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PlusPaul man, I respect that you don't enjoy Shawn (he's an acquired taste at best really), but I honestly don't understand how you can say he's sloppy.  Like... what's clean playing to you then?!

I also have to say that this is my favorite recording of Lane ever.  It is, in my opinion, simply flawless, both musically and technically:

farmertom311 There are three things that immediately spring to mind watching that clip:

  1.  Make sure you're in tune.  It's not a huge way out, but you'd out of tune enough to be noticeable when playing on your own so playing along with a band or backing track is going to be super obvious.
  2.  Look in to alternate picking.  Everything you did there that I can see was all picking one direction, like all down or all up.  Learning alternate picking, that is always following a downstroke with an upstroke and always following an upstroke with another downstroke, should make your playing feel much easier and it'll be less energy to get things up to tempo.
  3.  This is the big one: timing.  I know it's hard when there's no accompaniment or anything, but I think you should focus on getting a real groove in your playing.  Like, there's a bit of riffing that starts at about 20 seconds in to your video, what I want you to do is listen back to that, and just nod your head in time to what's being played.  You should notice that some bits of it start early, when you do that cool fret hand slide up and down you come back in to the riff a little late.  That's the sort of thing you want to fix.  A good way of doing that, at least in my opinion, is to build a connection between the music and what your hands are doing and something else about you keeping time.  So nodding your head to a beat, tapping your foot in time, something like that.  You want to build a good, strong internal time.  It actually doesn't matter if you speed up or slow down a little, but you need to keep the groove going.

Your actual technique in terms of posture and everything is fine, if there's anything you could probably stand to sit up a little straighter and make sure that your fretting hand wrist is straight and relaxed, but compared to the three things above, that's basically irrelevant.

You're doing good though dude, keep it up!
Quote by Captaincranky
This thread should be moved (again), to "Musician's Talk", so the moderators would be able to scold us.

Yeah, I'm going to ask you guys to take this discussion somewhere else.  I'm not going to move the thread, but I will ask that you consider this question:

Is this discussion helping the person who started the thread?
He's not actually hitting anything. It looks like he is, but that's actually a very controlled movement where he's still picking with the pick and none of the rest of his hand/arm is touching the guitar at any point.
intheJungle I believe you were correct first time actually.  It's supposed to be something like this, no?


d|---------------
a|---------------
f|---------------
c|-4--4-4-7--7-7-
g|-4--4-4-5--5-5-
c|-4--4-4-x--x-x-
I honestly don't understand how you guys are so confused by this.  It's not like TS is asking anything particularly complicated.

PlusPaul they're simple tabs dude.  Come on.

intheJungle, always shoot for perfection.

Also, if it were me, I would re-finger the top example from the conventional wisdom.

Usually people would play that with the index barring the 4th fret, and switch to index-ring or index-pinky for the second power chord.  Personally I would change it so you keep the index barre on the 4th fret, but finger that second power chord with the middle and pinky fingers.  That way you can keep your fingers in position to anticipate the chord change, and you get an absolutely seemless transition between the two chords.
jpsspecial13 ok dude, just slow down a bit, there is a lot to learn with theory and it's more complicated and deep than people make it sound; they always throw around terms that you don't understand yet.  It's all right, and you can learn this stuff, it's just going to take a bit of work and maybe going to multiple places to learn it; different people might explain it in different ways, some of which will be more helpful to you.

I'm going to try and help, and you're probably going to have questions about things that don't quite make sense, or things that I'm not explaining well.  I know it's hard but all I ask is that you have some patience and if something doesn't quite fit then please ask: I want you to understand this stuff, and I know you can if someone explains it to you in a way that makes sense to you.

  1.  A scale isn't a set of positions, it's a set of notes.  Where they are on the fretboard is very helpful and means guitarists have a lot of flexibility, but it's just coincidence.  The important thing to remember is that it's just a group of notes.  A minor pentatonic is the notes A C D E G.  A minor is A B C D E F G.
  2.  Scales get their really distinct sound from the music around them (this is what MaggaraMarine meant about 'harmony'); A minor sounds that way because the sound around it sounds very minor.  There's a lot of good reason for that but as a starting point that's what you need to know.  This is why A minor (notes: A B C D E F G) and C major (notes: C D E F G A B) have the same notes but sound so very different.  Be careful about this: a lot of places will talk about "starting on A" or "starting on C" being what makes this different, and that is not true.  This video will demonstrate this pretty well: through that video the player uses the exact same 7 notes but comes up with two very different sounds because of the music around the scale.
  3.  You were right when you said "it's exactly the same concept as the pentatonic there are seven positions that piece together perfectly like pentatonic".  That is true.  Please, ignore anything about modes.  They aren't helpful at all.  A few of the guys above have jumped on you about modes and talked about resolution and inversions and all this stuff... that terminology will come in time, but this statement above, this little piece of intuition about there being these shapes that fit together and end up making the same scale, that is good and right.

