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Ok, I don't want to sound mean, but I'm having a little trouble figuring out exactly what you mean with all this. Can you go back and look at what you're trying to say, and put it more in some sort of logical order? This is kind of all over the place.

I want to help, but I'm just having trouble getting what you're trying to say.
Charles_Rombo edited out for advertising, which is against the forum rules. No idea why this thread was left open, so I'm gonna close it now.
Quote by Junior#1
teddymason56 Dude, did you check the date?  This thread is 12 years old! Don't necro-bump dead threads.

+1.

Closing.
rodgaskins let me know what the comedown is like bruh.

Until then, this thread is 5 years old, so I'm closing it.
7th chord names can be a little weird.

D7 is actually a D dominant 7th chord, which is root, 3, 5, b7. A chord with root, 3, 5, 7, is a major 7th, which is notated as Dmaj7.
Phony_Rockstar cool it dude, this is a forum, not a chat room. Moreover, this is a forum mainly populated by users in the US, so you're better off waiting at least until it's been a full day there before bumping anything.
It is Vai playing that part, which is funny to me, since he is Jack Butler in the film you can see him having to actually remember to get the part wrong when he's supposed to lose.

I believe that is probably is alternate picked, especially at that time Vai had some pretty serious picking chops together, and as you've noted; it doesn't sound like sweep picking; it's too staccato. It's definitely possible as well, even by apparent mere mortals, here's a straight alternate picked (and very cleanly played) cover of it:



As ever, get it slow, make sure you're getting your technique right, and you will get there eventually. Just remember that this piece is supposed to be a terrifying exhibition of technicality, the entire reason it exists is to win a virtuoso head-cutting contest, so it's going to be bloody difficult. You will get there though, just need to keep at it!
There's a whole thread at the top of the forum for posting things like this. Please keep it to there.

Closing it.
trashedlostfdup I've never met anyone who played a 7 who couldn't play a 6. Literally never, and I've met a shit-tonne of guitarists.
Quote by luketech54
But really, unless your actually going to use the extra string, stick with the 6 string

Man, I can't even begin to tell you how much I despise this logic. How are you supposed to know how you would use the 7th string until you've got one? If we're going down this route, the next argument that always comes up is "Well you're not using it properly, you should just tune down...", which is just as destructive. What it comes down to is "Do you want one, and can you reasonably afford it?" If the answer to that is yes then there are no other considerations needed.

Quite aside from which, TS literally named two specific bands they would like to play who have used 7 strings on many occasions, hell, even specific songs were mentioned. What else is there that matters, really?

TS: I say get a 7. If you can afford one there's really no reason not to.
Thread was moved to forum: Electric Guitar
Thread was moved to forum: Gear Building & Customizing
Guys, next time, report the thread. Please.

Closing it.
What Bigbazz said is how I would go about it as well, for a demonstration, here's a video cover of the exact solo you're talking about:


Notice how he keeps the pick in the same grip the whole time and uses his middle finger for all the tapped notes. This also leads nicely in to more advanced applications of tapping later on down the line if you want. You certainly can do it the EVH way (grip pick with middle finger, tap with index) and variations on that, but personally I don't think it's as flexible.
He's doing a super quick strum behind the nut. I can't watch these videos with sound right now but I'll bet that motion is accompanied by a really high, almost harmonic like sound. That's where that comes from. Some guitars can't do it as well as others, but Josh's guitars seem to be picked so they can all make a sound by strumming behind the nut like that.
Getting in to a band is a damn good tip, another thing I'd recommend is just finding new things to listen to. Like, I don't know what you're in to now, but if you're a big time metalhead then look in to some bluegrass guitar or jazz, if you're a blues guy then push yourself and try listening to some metal, if you're generally in to pop then try some visual kei/j-rock. It doesn't really matter what it is, just try and find something new that excites you to listen to; it will probably help you feel more excited about actually playing.

So this is kind of a two-pronged problem.

1 - You are barely even a beginner.
Please don't take this to be an attack, but at three weeks you're not even taking baby steps. You might not feel like you're making progress, but at this stage even second you play guitar has an incredible impact on your ability. Sadly, because of where you are, you're going to have to learn a whole lot of easier stuff before you can take on the kind of material you want. Fast metal playing is a very specific skill set and that's going to take a fair bit of drudge work through other things to get to.

