Found 400 results
Found 400 results
What the title says. I feel as though my music is boring. When I'm performing it has been said that I come across as apologetic or paranoid. That is true, I feel like the audience are completely uninterested every time, and I feel when I'm playing my songs that they are...tiresome. I have been approached and complimented before, but it feels mostly like a consolation/pity than genuine.
ANYWAY, enough of me whining about my insecurities, I want to know if it is normal for a musician to be bored by their own music or if this just means that my music is bad?
Im studying a song and this progression happens: Bmin (B,D,F#), Dmaj (D,F#,A), C#dim (C#,E,G), F#min (F#,A,C#), C#dim(C#,E,G), Dmaj(D,F#,A)
I know that between the B minor and D major is an upward third. I can't seem to figure out the rest of the progression. Help?
I am completely self taught. I sort of discovered theory, and also taught it to myself from resources on the internet. I think the traditional method of organizing theory is actually very good. for most of it, even for myself specifically, I can't see any better way of organizing it, really. Although for myself and the style of music I play I did modify it slightly for myself.
I only learned about CAGED after I had discovered a similar method for myself, which I find is a bit more powerful. CAGED is sort of obvious though, to anyone that gets past cowboy chords. I mean, it has a name, but it's really just the fundamental nature of the guitar that all the chord shapes are consistent. It's probably only sort of new, because playing chord grips is kind of new to music. The classical method is more to play a set of notes as instructed, and less to stick to chord grips. But for improvisation it's too much brain work to do that, and for rhythm guitar, it doesn't make much sense.
The Joe Pass BB king comment, was to show an example of two renown guitarists that have two different approaches to guitar, and yield two different results, which were both very successful. That there isn't necessarily one single catch all method for everyone.
If I couldn't have discovered a way to make teaching myself guitar fun, I wouldn't be able to play the way I can today. But I also had to grind some stuff out, to farm some skills on my guitar skill tree, but I found fun ways to do it.
I think the traditional method is fine for some things, but I agree there are better ways for certain things. I would never teach nor want to learn the traditional way. There are lots of sorts of people, and lots of sorts of guitar out there, and I think a lot of different ways to go about teaching that are good.
Joe Pass and BB King are completely different guitarists, and they would teach differently as well.
For most people, I would say what matters most is to keep it fun while maximizing benefit from practice time, which is my philosophy, and they won't get very far, so it doesn't matter much beyond that. But different approaches to music or guitar, will yield different results, just like the same person would make different music if they trained on a piano or guitar. The geometry of the instrument and the way it is mentally parsed, matters.
Traditional methods are good for academia, or if you want to play in the philharmonic, or to write scores for movies or something. If you want to learn guitar as a hobby, or become a singer/songwriter sort of thing, then it's really not what you want imo. But that's pretty common, and it's been like that for a while. In general, pop musicians are not classically trained, or, maybe the band for the headliner is more frequently, but the songwriters generally are not, I find.
Can you imagine learning a new language, say French, that required you to lean a different language, say Polish, at the same time (or first) to explain French?
Or can you imagine wanting to cook a Thai meal; for some mates, but you're required to learn Thai language first to understand the recipe? You going to bother, especially if it's just a fun thing?
Worse, imagine us putting books in front of babies / young kids before they can speak, before they can recognise their world. What's the first thing these nippers respond to? Sound. Sure as hell isn't symbols.
Yet, what does "typical" music education do? The exact analogy of the above situations.
It is great you're stiudents are playing with understanding from early on. That's precisely my take also.
I am open to any and all options but I do have one set back. I play acoustic guitar but due to shoulder issues (Which I'm working to fix) I can't practice for hours a day to master the instrument. This is one thing that limits me as I can't take the time to learn/play songs which is something that would expose me to many new sounds.
One of the main struggles I face with creating my music is that I am limited to what I know. The sounds that I am familiar with are the ones I constantly go back to when trying to create music because they are really all I know. I've never learned songs, scales, chords, etc. My knowledge is limited to what I discover when messing around with my guitar or experimenting in Guitar Pro.
It's kind of like I'm trying to write a book without knowing the entire alphabet. The sounds I know make up only a small portion of what exists. I need to discover and experience more to complete my music in the same way one would need to learn the alphabet to truly complete their book without leaving any holes in it. There are a lot of holes in my music that need to be filled in but I just can't figure out what to do next. It doesn't help that I have OCD which latches itself onto my music. I'm not satisfied unless it's perfect which is why I think I'd be much better off with music theory as opposed to without.
And thanks to all of the replies. I'm paying close attention to all of them and appreciate the help. I'll definitely be saving all of this info.
Sean ... I agree one million percent. And that's a lot to do with why so many folk give up ... it is criminal. Not everyone wants to be a pro-musician doing sessions or playing in an orchestra etc ... so they don't need the same training ... they just want to have some fun, be that jamming, or experimenting.
So, whoever came up with "Every Good Boy Deserves Fun" would have done well to consider what that actually means!!
How should i work music theory into my practice routine.
I do atleast an hr a day if not 2 hrs overall practice routine, and also pick up my axe and noodle or play songs im learning or songs i made atleast another 2 hrs. I own a couple theory books like justin practical music theory. Mainly their filled with excersizes for learning notes on the neck. Im down for the discipline, just wondering where to fit it in and how long i should be doing it. My other question is does practicing things even for a short time a day say 10 mins actually improve your skill with that.
Im learning a rhythm with alot of skipped beats and its been 2 weeks and im a tiny bit better, dont seem to be making any progress.
Is this Jazz walking bassline formula correct "root (1st beat), diatonic note (2nd beat), chromatic note (3rd beat), chromatic note (4th beat)." If not how would I approach Jazz basslines and improv?