Again, I want you to understand and I know there will be more questions that come out of this so please don't hesitate to ask here.

Also, I know you have all these awesome ideas about being a kickass solo player and everything, and I want to assure you that you'll get there with practice and time, but it's very complicated stuff and some of it will be very unintuitive to you.  Some people will keep throwing terms that you don't know at you and expect you to understand.  Please try not to get discouraged, you can do it!

I think it's a combination of some dissonant/ugly intervals being played (like a minor 2nd or flat 5th), and a whammy pedal.  Note that this isn't a sound you can really replicate without a whammy pedal, a whammy bar won't get you the kind of range, and it definitely won't get you that digital sound either.
YellowCat Thanks dude!

I like how you're clearly getting much more comfortable with the scale and mixing it with more conventional sounds as the track goes on!  Also that's a really nice efficient picking motion you've got going on!

Sweet improvisation man, keep it up!
Sorry dude, I'm sure your tool is fine, but if you want to advertise then do so through the proper channels, there's a link to advertise at the bottom of the forum.

Closing thread.
kaputme realistically, I have no idea.  I haven't played with either of them, and my familiarity with both companies in general is pretty minimal.  I'd be more inclined to go with the Budda at that price, but like I say, that's not based on very much.

You're much better off waiting for someone with more experience to comment than listening to me about this.
This is really the wrong forum for this dude, so I'm going to move it to the right place: Guitar Gear& Accessories.  The techniques forum is really about the physical technique of playing the instrument.
Hello people of the GT forum!

I had this idea a little while ago that, after talking to my partner... there's a certain breed of guitarist who are very ready to criticize any and all guitarists, and that makes our community seem very hostile and unwelcoming.  It can, and often does, come off as being just callous.

So, I thought, what better thing to do about this than counter it... with RELENTLESS POSITIVITY!

To that end, I give you: the thread where we exclusively look for, and say, nice things.

Basic idea: post a clip, get complimented.  Next user posts a clip, and so the cycle goes on.

Actual rules:
  1. Say something that sounds mean or is pretty much at all critical, your post will be summarily deleted.  No, I don't care that there might be something "wrong" with the clip, that's not what this thread is for and I'm going to be very militant about enforcing this.
  2. Only post clips of yourself, again if I have reason to believe that a clip you post isn't of you, your post will be summarily deleted.  If any readers suspect that a post doesn't follow this rule, please message me directly about it.
  3. Video is preferable, but audio-only is cool too!
  4. Clip can be whatever you want: play through, jam, unaccompanied solo, cover, anything as long as it's guitar playing!
  5. Bass is also welcome!
  6. That's it.

And so we begin with me, to get this whole thing rolling:

I'm going to echo that you need to practice slower.  The problem is that whatever speed you're practicing this at, you're still relying on your muscle memory to play the thing, which is why you can't change what you're doing.  Slow down until you can control what you're doing and practice at that speed.  You'll get it in time.
There's a thread stickied to the top of the forum for video lessons, all these should go there.

Closing it.
This really isn't a question for this forum, Guitar Techniques is about the process of playing the instrument.  This should go in Electric Guitar.

Moving it.
Cool playing, not sure about the quality of this as a lesson, but either way: this shouldn't be in its own thread.  If it's a lesson then it should go in the stickied videos thread, and if it's just you playing (which it looks like to me) then it should go in to the Show Off forum here: https://www.ultimate-guitar.com/forum/forumdisplay.php?f=106

So I'm closing this thread.
jerrykramskoy ahhh, I knew there'd be other names for it, thanks!
Sorry my dudes, looks like this one is actually spam.

2 posts, very similar structure, links to bogus AGF threads and an advertising page... I should have noticed it earlier.

Closing it.
Thing is, you can't pin any artist down to a single scale.  Even the most basic of blues guys will have more to their music than just a simple pentatonic.

Also, a band that sounds like Cattle Decapitation are barely even tied to traditional notions of harmony within a song; lots of what they do is chromatic (i.e. no particular scale) that it's almost atonal.  Almost the only things that give bands like that a key in the first place is the heavy chugs on the lowest notes.

