One additional thought; people often say "music theory constrains creativity" I personally think the opposite is true as it gives me more of a musical arsenal to work with.
Quote by donender
These are progressions that sound pleasing to the ear, but personally, if I'm writing something, I just go with what sounds good to me. If it falls into a common trope (like the patterns mentioned above), but it fits the song, then no harm done.
If it falls into a common trope then knowing some music theory might have got you there faster. It also helps me spot when I'm writing songs which are actually pretty generic/boring which lets me focus on writing the hooks which are going to pull it above the mire of mediocrity. (not particularly aimed at you donender and no offense intended; more a general comment which you helped illustrate)
As has been said above, simple riffs will usually not come from theory, but can be easily explained by them (in the same way throwing a ball can be explained by gravity and air resistance etc. but you don't run a whole load of calculations every time you make a pass).
The note I'd like to add is that in *some* styles of music (particularly prog/jazz) people will write songs with theory in mind; sometimes more explictly (Dream Theater - Octavarium doesn't cycle through all the keys by accident), sometimes because the composer knows what certain tricks achieve (think of key changes at the end of a "musical/Disney-style" show song to give that big uplift).
Personally I use some theory in songwriting; if I want to create a particular mood, a sprinkling of music theory (even as simple as major=happy, minor=sad) can help you get that idea out faster rather than spending an hour trying every note on the guitar to get that riff out, and helps working out how to connect a few disparate riffs into a consistent song.
Finally, it really helps when playing with other musicians, they can explain the song to you much more easily as "it's in Em, we have a harmony guitar riff in the verse then we shift to Am for the guitar solo". That gives you the time to focus on the interesting bits of the song at rehearsal rather than fumbling around confused as to why that note sounds wrong over that chord.
In short music theory can help you get to where you want to go faster; knowing the rules means you can more easily work out which ones you can break and why you'd want to break them.
You need not write an essay to back-up your claims; a succint list of a couple of the key differences would do e.g.: - Added a piano track - Separated Drums/Tambourine - Fixed Rhythm for bass line - Removed additional double stops.
Your options at this stage seem to be: 1) Add your tab, hope it gets a better user rating than the existing one - - If the old tab is bad this should happen over time, people will try it; think "this is a bit off" and look at your alternative version 2) Correct the mistakes in the existing one as you see them - - If there are only a couple of changes you'd make, submit them as an edit, with a list like the above. - - If the changes are pretty substantial a tab-mod will likely ask you to submit as a new tab, so you're back to option 1
There is already a system for this; asking mods in an unrelated forum to bypass it makes no sense. At best, you're desperate to get your tab approved, at worst it's an ego trip.
On many tabs (particularly older ones) people have left comments with suggestions and/or edits, which now thanks to the excellent "edit tabs" feature have been corrected.
I quite often go fishing through the comments for performance tips or notes and it gets quite confusing seeing those old comments there. It would be nice as an option for a tab fixer/correcter to mark comments on the tab as "Resolved/Modified" so it's clear that they're not commenting on the original tab version. (maybe give an IQ point for a resolved marker to encourage tab cleaners to get on it?)
I need a new bass amp! I'm starting to gig and rehearse a bit more regularly and need to upgrade my current vox AmPlug (great while a student in small rooms) for something that will hold up rehearsing/gigging with various drummers.
Requirements: - Enough power to play over a drummer/small gigs - Headphone out - Solid State (just on hassle grounds) - Preferably not enormous; living space is relatively limited and I live up a couple of flights of stairs
Style/Sound: - Rock with plenty of groove and side helping of heavier bits - - Led Zeppelin, RHCP, Steely Dan, Jamiroquai, Royal Blood, Muse, Porcupine Tree, Dream Theater, Metallica - Fingerstyle, not really a big slapper/picker - I tend to prefer quite a rounded bottom end with less attack, I'll typically dial in +1db lows and -1db treble compared to other bassists
Equipment: - 4-string Stingray-style - Active pickup + Treble/Bass eq - Minimal downtuning (occasional Drop-D or Eb Standard)
Budget: - ~600 £GBP (could be extended for the right setup though)
Questions: - Should I go head/cab or combo? What cab setup should I look for? (I'm erring towards 1x15 on practical grounds - What sort of minimum power should I be looking for? (I think 300-400W)
Go to your guitar shop, talk to the (wo)man at the counter and say: "Hi, I'm restringing my <guitar type> for the first time, I'd like a set of <string type> please". They will probably just sell you the strings and be done, or because you said "first time" they may be able to give you some helpful tips. They may also try and upsell you on things like alternative string brands or fretboard cleaner (you might actually want that!).
dannyalcatraz Is there any reason why you wouldn't recommend it? I'm trying to work out why Boss has such dominance in what should be a saturated industry! EDIT: even 50 GBP seems steep, given all I want is a box/display added to my inline tuner - that's all of 5 GBP of metal/electronics!
