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Hey Cam!

There's nothing wrong with staring at your picking hand for a while, while going slowly...in fact I think it's a good thing, IF you go slowly and control the positioning to try and build consistency at doing it the same way every time.

Once that begins to work for you, shift focus away and gradually work on it without looking, and fix the mistakes by ear. You should be pretty close to muscle memory by then, with a few minor adjustments. Most of this is going to be a matter of reps, and patience and establishing familiarity with the material when it's played.

If you're not getting much practice in, at regular intervals, you're not making much progress either.

This is specifically towards people just starting out, that don't have all of their core techniques established yet.

Best,

Sean
Got him sorted now, we are all good!

Looking forward to seeing what youve done, Jerry!

Hey Xiaoxi - I remember you had started quite an ambitious teaching approach - hows that going? You were still in the early stages of it when I last looked. Sounds like you've been making some more progress since then?

Best,

Sean
Quote by anthonymarisc
I'm not yet able to perform "Harmonic Analysis" as of yet if you could elaborate please.


Free Bird is an example:

Key of G

G D/F# Em F C D

I V vi bVII IV V

Aside from knowing the key and chords, I charted out the function as well. In this case I identified the use of a bVII which is non diatonic and is from Modal Interchange.

If you don't know harmonic analysis, do you know modal interchange, and other non diatonic concepts such as backcycling, or secondary dominants?

If not do you have a strong grasp of diatonic harmony? If not, start there.

Best,

Sean
The two I most ran into were C6 and E9 tuning for steels... mostly in Texas music.

Best,

Sean
Can you perform a Harmonic Analyisis on tunes that you like?

Best,

Sean
Well done, Kristen! Some very good information here, and I know that this takes a lot of personal time.

Much respect!

Best,

Sean
Yeah, it's very narrow in the scope of what she's defining a deceptive cadence as. I think though she is teaching contextually towards a very surface level beginner. By no means is this exhaustive. But sure, start there.

Best,

Sean
Hey Jerry,

You know me brother! I'm here to help any way I can. Just say the word my friend! I don't think anyone here would question your knowledge and understanding of things!

Shallon, I haven't forgotten you mate, just been swamped with students most of the day!

Best,

Sean
Look Up Tour Bus mixer

Best,

Sean
Quote by 20Tigers
You could view the V IV I as a "downward leading cadence from V to I" but if the progression is otherwise functional then I'm pretty sure it is still a deceptive cadence even if it eventually resolves to the I chord.
(The reason being that the functional harmony sets up a heightened tension on the V chord that is best resolved (and is traditionally expected to resolve to the I) which then moves to a difference chord thwarting that traditional expectation thus the listener's expectations are deceived.)

For me the term "interrupted" cadence feels more appropriate even though I think traditionally the terms interrupted and deceptive may actually be interchangeable.

Someone correct me if I'm wrong on any of this.

[EDIT]
Wait a minute...thinking about it some more maybe a V-IV-I isn't an interrupted or deceptive cadence. In that case wouldn't IV-I technically be the cadence. Is the V still part of the cadence if it's not the final resolution to close the phrase or section of music??

My head hurts. I'm going back to sleep.


See, that's why I'm not dogmatic about this, nor do I insist upon it; it's just the way I conceptualize it.

I could look at it as Deceptive on the V-VI and then Plagal, VI-I but I ask myself was it really Plagal, in feel, if I started anticipating it at the V, and the VI just extended that feeling like a V to I downwards leading cadence.

I see your point completely, but, most of the time I just look at it as a downward leading meandering V I "cadence", especially in root position...again more a personal way I approach it.

Best,

Sean
Quote by NeoMvsEu
He was specifically referencing some type of harmonic progression in the middle of the phrase as opposed to the end, so it's not a cadence as we know it. "Defective" for all intents and purposes, I suppose.


The "Oceans" song I linked has progression:
G / / / | D / / / | A / / / | / / / / :||(x3)
G / / / | / / A / | Bm / / / | ....


The prolongation of the A as opposed to the G or the D puts it more as a half-cadence that wants to resolve to the tonic, but doesn't 1) until two measures later and 2) for an extended amount of time to be the focus of the section. It's an exceptionally weak V-IV-I if you really want to interpret it that way (as a roundabout V-I), but I'd rather interpret it as IV-V (x3) IV-V-vi, because the D major section really has little harmonic weight.


Hmmm, first Glance I'm seeing a IV I V in D and then a IV V vi (vi, which, liberally speaking I view as a functional archetype of the I)

DF#A
(B)DF#A (m7) or (D6)


But I don't see the thing I described, which would have been V IV I - A G to D a more or less downward leading cadence from V to I.

