Found 400 results
Found 400 results
I need band members but I'm not very open to changing the music I've written.
^ Kind of but the major scale is only one aspect of theory; there's the whole other and equally important world of minor harmony. I.e. music derived from the melodic minor scales , harmonic minor scale, and 'natural minor' scale (or aeolian mode).
It would be too confusing to try and relate all this to the major scale.
The best thing to do is work your way up from grade 1, book by book, until you get to grade 8; or at least when you feel you know enough to do whatever it is that you do in music.
I know that this forum prefers brevity, so I'll get right to the point. I know my open chords, my scales (been really buckling down with all positions of the pentatonic)... most important to my question, though, I know who my influences are as a guitarist. Knowing what artists influence me- inspire me- to pick up a guitar every day, how can I start to discover my own creative voice on guitar?
Thanks for any advice!
Looking for some advice on this subject. I've been playing on and off for about 15 years. Only in the last 4-5 years have I really picked up playing on a sort of regular basis. I don't have the time I once did as a teenager, full time job and kids. I do play when I get the chance, which is not as often I'd like but o well. My skills are developed enough to where I should have been learning stuff by ear long ago. Tabs and instructional videos are where I get all of songs from. I've tried many times over the years to transcribe but I just can't seem to do it. Was wondering if anyone could maybe give me some advice on how to improve in this area.
hi , i kept reading your comment alot of times ,
it's really killing me x)
i live in north africa , in a country :
1/ that speaks french ( music sources are in english especially youtube / books )
2/ where music is dead , exept some traditional shit
3/ where there is no music schools , no music public teachers neither private
4/ where people dont use visa to pay only cash
in conclusion: i though of getting a private teacher ( in real life or online) ,
i even tought of paid courses ,
but i cant , despite the fact that i have enough money for that
+ i start learning english 4 years ago so i can learn guitar from youtube
and as a source of information , that's why my english isnt that good
what im trying to say , i think that youtube cant offer me much more in such a level ( im not saying im good , or fine )
thats why i'm trying desperitly to analyse people's music to understand how they think
thats why i asked about licks ,
i love music , and i wanna get alot better ,so if you got any other advicec rather than having a private teacher it would be awesome
First of all I'm not sure if I can agree about Bob Wills, since I doubt he was playing complex chords on fiddle.
Mag's got it though. In the old days before pedals became widely used (the first Gibson Electraharps were made in 39 but pedal steel never really caught on until 53 after Bud Isaac's playing on Webb Pierce's "Slowly"), steel guitar players were limited to whatever chords they could play in one position.
The big name guys like Leon McAuliffe and Herb Remington were using were using mainly E6, C6, or A6 that were imported from Hawaiian steel playing. And none of those were capable of producing a 7th chord. So if your guitar player is making a 7, you add in a 6 to make 13. The 6 chord actually became part of the sound of western swing arbitrarily because it's just the default sound that the steel guitar makes.
So while harmonically in the context of western swing a 6 chord would be used on steel guitar against a 7th chord on a guitar (and the lesson was about steel guitar sounds, which is why the stretch voicing is needed since a steel guitar chord would have all the notes in order like that due to the close intervals of a tuning), he could maybe have mentioned that.
By the way, those tunings would be something like C#EF#AC#E, CEGACE, EG#BC#EG# (which was commonly called E13 despite the 6 string variation not having a 7 8n it). There were a lot more and there were E7 based tunings, such as BDEG#BE, but those weren't as common in western swing in the early days before Fender started making the double neck console steels.
Sean, thanks for your help. Is the song you analyzed there "Man on The Moon" (I wrote that one all by myself and meant for it to be a motif) or one of the KH boss themes? Are you saying it's based on a Dm arpgeggio or the notes (D E F G). Yoko Shimomura (composer of Kingdom Hearts and the Mario and Luigi Saga) is my hero and one of my biggest influences.
To Tonibet, could you list some of those songs?
Can anyone help me improve my rhythm playing?
I can strum on time with a metronome, but I think this is rather non-musical. Although I know some patterns for blues or rock, I really feel very limited.
What can I study or practice in order to improve my rhythm?
Thanks in advance.
I hear you 1 million percent. You and I have a huge amount in common here.
I explained to my 8 year old a concapt I use for visualising relationships (intervals), and in literally 6 minutes, she could play the major scale in three different keys on the piano, and play triads from those keys. Cost me £30 bribe to get the attention.
It drives me mad how it gets presented.
An analogy I like to use is the following...
Suppose you want to get together with some friends, and want to cook a Thai meal for them, for fun. Unfortunately, all the recipe books you can get your hands on are written in the Thai language. At this point, are you going to learn the Thai language and grammar just to cook a meal? For me, this is precisely what traditional theory lessons require ... learn a language (music notation) to learn the stuff you're really after (and just that stuff).
I'm not knocking notation per-se ... I can't think of better system for conveying the amount of detail is does so succintly. Precisely because of this denseness of information, its very hard to see the wood (the principle, the concept) for the trees (the example of the principle).
But I believe it is the wrong starting point ... the vast majority of theiory can be presented without notation, and striupped down to the bare bones, for experimentation.
Nice rant, Sean.
"can you say the Alphabet from A to G and count from 1-7?" I think this sums up the fundamentals of music theory. It is amazing (for all the wrong reasons) how far that simple concept has been stretched in order to be intellectualized for the sake of academic compartmentalization. I don't bother with most threads in MT anymore because they are always asking the wrong questions (from wrong guidance) and my old adage still rings true: modes and scales are useless and ultimately lead to nowhere.
btw that's E7#9 and of course I knew in a flash because I can count from 1-7
I've made up solos to backing tracks using only pentatonic scales and they sound pretty decent. I'm sure making up a lead part in relation to the background chords could possibly make a better solo, but even if you don't do this you can still make a good solo. I've only been playing for a year, but I feel that one of the major elements to creating a good solo is to know how to play along with the other instruments. For example, if there is a snare drum or hi-hat present in the song you could sync up with that to keep a rhythm going. I feel like it's more how you play a solo is what makes it good rather than what notes you're playing. I don't think you need to line-up perfectly with the chords, all you need to do is stay in the key and keep a rhythm and it will sound good. However, I have only been playing for a year so i could be wrong on all of this, but from the massive amounts of hours i have been practicing this is what I feel makes the solo unique
I can find the notes on the fretboard. But the chord you told me to find. I can't find any handy fingerings for. I may find 4 of the notes and then notice that one is missing and it's nowhere close. Also IMO some chords simply sound "shitty". Something like those 11th chords that just don't sound good. Maybe if connected properly but alone, no way.
Im currently learning how to solo and i feel like it's impossible to memorize each pentatonic scale note by note. I don't see how anyone can possibly learn 12 scales and memorize them perfectly. Won't it be much quicker and easier to learn how to solo by memorizing only the roots and randomly playing the notes around them? That seems way more feasible than trying to memorize a ton of scales
Alright... But just about the theory "part". Where should I start learning theory then? Buy a book? Use the Internet? Wat? I agree on the ear improving, I've been doing that but sometimes you just can't use your ears if you wouldn't even understand if someone said " Yeah the song uses scale X". So you must know things before using them. Might have fked up with the explanation but I think you got the point
How long did it take you?
I am again to learn the fret board again... This time I am using an approach used by one of the online courses. Basically learning the A minor pentatonic up and down each string and by position by Name and Degree. Then fleshing that out by adding extra intervals that work with the minor Pentatonic, basically the Composite Blues Scale.
Do people like Joe Bonamassa, Eric Johnson have like a photographic memory? Is that what set these players apart from us mere mortals?