I wish there was a simpler answer to your question, I really do, but the fact is that there really isn't.
ImDesigner I'm going to echo what I said earlier: please be careful.  Pain is your body's way of telling you that something isn't good for you, and you should only play through it if you've been assured by a medical professional that it's all right to do so.

If you look around you can find all sorts of stories of musicians who've done themselves long term harm by not doing what the doctors told them.  Not even just limited to guitar: look at James Labrie, the vocalist from Dream Theater.  He had an injury to his vocal chords in 1994, and toured in 1995 anyway, despite doctors saying he shouldn't... he still hasn't fully recovered his range, and has said that he didn't even feel really right until 2002.  That's 7 years just to feel like normal.

I'm not trying to be a huge scaremonger, I just want you to be mindful and to look after yourself.  It may mean a few extra weeks until you can play again, but if it means being able to keep playing for many more years to the best of your ability, surely that's a worthy tradeoff?
Ladies, gentlemen, people of all gender identities and expressions: THE POLL IS OPEN!
This should be in the Guitar Gear & Accessories forum, this one is for the process of playing the guitar, not the gear or anything else.

*reported*
antonmac8 dude, reviving a 9 year old thread to be angry about something and swear at people?

Come on.
I've seen it called violoining, but essentially what's going on is that he's playing a note with the volume completely off on his guitar, then turning it up slowly to gently fade in the note.

He's got a little gain on it to give the note some good sustain, but not so much that the note is too compressed. There may also be a little delay on it to give it that airy, spacey feeling.
eerie_v for practising a specific piece of music, a metronome is always a good idea.  You should understand how all the music fits in relation to the pulse of the song, and while you can do that without a metronome, it's the best way of getting there.
eerie_v no man, you shouldn't have to keep the music you're in to a secret because of assholes like the dude above.  Ignore them, people like that are not welcome in this forum.

As for practising and such: I'm not 100% sure on what you mean, but I think the best advice is probably going to be to experiment for yourself with the position of your palm to get the tone you like best.  Normal advice about how to practice applies as well: make sure you start at a comfortable tempo, keep your movements small and your whole body as relaxed as you can.  The best thing to practice is the music you want to end up playing, the really important thing is that you practice it well.
This is going to due to some flaw in your technique, probably your movements are too big, meaning that when you try and speed up you can't do it comfortably, and you use your elbow to compensate.

What you need to do is work on your technique, not playing faster.  You actually can't directly work on getting faster, you have to work on the things that make up your ability to play with speed.

Sadly, there's no specific exercise that will make your technique better, you're going to have to seriously slow down, to the point at which you can really control what you're doing.  Play whatever you want to learn anyway, and make your movements as small as you can, and make sure you're as relaxed as you can be.

The other problem with this approach is that it's not something you can practice until you get it down.  You have to keep up the practice and slowly, over time, your movements when you're playing up to speed will get smaller.
jlowe22 nah, even guys like Guthrie have put in untold hours of practice.

By way of some example: to hear Guthrie tell it, the first time he picked up a guitar (as much as possible anyway) he was three years old.  He's fully willing to admit that at that age he wouldn't have really been 'playing' so much, but that's the scale of time we're working with when it comes to his skill.  He's guitars around and in his hands since before most people learn to read, so for him it really is part of his expression and communication with the world around him.

I guess that's a bit beside the point, what I'm getting at is that everyone practiced to get where they are.  Even if Guthrie only played an average of 4 hours a day (which I suspect is actually an underestimate) from the age of 3, that's around 61,000 hours of practice.  Bears thinking about.
cdreid can you not?  This forum is not a place for your judgement, so if you're not going to help TS (or even add anything to the conversation at all) can you just... not say anything?
jerrykramskoy voting starts on the 18th, I guess the admin team will post a poll before then.
K33nbl4d3 very true; we really do have to be clear about what we mean when talking about this, you're 100% right, and for my definition I agree with you:

Touching the guitar, fine, not doing so is hard work at best.
Pressing on the body and/or having your hand totally fixed to one point, bad.
iamtheocean1 there really could be any number of problems going on here.

Firstly, it's pretty important to admit that 6 months is pretty much no time at all when it comes to learning to play guitar, especially if what you're trying to learn requires a good amount of technical facility.  Even if you somehow manage to practice 8 hours a day every day (not advised generally, but even less so for a beginner), it's just not much compared to the process of learning (which never really ends).  I've been playing for about 13-14 years now and I constantly feel like I barely scratch the surface of what music has to offer.  I wouldn't be so quick to blame having weak anything, because realistically when it comes down to it, brute muscle power is not needed to play the guitar.