Best,

Sean
Hi Shallon Dark,

I just wanted to let you know that I did just receive your email about rejoining as an Academy Student (and yes I can confirm that you did take and pass the Notes on the Neck Course and found a copy of your Certificate on that, so you would not have to repeat it again) and I will be getting in touch with you to go over this request, and see where I can help out. Thank you for reaching out, and hopefully we can figure out the best way to bring you back.

No bridges burned, my friend...life happens.

Best,

Sean
My understanding (and teaching) of a Deceptive Cadence is when the V goes to anything but I

And I tend to view any situation when a V goes directly to IV and then I it's simply a downward leading Cadence.

I can see the argument that its Deceptive then Plagal, and I get that, but functionally I see it as a roundabout V-I.

Totally agree with Neo on the point of Christian music...especially Contemporary Worship - where the songs can tend to Vamp from V to IV to V indefinitely, extending the song, and building up that anticipated release when it finally goes to I.

Best,

Sean
I did 40 songs in 8 weeks.

Best,

Sean
Spend another year or more practicing.

Best,

Sean
It depends if you are using it to clean something up or as some effect in and of itself. If using it to clean up and apply subtle nuance, in my opinion it must be absolutely undetectable to the laypersons ears, and only a skilled knowledgeable engineer MIGHT pick it up upon casual listening. Those are my thresholds. I will initially do everything in my power to not have to use AT in anything that I do. I have zero interest in its use as an "effect".

Best,

Sean
Quote by Vylrath
Hi,

When reading guitar tablature books, what does "Composite Arrangement" mean? For example, "Gtr. I and Gtr. II, Composite Arrangement" -- does it mean that both guitars one and two play the same notes on the same track? Or does it mean that one is played on the left channel, and one on the right channel? Thanks for the help!

- Vylrath


Here's what it means.

In the original there were two guitars. So, what they did is take the "best bits" of both and come up with an ad hoc version so that one guitar could still play most of it, but in doing so you understand, that at that point, they have deviated, and it's not like it actually was "On the Record".

It's nothing to get stressed about, they just made the song more accessible. It's a good thing.


Best,

Sean
Quote by Jet Penguin
You don't need the roman numerals, because your music only occurs in G major.

When you guys can write songs that aren't about drinking beer while wearing jeans in a truck parked by the riverbed in the moonlight on the weekend, gimme a call.


I know someone who can do that.

His name is Matt Foley.....

And he IS a motivational speaker.

Best,

Sean

#theogoniaforMod2016
Why cant you play both? Is there a rule that I'm unaware of? Can't you do whatever you like and enjoy? I didn't know that was not allowed. Because if so, someone needs to report me.

"Attention all units, guitar teacher last seen playing the break from Sir Duke on bass, headed West on Mockingbird...."

Best,

Sean
Yah but yah but....

What key is Sweet Home Alabama in, plz???? (tosses grenade)

(Laughs maniacally)

(runs away)

(singing, "Its a small world after all.....")

Best,

Sean
Quote by Oddly_Phrygian
Take C major for example. If you want to get that C major (Ionian sound) you will have to work the harmony and or melody so that the Root feels like C.
If you want to spice up the C major you'll switch the Root note to,say for example the third scale degree E,make heavy use of the new characteristics you know have between the 1st-2nd and 5th-6th scale degrees to bring out that Phrygian sound. Otherwise you'll still be noodling in C major like a knob.

Am I correct in this?...


Kind of. What you are missing, is...you have to have E as everything. The note never changes. (Not really, but this is sort of fundamental to "getting it"). Play an E note, drone it...never change it, do not change from E to anything. Now play that "Phrygian" you speak of. Over that E pitch. Never alter it. Just E E E E E, and leave it that way forever, while you play your Phrygian.

If you grasp the relationship of your mode, to your background, you at least understand step 1.

Best,

Sean
Quote by jongtr
Personally I prefer V/V chords...


I see what you did there!

Best,

Sean
Quote by dganley1982
Hi guys and gals. Just after a bit of direction. I have been playing guitar on and off for the last 15 years. Just lately I have this desire to get back into it full time, and learn everything I can. I have taught myself over the years from tab and a bit by ear, and as a result am lacking a lot of the fundamental skills and also don't have a great grip on the theory side. Going to a teacher is not an option where I live and I honestly cant afford it. Can anyone suggest any book series or internet sites that I cant start at the basics and work my way through to be an advanced player that can not only just play but also understand what I am playing. My long term goal would actually to be able to pass this information onto others through lessons. Any help or suggestions would be greatly appreciated.


