his instrument? How much does he know about music? Of course, some of you will argue "Jimi Hendrix didn't know theory. Was he not great?". Of course he was great. He was innovative for his time. As was and is Steve Vai. They have something new to add to the instrument and music in general. His overall skill level is obviously higher than your ordinary guitarist when it comes to technical ability. His overall musicianship makes him so great. There are standards like the few I've mentioned that people hold to claim someone good- or for that matter- better.
While there are many things subjective, the human population holds some things to a standard. Though, then you can say that these standards are subjective among mankind. It seems like this is a question more so that can run in circles and counter-arguments. So what's my final verdict? 50/50. (And damn, I really have to think about this some time rather than take 5 minutes to gather a few thoughts and type. This is really interesting.)
I can only ask the question "why?" What's the big deal if he is going to bash metal? You've done your work on trying to prove to him that it isn't all the huge stereotype that he's saying it is. Why bother to keep trying? If he's not listening to anything else than pop, you aren't going to get to him. Slowly I'm sure he'll branch out to other genres of music. You're argument is almost like trying to get a metalhead whose belief is all this mainstream pop sucks. I listen to Mayhem AND Miley Cyrus. I listen to almost anything from baroque-today's pop. What's the big deal if he likes only pop? Some people just like one thing, some like more, some like it all. It's a matter of taste. You shouldn't have anymore right to think he needs to listen to your stuff and agree with you than he should to say that. Right?
I have some advice. Not scales necessarily though because they've already been answered for you. If you know the major scale, you can figure out basically any other scale. Correct me if I'm wrong, someone.
What you probably need to work on to help with your soloing is your rhythm guitar. Yes, rhythm. I'm assuming this by you asking what scales to learn. One thing that will come out of rhythm is being able to feel your solos and make them more melodic and fitting to the song. Try out different styles, rhythms and in a short time you should already see some slight improvement. Here's a quote I like: "Your lead guitar is only as good as your rhythm".
The Orange definitely. I've played on one before and it has a great tone for what you're looking for. It's a good amp. And also having played on an MG..don't go down that road. The stories are true. Thank god I've never owned one.
On a more serious note, how about some Randy? Maybe Suicide Solution or Revelation Mother Earth by Ozzy Osbourne. How about both? Not too speedy and can really help you understand the overlooked things that can really make a song great.