Beyond that, it's really impossible to say whether there's something wrong with what you're doing or whether it could be something medical without seeing you play.  If you would like we can take a look at what you're doing, but you'll need to take a video and put it on youtube, then post a link here so we can see what you might be getting wrong.  They guys above are making some good guesses at what the problem might be, but without seeing you play, that's all they are: guesses.

I would also say, unlike guitarkid8 and dthmtl3, that you should avoid really anchoring.  You're early enough in to your learning that if you do already it's easy to fix, and I believe that true anchoring is something to be avoided.

Finally, and I know if you're in a country that doesn't have socialized health care this might be a sticking point, if you believe that you have some condition that means you can't move your hands very easily or if you feel like something is wrong with your health, go to a medical professional and get examined.
jerrykramskoy never thanked you for that, much appreciated dude!  Always good to know that someone likes the music!

Your pledge is also very much appreciated!
There really is no reason that buying a wah will make you a worse player at all, plenty of super precise players use wah all the time; Guthrie Govan, John Petrucci, Steve Vai; all big wah users.

Personally I'm of the opinion that if it's a sound you like you should get one sooner rather than later; I've never owned one myself so whenever someone has one and I get the chance to play, I actually have no idea what to do with it.  Just like everything else with the instrument, it's a skill you need to practice if that's a sound you want to make.
I stand by my assessment that you are a cheeky so-and-so... until you vote for me

Edit: Awwww, my mod powers are gone
you cheeky little... As a show of good faith with our bass brethren I will answer your questions  

1 - It's always beneficial to have facility with it, whether it's the best choice to use that facility is entirely down to the situation and what the individual is comfortable with.  For example, in the solo to Atrophy from my band's album, there's a section with a short 3 note per string pattern that could be played with the pinky, but because of what immediately follows, I play it with the 1-2-3 combination.

The lick looks a bit like this (guitar is tuned down to drop A# in the song):

e|----------10-12-14-
b|-10-12-13----------
g|-------------------
d|-------------------
a|-------------------
e|-------------------

I play the 13th fret with the 3rd and 14th with the pinky because in that situation it makes more sense to me and is much easier to get up to speed.  There's also some 4 note per string stuff that follows immediately after that so it makes more sense to me to fret it that way.


2 - This is a hell of a question, holy wars have been waged over this one  
I'd say it's better not not anchor like that, but with some caveats:
a - If you can remain relaxed and retain free motion in your picking hand... it's not hugely important.
b - If you already play and have some facility, it's going to be more work to fix the anchor than is worth it; your efforts are better spent working on relaxation and economy of motion directly.
c - Stopping anchoring might make your playing better... but that difference isn't going to be much.  It's the kind of thing that might take you from the top 0.005% of pickers to the top 0.001%, but until you're in that rarified air, I wouldn't worry about it too much.

In summation: if I were to teach someone from absolute zero, someone with no experience, I'd get them not to anchor.  Teaching someone who already plays... probably make do with what's already working on the anchoring front.


3 - Both grips have their place.  The default should be thumb on the back of the neck, classical style; it generally gives you the best reach and the most ergonomic position.  Baseball bat should be reserved for bending and thumb-fretting only.  As for whether or not you should fret with your thumb... jury's still out on that one for me.  I've not practiced it much at all, so have basically no ability with it myself.  Furthermore, I've seen guys like Richie Kotzen get some of the Hendrix-ish thumb-over-the-top chords by careful refingering and use of the pinky to get the bass notes.

Addendum to the thumb fretting discussion: I've seen Guthrie Govan fret some chords using thumb under the neck, more like a cello/double bass.  Man did that ever blow my mind when I first saw it.  There are definitely some chords that you can only finger that way, even if they're not going to see much use.  But if you're playing the kind of improvisational fusion he was playing when I saw him do it... possibly worth practicing it.


4 - There are only two answers to this.
Either it's Tom Delonge:


Or it's Robert Fripp:


Anything in between is the work of a False Prophet, and should be cast from your mind.


5 - No.  A piece of music can be as technically proficient as you like, and as long as it connects with the audience, and sounds right for the mood of the music around it, then it's got plenty of soul.  I'll point to the good lord Guthrie Govan as the prime example of this.  Dude has possibly the greatest chops of any electric player, living or dead (arguments about Shawn Lane can go somewhere else for now), and his music makes plenty of people feel things.  Myself included.


There, done.  Now back to my day job