I am at the point where my musical creativity is being greatly handicapped by my lack of musical knowledge. I have no knowledge of music theory and I just feel as if my creative potential has been sapped up at this point.
I've written dozens of short pieces that I absolutely love but I've hit a roadblock where I just can't comprehend where to take all of those pieces and complete them into full songs. I feel like what I've created is my songwriting at it's maximum potential and I can't go any further to complete my songs. I feel like I've peaked with what my knowledge and experience is capable of producing and I'm wondering if music theory will help me expand my skills further.
I'm not good with song structure, knowing what notes go together, how to transition one part of a song to another, how to transcribe music from my mind to my instrument, etc.
Would music theory be the key to help me out of this place I'm in? If so where should I start? Should I just learn anything and everything related to music theory? Just I start with lessons? Thanks
I think I should train my ear more than reading the tab!
All these advice really inspire me.
Maybe time is the only answer to everything.
If it's just some guy shouting it out for the joke of it, I usually point at em in a friendly way and give a quick sort of nod and chunkle showing that I heard them and got the joke. If someone actually wants me to play Freebird, I'll do it.
I've been playing for about 12 yeara. I would say it was probably as early as the first year or two that I learned how to find and name the notes but it wasn't until 3 or so years ago that I decided I wanted to do more than just learn covers. This is when I started really trying to learn the fretboad. But I admit that kind of stuff is kind of boring so I usually end up getting bored and spending the rest of my practice time working on technique and stuff. So it's not like I've been trying hours a day to memorize the fretboard.
Now THAT's a level of passive aggression I can get behind! Stealing this.
4th fret, took me about 4 seconds. I happen to know that the 5th fret on the B string is E. Something I did somewhere along the line caused me to memorize that note on the 7th B string, but again I was probably playing a power chord on the 7 string or something like that. I mean I know the fretboard to some extent its just very incomplete. Like I said I could probably play every A on the fretboard in less than ten seconds but putting it all together is whats difficult. If you asked me the same thing with the D, G, or A string I would most likely have to step through the frets to find where the note is. And with the B string I just happened to know where E was, I don't know the rest of the string as well.
I've been trying to memorize the fretboard for years now and I don't know why its so difficult for me. I've memorized both e strings pretty easily because that's where the root note of all the scales and stuff I play usually starts. I've also memorized all the A's on the fretboard from improving in A minor all the time. But since I've branched out to other modes and scales it seems like its made it more difficult if anything. I know my root shapes but...I still feel like there is too much thinking involved when I'm trying to figure out what a note is. Shouldn't it be automatic?
Great work Sean. I'll totally steal that idea if I ever go back to the covers scene (not likely in the foreseeable future, love originals too much).
is it possible to learn the solo for stairway to heaven in 2 weeks?
Well, I apologize for the misunderstanding.
You obviously have a routine for when this happens to you, so that answers my initial question.
Oh, please stop being so damned sanctimonious. I'm not being arrogant and I'm not talking about someone who legitimately requests a song - I'm talking about the asshole in the crowd that yells it out because they think it's funny to yell Freebird at a band. You know exactly what I'm talking about.
What I was trying to say is I don't understand how he does what he does, and how he creates all of those harmonic minor and diminished arpeggios, or the actual modes and scales he uses. I know a few patterns such as phrygian and so forth but I don't really understand what is happening like he does, so I'd like to increase my knowledge to be better like that. It's hard to explain but I became frustrated that I wasn't progressing and getting a better understanding of these things.
Well as far as resources go I have money for books and internet for websites, and I probably could afford lessons but I think for now I'd prefer self study and taking up a teacher later down the road. I just never really clicked with any of my teachers so at the moment I can't really be bothered with them. But I do have a couple of friends to jam with so that is going to be exciting starting up again.
Just thought I'd get some other frontpeople's perspective on how you handle this inevitable, predictable and obnoxious occurrence?
I've played ~400 shows over the last 6-8 years and if I had to guess, I'd say at about 25% of them, someone will indeed yell out Freebird. I can't wrap my head around the logic. Surely he (it's usually a he) knows it's not funny and it's just cliché.
I used to heckle the offender mercilessly, let him know that worn out jokes aren't funny and then move on. Within the last couple of years, taking a cue from one of my best buddies and a fantastic performer Stevie (RIP, bro), I've decided to play the situation to my advantage and advise him that "that's a $40 song." If he ponies up the dough for the jar, I'll make a run through the verses. That works a surprising number of times, especially towards the end of the night.
How have you all handled the tired old Freebird joke over the years?
As the title says, I'm thinking of getting back into guitar after a five year lay off. I played for a few years and became frustrated that I could never quite get a firm mental grasp on the musical theory required to be able to play like Michael Romeo and Yngwie. Just wanted to put it out there and ask if anyone knew great resources for music theory and how to start all over again? I learn how to play the major modes, pentatonic scale and some harmonic minor/melodic minor but couldn't progress beyond that. I had a couple teachers but they didn't really help too much. I figure I'll be much better off studying at my own pace by myself. Never got a good grasp of chords either, or how to make them.
I just need to overcome frustration with my own progress and get some good sources for proper musical theory, maybe someone could give me some advice on where to start and how to study the theoretical side of music. And of course I'll have to buy a new guitar as I sold my old one haha. I'm considering a cheap LTD that looks quite nice.
Hey guys one of the things i'm working on at the moment is an online business specialising in guitar lessons. It will have to be world class and offer services and an education in guitar that you can find NOWHERE ELSE as the aim of this business is to radically improve the levels of thousands of guitarists throughout the world. So, all guitarists out there, when searching the web for a site specialising in guitar lessons, what kind of teaching products/services would you be hoping to find? In other words, what things would make you gravitate to a site offering an education in guitar playing over all those other sites?