As far as I know there are a ton of guys teaching on You Tube for free. Pebber Brown, and a guy Wasserman I think, come to mind. You just have to dig in with them and understand it.

Best,

Sean
It was fine, I got a chuckle or two reading it. Not sure why the hate in this; it was just a light hearted article.

Best,

Sean
Quote by swaryas
Thank you to all,

My aim is to be well rounded, maybe even learn some theory so I can play in key and such. Truthfully I always thought it would be cool to be in a band. maybe even sing/play in the band. Not to toot my own horn but I really feel I have the charisma to do so. I'm just lacking some confidence and skill...With time right?


You're also lacking the ability to invest into your progress. Anyone that can't afford to do something to get better, has that in their way. A person who wants something, and can make sacrifices and investments into that thing, is usually in a better position when it comes to progressing. It's like any goal. A goal is just a dream until you have a means to get there. You could have any of those things....but you'd have to invest of yourself to get there.

Anyways, like the others said, start simple - find songs, and gradually work from there.

Best,

Sean
Try playing a song you enjoy.

Best,

Sean
Quote by NeoMvsEu
Context isn't dictated by the guitar, it's by the whole ensemble




Cute - You know what I mean!

@jon - shakes head - see this is why we cant have nice things!

Best,

Sean
Quote by J23L
True, but you're not supposed to compete with other musicians. It doesn't matter if the guitar is played by a lot of people. Just focus on making great music and you can gain a fanbase. All people care about is good music



Where is your "fanbase"?

Best,

Sean
Quote by maxxxkolo
Hi there!

I have arrived in a point in live where I have to decide what my job will be in the future. I'm dreaming about becoming a professional musician and do this for a living. It's a dream I pursue since I'm a little kid. I really want to do that for a living. I know it's a very insecure career. But hey I like adventures.

I have the opportunity to do whatever I want when it comes to education right know and I am thinking about studying my instrument at collage. There are a few promising possibilities in my are but I'm also open to move to the US in case I want to study there. You don't have to tell me that I need a certain skill level to study it. In my opinion and the opinion of a teacher at one of my local music collages I could start. I still have a year of school until I'm finished.

Probably there is someone here to give me some advice when it comes to a career in music. Any professional musicians who could tell me what they have done with their lives? How did you manage to become a professional musician? What about Berklee?

I'd be really glad if somebody would answer.

Cheers.



What are you hoping to earn? I suppose I make my living in music. I'm a full time guitar teacher, and I have an online guitar school. But I wouldn't classify my career path as intetional or typical. I just found myself here in this life, as a result of some discoveries that I made, that really took off when I taught them to others.

I'll never be rich, doing this, but I'm fortunate to have been able to do work I love. If not for this particular twist of fate/destiny I'd probably have a day job. I've never made a living full time as a performer, and I don't see that as a viable thing.

For you to get there, you'd probably do fine through Berklee, because of the networking potential, although even that, from what I understand is so thick, as to be oversaturated, thus....even if you made it that far, you'd probably need to establish yourself and rise to top dog within a network of top dogs and work your way through the ranks, which might take you years, if at all.

Wherever there are places to make money in music, you're probably going to find yourself standing at the back of a very long line of suitors just as qualified or even more qualified than you that have been there long before you even knew there was a line.

This goes for major music cities where you MIGHT find a place that pays, like L.A., Hollywood, NYC, Nashville, Austin etc.

Best,

Sean
I generally shake my head. You could learn everything in just a few lessons.

To your point: a C9#11 is

C E G Bb D F#

So it calls this a what...? F#maj9b13? F#maj9 aug?

why not call it an Em7b5b13?

or a Bb11+5...

You get the idea....wow. Ugly.

Best,

Sean

Shakes head. Not funny to me. Its completely unnecessary.
Quote by fingrpikingood
Ya, but chord construction specifically on the guitar, for guitarists. It's one thing to know that if you add a major 7th to a major chord, you get the major7th chord, and its another thing to be able to play a given major chord anywhere on the neck, and know how to convert all of those into a maj7 chord.


Exactly, so...simply learn how to do that, so that you never need look at a chord book again, and may even come up with your own creative voicings.

Know the notes on the neck of the guitar.

Understand chord construction

Understand essential versus non essential tones, given that we have 6 strings and 4 fingers.

Best,

Sean
"Cool story, bro"

Best,

Sean
Quote by theogonia777
So what exactly should he do for money for the next five or so years until he has enough skill to make money doing something that he is essentially just restarting from scratch?


That's something he has to work out. If he wants to quit a day job and pursue this with no back up plan or way forward, that's his choice.

Poverty, loss, homelessness and hunger are great teachers.