Having been playing for 15 years it's well past time I got a tuning pedal!
The 'industry standard' seems to be the Boss TU-3. I've tried it, it works great! It's also 60-70GBP, which seems a lot, given my current (non-pedal) tuner Korg CA-1 costs ~15GBP.
The TU-3 seems expensive, and like it hasn't changed in 20+ years, are there better tuners out there? My instinct (having been burned by ****ty behringer kit before) is that the super cheap end is not worth it, but surely there are alternatives to the BOSS?
Disclaimer - I'm not averse to splashing some cash on hard-wearing kit, I fully expect this to last 10yr+ and therefore be a bargain at <100GBP but the TU-3 seems excessively overpriced for what it is, given the limited tech in it!
I'm looking to improve my playing ability and counting in alternative time signatures and wonder if you can recommend some songs? In particular I'm looking for songs which are not too technical as I'd like to be able to focus on timing and counting not playing a thousand notes per second! 4 Strings only please!
Examples I've looked at so far: - Money - Pink Floyd - White Room - Cream
Too Technical: - YYZ - Rush - Dance of Eternity - Dream Theater
Hey man - thanks for the response - I only saw it yesterday but it's very detailed and useful Got a set of Gotoh heads and they slotted in just perfectly with minimal work and everything is back as it should be!
I have a washburn acoustic guitar and two of the machine heads have broken (the flat bit you turn has snapped off) the original ones were plastic. The guitar was not super expensive so I'm slightly hesitant to sink a lot of money into repairs, but have a budget of ~£20 for parts and am happy to fit myself and have ample tooling.
1) Machine heads seem to come in many shapes/sizes. How much of a pain will it be to fit ones that are a different "type" and need new holes etc.? Are the posts that go through the headstock all the same size? Are there any "standard types" I should be a aware of?
2) My local guitar store had a full set for £25, they were definitely the wrong shape (2 screws not 1) on the internet they seem either much more expensive (guitar centre = £35-50) or much cheaper (ebay = £5-10). How terrible are the ebay ones going to be (I assume they're plastic)? Why are the GC ones so much more expensive than my local store?
3) Should I replace the full set or could I get away with just replacing the two broken ones? Do you guys know of any sites that would sell head individually rather than as a set of 6?
Decision made! If you're playing with a singer and a drummer there is going to be a PA. If you're mic'd through a PA then you shouldn't need to worry about clean headroom the PA can handle making you louder without loss of clarity. The last thing you want as a sound guy is an onstage amp overpowering your PA and leaving you out of options for levelling!
OK Computer. Without a doubt one of the best albums produced of all time.
The sound is so well engineered and full throughout that the quiet of songs like 'fitter happier' just hits home that much harder. The musicianship is top notch throughout, flashy at times, but never at the detriment to music; no solos or fills feel 'shoehorned' in to fill a gap in song structure.
I can't think of an album which so relentlessly throws it's core concept at you but manages to reinvent itself every track so it never gets stale or repetitive. The lyrics and the sound are a perfect mix, and Thom Yorke's voice, whether you hate it or not, is the essence of dystopia.
It's impossible to listen to this album all the way through without feeling emotionally battered and disengaged by the end; it forces the listener into the state it creates, hollow and disconnected from the colour around you.
The one thing that connects all professional musicians is that they are shit hot at their instrument and pretty damn good on a couple of others too.
If you practice well and hard then you'll find others who will want to join you and work from there. There may not be a lot of open mic nights or shows in your town, but there are probably some; are you good enough to play a 20 minute afternoon slot local festival/event as a solo acoustic guitar player? Can you put together a half hour set of classics singing and playing (tears in heaven, some bob dylan?) and then throw in an insane tommy emmanuel/rodrigo y gabriela jam at the end?
If you can do that you'll find some other musicians pretty fast, guaranteed!
Octaves sound "the same" (i.e. are the same note) but are high or lower in pitch Low E: open, D-string: 2nd fret, G-string: 9th fret, High E 12th fret. They all sound like similar notes but are higher or lower octaves.