2 - You don't understand what your teacher is doing.
This is kind of part of being such a beginner, but your teacher may be taking you through songs this way to build your skills and prepare you for where you want to get to. That said, it's also possible that you just have a less skilled teacher than is best. The best thing to do here is ask your teacher why you're learning what you are; be careful about how you phrase this and watch your tone (if you're not careful it'll come off really badly and you'll sour the relationship with them), but you should always feel free to ask questions of your teacher. Your teacher will (in all likelihood) have one of three reactions:

a - They'll explain, and have a plan for where everything is going. Even a vague plan, like "Oh well we need to learn some basics before we can get to what you really want.". This is the best answer, and hopefully where your teacher is at. This is a keeper!
b - They won't have a decent answer. Something along the lines of "Well this is just what you need to learn." The difference between this and the best answer above is something you'll have to try and use a bit of gut feel for. It's a lot to ask, and I'd be inclined to err on the side of keeping a teacher, but if this doesn't feel right then you might want to consider getting a different teacher.
c - They will actively tell you not to ask questions. Drop them like a hot potato. No teacher should ever make their student feel like they can't ask questions, let alone actually tell them that.


Remember, always: your teacher is not infallible. They will almost certainly have experience that will help you, but that doesn't mean they're above question. If something doesn't feel right, then ask about it, and know that you should always feel like asking questions is all right.
stevechenoa if you really want to know, open a new thread rather than resurrecting one that's 9 years old.

*closed*
smithy15493
Depends on your perspective and what you find easier. If you're got decent finger independence but haven't gotten comfortable with moving your whole hand around yet, then doing this until you've gotten much more comfortable with moving your whole hand around makes perfect sense. Being able to play the single notes is much less than half of the way to learning it as power chords.
Gosss is there some reason for this question? Because as it stands, this thread is really completely pointless; nothing's going to happen here but a bunch of people listing some (really fairly meaningless) numbers.
Quote by archienancarrow
In the video that I'm learning from the player clearly holds the 1st finger still over both 12th frets and moves the second between the 14th and pinkie on the 16th (example tab below).

I would be very interested to see this video, because unless you specifically want both strings to sound at the same time (which doesn't look likely from the tab), then barring is most definitely not right. Could you post a link to it?
ivanlisjak330 I'm just going to echo Tony Done's question: do regular picked notes sound when you're in that range? If they do then it's almost certainly something that you're doing wrong (not a bad thing, Les Paul style guitars are famous for their difficult upper fret access), but if you can't get regular picked notes to sound then it's something that a good set up should fix.
*reported*
Caveat: I don't know what I'm about to say for sure. I could be wrong. That said...

I think finding a book about the music theory of Neo Soul is probably going to be a bit difficult; it's a very new music genre and musical academia like that tends to lag behind new genres, sounds, and concepts by quite a way. Your best bet is probably to trace the history of the music, which as I understand it goes through hip hop, R&B, jazz, and so on. Learn the history and you'll have a much better grasp of what you need to understand where the genre is now.

Other than that, you're best off (as far as I know) looking for lesson material on youtube. I know it's a bit harder to consume if you're not at a computer or if you don't have a mobile data plan, but that's going to be your best source I think.
Sorry dude, this forum bans direct advertising. Going to have to lock the thread.
Quote by Guitar137335
Ear training is a great exercise to do while away from guitar, check out ‘Functional ear trainer’

Yes! Can't believe I forgot that apps like that help you with ear training! Really good recommendation!
God I'm about to sound so old... I'm sorry in advance. That said: don't practice things in school to the exclusion of your actual school work. I know that's a super boring thing to say, and it may be obvious to you (if so, sorry for being a little patronizing), but please do well in your other studies as well!

That said, I think about the best thing you could do in school would be to study things that you don't need a guitar for. Do things like read about theory, learn to read sheet music, try writing music away from the guitar, all the sorts of intellectual exercises that I know we're all prone to ignoring when we have a guitar in hand. There are some finger independence exercises you can do without a guitar in hand, I don't have any of them to hand (and I'm technically at work) so I can't give you any, but they do exist and you can do them just about anywhere; try searching on youtube and I'm sure it's relatively easy to find some to try.

Good luck!
Quote by chrome11112
Zaphod_Beeblebr Well then in that context, I’m referring to double drop tunings as in octave lower than bass. They already exist, but not on 6 strings.

Then I'm actually wrong about what you want and you're 2 octaves below a bass guitar if you want to triple drop. Most speakers, even bass ones, won't be able to replicate that note at all, even if it is physically possible on any instrument. You're getting down in to the range of notes that only church organs can play, and even then it's more likely to be a note that you feel rather than hear. I'm not saying there's no value in those notes, but I don't think you'll ever manage to make them usable without something moving the same kind of air as a church organ.
Quote by steven seagull
Yes it’s called playing the bass

Come on Steven, you're better than that (seriously though, for once I actually agree)
Quote by chrome11112
Zaphod_Beeblebr You Know drop tunings? Now go an octave lower. That’s a double drop tuning. I wonder if we can go even lower.

That is a whole octave below a bass tuning... I think at this point we should admit that this is almost physically impossible on anything that counts as a guitar. You would have to have such heavy strings and such a long scale length to even think about this that it actually would be the same as playing a bass. I remember a while back Warwick made a bass intended to go that low, and even that had a greatly extended scale length over a standard bass (if I remember rightly it was a good 2-3 inches longer than regular).
Quote by MaggaraMarine
That's not what a "double drop tuning" means. For example double drop D is standard tuning with the low and high E tuned down a whole step (DADGBD). If we followed this logic, "triple drop tuning" would mean something like DADGAD, so standard tuning with three strings tuned down.