It's his life. Either it will work, or it won't, and if for him it doesn't work, maybe he will want to have a second look at his present position about holding down a job.

But, at least he will know for sure. That's my point. Most of us need to be persuaded, via personal experience/outcome, once we have our minds set on something.

Best,

Sean
Quote by lbc_sublime
Hendrix would do 1/2 tone flat. He's was one of the best. Sound is what matters.


Wat?
Quote by alexriffs
Hi there I've been playing guitar for around 4 years but in the past couple of years I've lost motivation to play and progress as a player so I don't feel as excited when I pick up the guitar. I've tried getting a new guitar as a bit of motivation but that soon fades

Can anybody recommend some ways for me to get back into playing and feel excited about playing again?

Thanks


What are you presently learning that's new?

Best,

Sean
Don't get another day job.

Do it your way, as most of us do anyways.

I know of virtually no one that's ever taken another person's life advice and says, "okay I won't do that." We usually have to learn by going out there and finding out what doesn't work. Experience is the best teacher. That's why its your life...figure it out.

As for what you need? That's a tough one. I'd say you need a friend. Someone that knows guitars and knows you and that you can trust has your interests in mind. Virtually everyone knows a guitar player somewhere. Confide in them about your dreams and goals and see what they advise. Basically there's no one answer. Most people do what they want to do in the end anyways.

Best,

Sean
Hey Cam, as per usual I have been busy with teaching and life, so I'm just now getting on UG and seeing this - I hope your son is doing well after the hospital and that your lessons are progressing favorably!

Best,

Sean
On the Iron Man Slide - Hold the first powerchord down as long as you can until the note decays. Dont slide, just feel that grip of the finger, and make sure youre getting good connection, with that tone. If you cant get a good initial "hit" of that chord, the slide doesn't matter. Then go to the destination of the slide, and hold that down...again don't slide. Strum it once and sustain it as long as you can. Do this for about a day without trying the slide. No more than say, 5 times.

Second day do the same, but this time, while exerting pressure to sustain the first power stop, about half way till it fully quiets down, attempt a slide, maintaining contact with the fretboard, your goal is just to sustain it through one pass, then play it again and slide it forward. Do this maybe 3-4 times in this practice session, exactly the way the way I'm suggesting.

Cam, what progress have you been able to make with that video I sent you?

Also, have you managed to find a way to video yourself and get me that link? If you film yourself playing in general, I can probably make some suggestions for a practice routine.

Sounds like you are happier with this teacher.

Best,

Sean
Quote by sosxradar
That why people always face the other direction when they see people talking about music theory :/

You can look at BB king. He's playing from his hearth. He know little about music theory. I just want to have a great feeling like him.


No sosxradar,

That's why people like you are coming up short when it comes to playing. You asked a question, but you didn't understand and follow the answer. If not knowing theory was enough, then you wouldn't be asking, how to make a solo sound good when you play it.

Let's make it clear what you want:

You want the results of someone that's put in the hours and time and personal investment into their playing and understanding....

Without having to put in that same level of commitment and personal investment.

If that were not the case, you would be just fine with running a scale over a key. But clearly that's not doing it for you. No, you want to sound "different". So tell me, how are you going to do that, if you can't even understand Jerry's answer?

How are you going to understand Jerry's answer unless you put in the commitment and investment into yourself. You said before, you can't take lessons, and putting money into this, isn't an option.

It seems to me, that you believe there's an answer out there that you want to hear that will give you these magic abilities and knowledge without personal investment. Maybe there is, but if so, I don't know what that is.

Let's take a different topic - art, or painting. Sure there are people out there, that have never gone to art school and never taken a class, that have paintings in museums, and their works have sold for 10's of thousands of dollars. Of course.

But I'm not that artist. Are you? Some people can do it but I cant look at their art, and justify why I shouldn't go take an art or painting class, and YET expect the same results. Can you? Can you point at someone's painting out there and say "I can do it too?" Cause I sure can't. That would be pretty arrogant of me, unless I showed a natural affinity for art...some have it, I do not.

Same with music; some have it... I do not. I had to work at it, and invest in myself to know what I know and understand what I understand, and teach what I teach.

Do you "have it"? Are you a natural?

So if I start posting, "how do you make shadows, how do you make this life like, how do I make this painting that's awesome when I flail my brush around a canvas, should I throw down my paint brush? I wanna be like Jackson Pollack, how can I paint and come up with grand ideas like Banksy without working at it"

Sounds a little ridiculous now, doesn't it?

By the way BB King did know theory - he learned it from his own band between towns when they'd tour together. His backing band members did know theory. He even credited this knowledge as having improved his own music.

So now what are you going to do, soxradar?

Best,

Sean