There are 12 "different" semitones in an octave - look at the diagram and you can see them all. There are 7 different notes in a major/scale (plus the start note 1 octave higher).
There are good intro lessons on this site as to how notes/the major scale work - I'd suggest having a read of those
I do this for different tunings - I have one guitar in E standard and another in Eb standard and have lists of songs that I know in those tunings for bored afternoons hitting shuffle and playing along.
Capo 5 = up five semitones C->C#->D->D#->E -> F = F major E-> F -> F# -> G -> G# -> A => A minor F --> Bb Major (Or A# Major, they mean the same thing, but Bb is more conventional) A --> D minor
- What's the key? (Ignoring capo, you could try doing the same with the "capo'd" chords and check you get to the same answer!) - C = CEG, Em = EGB, F = FAC, Am = ACE Notes = ABC?EFG (there's no D) That is either C major or A minor, as it ends on Am most likely Am. Then move up 5 semi tones: Am -> Dm so a solo would likely be in Dm
What does leaving the High E off give you? Notes on each string = FCFACE = Notes in order (starting with F): F-A-C-E - F, A and C are all in F major
When you say "out of tune" what is out of tune relative to what else? - Is it the open string compared to other open strings, or recorded songs? - Is it only fretted notes, does it get worse higher up the neck - Is it just reading "wrong" on your tuner
Do some tests: 1) does your tuner work. - Find a pitch fork or youtube "tuning notes" - is that reading right? - Do other strings stay in tune? - When did oyu last change the batteries? 2) are you tuning to the right note? (sounds stupid but worth checking) If you're tuning half a step down, make sure you've got your settings right - an F on a small LCD screen can look a lot like a E particularly if it's old or one of the "bars" is missing 3) is your intonation right? - the 12th fret harmonic should sound pretty similar to the 12th fret fretted note - if they're way off then your intonation is wrong. 4) Is it out of tune instantly or steadily slipping? - check your spring tension. - go for a re-string, your string might be dodgy/about to snap
I'm writing a set of questions for a pub quiz and want some good "comparison" type questions e.g. "Which is faster Usain Bolt or a falling raindrop" or "Which is older sliced bread or the Queen of England"?
Can you think of any interesting/funny comparisons I could make into questions? They should be about things which most people will have some idea of or are easy to explain (e.g number of people over 100 or total number of articles on wikipedia) and hopefully broadly guessable with a bit of thinking or luck! [citations needed]!
You say 1 song, so pockets are not an option. This is what I would do:
1) Buy a pickholder that you can clip on a mic stand - One clipped elsewhere (such as headstock etc.) will work, but is less convenient. - As a last resort have a couple on a flat surface nearby 2) Keep playing, even if it goes wrong! - Always keep going. That is a golden rule in performance, people will forgive mistakes; solos being sloppy; a couple of fumbly chords; but you can guarantee they will remark on it if you stop mid-song to grab another pick! - It may be harder to play the song without a pick, but even if you just mash the strings like a beginner slap-bassist it will come across a lot lot better than if you stop and try and re-start. (restarting a song is also pretty much the hardest most nerve-racking thing you could possible do on stage!) 3) Have a practice playing it without a pick - It's not going to do you any harm, and if something goes wrong then you've been there before so it's not quite as daunting - Professional players who run around on stage and can play on with broken strings etc. can do so because they are incredibly experienced and know the songs really well. They'll have probably played the song hundreds or more likely thousands of times. That means when something goes wrong it's likely happened before and they can play the riff on a different string etc. to cover because that's how they tried it a dozen times in the studio so the muscle memory is there.
1. Hold down the note that's "not there" on the 5th fret. 2. Look really closely at the string next to the neck
If the string touches the 6th fret even slightly when you hold the 5th fret down then that's your problem - shitty frets. Either the 6th fret needs to come down lower or the 5th fret needs to be higher.
If you brought the guitar for $30 then I would recommend a hammer - if it was more I would recommend getting a refund and a new (better) guitar
What sound are you trying to get? Try starting with everything at zero (except the volume!) and then twiddle each knob all the way from min to max and see how it changes your sound. For the effects you might need to use the rate/level knobs in conjunction to have any effect though.
Sheet music indicates the notes you play relative to concert pitch (A = 440Hz). The middle line of sheet music in the treble clef is always B, whether you play it on a guitar, piano, flute or tuned percussion.