This is where the cloudiness of popular guitar terminology really does hurt us, and why I clarified: I've heard "double drop tuning" used to refer to both things in different contexts.
It really depends what you mean when you say "triple drop tuning". Right now I'm not sure what exactly you're referring to.
Generally, you can replace power chords with single notes and it certainly won't sound bad, it just won't sound quite right because you're missing some of the notes, and general noise that power chords make. Until you can play them, though, there's no harm in learning songs you want to play just as single notes.

rojerthat I'm sorry, I should have made myself clearer: directional picking/economy picking/whatever you want to call it is a totally fine way to play (there are some licks I play that way myself), by problem is purely with Tom Hess as a teacher, businessman, and general human being. My message probably should have been something more like "Directional picking is good, but please don't go to Hess as a source of learning."


Also: yeah, jazz is awesome!
Quote by rojerthat
Look up Tom Hess.

Do not do this. Tom Hess is a poisonous, misogynistic, snake oil salesman. His business tactics and teaching are actively harmful to both the his own students and the larger guitar-playing community. He runs a pyramid scheme based on dogma and cult leader tactics.

Please do not give this man or his followers the oxygen of hits and publicity they need to keep doing what they do. Which is preying on people who don't know any better.
It's definitely something that's been done, if you watch this video:

At about 2:27, there's a section where Ohmura plays some pretty intense string skipping stuff with alternate picking on the lower string and the higher notes picked with the M finger. Incidentally, Takayoshi Ohmura is an insane player who deserves more attention.

I believe, also, that one of Ohmura's main influences, at least technically, is Chris Impellitteri. While it's not super easy to find good videos of Impellitteri doing it, if you listen to his song "17th Century Chicken Pickin'", it certainly sounds like there's a fair bit of that kind of intense hybrid picking going on.

Personally, I can't do that kind of playing yet (hybrid picking after an upstroke particularly still eludes me), but it's definitely possible and something I would like to work on. Anything that makes wide intervals easier to use is damn good in my opinion.


As for the other questions that I have some answers for:
While I certainly can hybrid pick with all my spare picking hand fingers, I definitely favor the M and A fingers, and the E very rarely gets used unless I'm doing something very specific. YMMV though, having facility with all your fingers is never going to be a bad thing.

I also very rarely do the kinds of things you're talking about where you strike low E notes and treble strings at the same time, at least partially because, like yourself, I've found it to be awkward at best, even with my quite large hands. Again though, it's definitely something I can do, and it's good to know that I have that skill should I ever want or need it.
RyanMW2010
Here's a video for the idea Junior's talking about:



Ron is a scary good player, well worth taking a good chunk of time to look at what he's doing with this.
This is kind of an involved question and I don't have much time to answer right now, but I'm going to do my best.

tl;dr: your arm shouldn't provide the actual picking motion. Your wrist should be moving the pick, so the friction between your arm and the guitar doesn't interfere with your picking.

Longer:

Mechanically, there are three jobs to do when picking:

1 - Holding the pick
2 - Moving the pick
3 - Keeping the pick in a good position against the strings.

Those three lend themselves very well to different parts of your hand/arm.

Your fingers hold the pick. It's the simplest job, and there's nothing else that can do it.

Your elbow/shoulder/arm keeps the hand/pick at a good angle to the strings. This is the biggest motion you're going to need: your arm should move your picking across different strings when it's needed, so you can keep everything in a relatively consistent position. This way you can keep your picking motion (from the wrist) consistent as you move across the strings and not have to adjust it between high and low. This can be very flexible, of course, there's relatively little time to move the arm back and forth across strings if you're doing a Paul Gilbert style idea with only one note on the next string, but your wrist should have enough motion to do that without any horrible movements.

This leaves your hand/wrist doing the actual picking. This whole system means that you can find one picking motion that works, using your wrist as the engine to drive the motion, and you shouldn't have to mess with it too much to play the vast majority of things.

This sort of thing can be seen in players like Paul Gilbert and Guthrie Govan, who have incredible mechanics. I can't find a video right now, but if you look at any of their performances closely, you should be able to see what I'm talking about.

I understand there's a lot of information here, so if anything's not clear, anything I've said is confusing, or I've missed anything, please do reply back and I'll do my best to clarify what I mean.

Ok, people need to stop reviving this thread now.

Closing it.
Jebus H Christ... 12 years... this is the worst necrobump I've yet seen.

Closing it.
This really should go in the stickied "Instructional Video" thread at the top. Closed.
Can't believe I missed this thread before.

Sorry my dudes, this is definitely spam, so I'm removing the links and closing it.