Tablature indicates the frets you play relative to to an open string (or capo). 2 on a string is always 2 semitones above the "open string note" i.e. on a D-string it is an E, on a A-string it is a B. If you change the tuning of the open string you change the pitch of the open string and any fretted notes above it.
tl;dr Sheet music is absolute pitch, tab is relative pitch- if you change tuning, the sheet music stays the same, but tab would need to change it's numbers.
NB If you transpose (change key) sheet music would change, but a guitar could change it's tuning/use a capo and play relative to the new tuning
How about this: 1) Send an e-mail saying something like "Let's record the next practice so we can work out which songs need most work" 2) Record the practice 3) Play it back at the end of the practice - if things are bad it should sound pretty obvious. Just do it just on a phone/laptop to avoid hassle of setting up mics (or arrive early and mic yourself if you really care). The quality will be terrible, but you'll notice mistakes particularly if people don't come in/miss notes etc. 4) After listening give honest feedback but avoid details "Well that doesn't sound great - we missed the Verse/Chorus transistion every time in SongX." NOT "Bob you played the wrong note there - you are such a shit drummer" 5) Ask whether they still want to go ahead - give the band the option of either cancelling the gig or working on it for next weeks practice and seeing if they can improve. Either they will want to give it one more try OR they won't care enough and want a good excuse to get out the potentially embarrassing gig. 6) Repeat the recording/listening/feedback the next week. If it's much better then hooray; if not then say "Sorry we're now 2 weeks away and I don't think we can play the gig sounding like this" [Maybe give another 1 week and add an extra practice or 2 if there's still some hope?]
Peer pressure really works! If they feel they're going to let the band down by not practicing then they're much more likely to make time to practice. Having a recording gives you some evidence of how good/bad you sound which makes it a lot easier to not be a complete dick shouting "you missed the solo AGAIN". If the recording is low quality it will actually probably help your case for more practice!
If it goes well great - play the gig well - everyone is a winner If they think the recording is ok but you're not happy - find a new band; you're never going to be happy with guys who have different standards If you all think the recording(s) are sh*t and there's no hope of improvement then cancel the gig.
In the mean time be a good citizen and let the gig organizer know you might not be able to play - don't go into full detail just say "We've missed a couple of practices and are trying to fit some extras; we're pretty sure we're going to be ready but will let you know next week"
There's a difference between the "key" of a song and the chords used.
The key determines the root note which often the one that starts/ends the song and is the one the song naturally "resolves" to. There are no "rules" as to what keys work with certain genres and what don't - often it's easiest to go with what suits your voice best. You can spot some common features though which are mostly there for practical reasons - for example: Jazz/Blues is often in "flat-ty" keys such as Bb and Eb because those notes are what most brass is tuned to. Lots of "chuggy" metal will be in E (or downtuned to D/C#) because that lets you "chug" on the open low E string. Since guitars can change key more easily with tuning/capos than trumpets can by adding extra tubing; the guitar is often changed to suit the other instruments.
Epoxy Resins are a pair of liquid chemicals the mix and form a solid - they dry in minutes-hours. Wood Glue is usually slower as it is a liquid that has to dry by evaporating. Think of the difference as making a glass of squash against waiting for some juice ice cubes to melt in water. That said either will work in 24hrs - I would imagine rough cut sawdust will give a better hold than toothpicks as it has more surface.
Bear in mind that you may well need 2-3 stages (Glue + sawdust, glue and button) and you may need more than one attempt depending on if you get the right glue/dust ratio first time
Mainly because they're cheap convenient and portable. - A full rack of pedals is going to cost you minimum of £50 a unit which -> £300 - If you have one song where you need to go from clean, dry reverb, slightly flanged suddenly into a huge heavy chorus with distortion and delay to fill out the back then you're going to need to get good at tapdancing pretty fast... - If you're gigging small venues regularly then it's a lot less bulk to just sling a multi FX in front of your rig. Most live sound isn't going to do great things for your tone (particularly in small venues with cheap rigs and bad soundtechs) so a multi FX is way easier than spending half an hour fiddling with patch cables everytime you need to rock up and play with pretty much no sound check.
Is it a recent problem? When was the last time you changed strings? have you changed gauge? Did you do a full "service" when you did (checking action/intonation etc.)
It sounds like your intonation is off which can be for many reasons such as misaligned bridge, misaligned nut, misadjusted truss, misaligned frets, warped neck etc. ( in rough order of whats least of a bugger to fix).
Depending on the problem either take it to a shop where it may be embarrassingly fixed in minutes (or may need a whole load of work) or attempt it yourself if you know what you're doing