juba01 this thread is now almost exactly 10 years old. UG is doing this thing where the recommended threads at the bottom are apparently uniformly ancient, so in future could you check the dates on the threads you're about to reply to? Thanks.
rubyskyepelton I really appreciate that you're trying to be part of the community, that's an awesome thing, but this thread is over 10 years old now. Most of the people in it haven't even logged in to UG for a long time.
So I'm going to lock this, but please do stick around and enjoy the community!
1 - You're just letting your fingers play. That's how you end up with just a bunch of sequences that don't feel like they make any musical sense. I know you're already part of the way there, since you've noticed that you don't really enjoy the sound of your own playing, but you need to take it a step further and really listen in the moment as well. Listen to the track, listen to yourself, everything. Think more about what you want to hear out of yourself rather than simply saying "I don't know enough licks", that probably won't help you with expression, you'll likely only get more expressive by being more careful and really choosing the notes you play and how you play them.
2 - Listen to more of Paul's playing, especially his more modern material. As he's gotten older he's only gotten more bluesy and even a little jazzy, so his more recent stuff is a damn good place to start with finding more ideas to play.
You should definitely be using your fretting fingers (i.e. "pulling") to generate the force more than your thumb, but beyond that it is sadly a matter of getting the sweet spot and practising the heck out of it.
Johnny_893 he's talking about some pretty specific ideas from Troy Grady's Cracking The Code. There's a lot of good info in there, you should watch them!
efenba, I don't know that I can really compare, changing up the technique with/without edging or slanting feels very different and I'd have to re-learn. That said, since downpicking is all about doing every note with a downstroke and downward pick slanting is supposed to make exiting the space between the strings easier I would say it's probably got some benefit. At least in theory. It might very well be one of those things, however, where the theory is sound but the practicality is that it doesn't make a huge amount of difference.
I'm sure it's possible, and if/how much it happens will depend on how much you're predisposed to doing so and how long the break was. Unfortunately, while I wish I had a better answer for you, this is one of those "how long is a piece of string" things.
For what it's worth, I just recently picked up my guitar again after not having really played for I think about 6-7 months, and while I'm definitely not as good as I used to be, none of it is to do with finger strength. For me the main issues are picking hand related; feeling a little sluggish and not having the stamina for fast playing that I used to.
Oh, that's awesome, I don't know if you know but if you click the gear in the bottom right of the video there, you can adjust the speed the video's playing at. If you slow the video down to 0.25, you can pretty clearly see the fingers they're using.
Although that's not a given; I'm at work and don't have access to a guitar right now, if I had one available I might find there's a more organic way of playing this.
That said, you can ask 10 different guitarists and you'll probably get 10 different ways of fingering it, so really as long as it's not absolutely insane you can probably make whatever you think is right work.
I think the thing you need to do is not look for riffs that are hard or anything like that, but listen to music until you think "That, I want to learn to do that!". Going after harder things all the time gets really grinding. If you keep playing things you think are awesome, and keep expanding what you listen to, you'll expand your abilities in due time anyway.
If you're improvising in a key, or within a scale, you don't change the scale to move across the fretboard. The scale exists all over the fretboard, you just need to find it. Say, for example, you're playing over a backing in A minor, that's made up of the notes A B C D E F G, and those notes are all over the fretboard. You might move to get to different ones, or play different licks or whatever, but you don't need to change the scale. The exact notes you choose, where you start, all the rest of it, that comes from the sound you want to hear. There really are no rules at all, you play what you want to hear. Heck, you don't even need to stay within the scale if you don't want to, if leaving the scale is the sound you want to hear.
You might want to follow the chords, but that's more advanced than where you are now, for now just know that scales always exist all over the fretboard, and you can play whatever you want at any point. Learning more theory might help you produce the sounds you want more, but at the core of it the music comes from within you.
Same with playing unaccompanied, if you want to you can pick a scale and play whatever, but you certainly don't have to. You make the rules, you get to make all the decisions about what to sound like.
This is something that people will probably argue until the end of time, but for my money there are three things to consider:
1 - Compression might hide mistakes in terms of weaker notes, slightly flimsy articulation, or whatever. 2 - Compression might show up problems with muting and such. Notes that you are hitting, sympathetic vibrations, whatever, might be amplified a little more and you'll have to work on your muting to fix that. 3 - Practicing in the conditions in which you intend to play will get you more comfortable and teach you to work with the gear and the tone you have to get the best results.
I can't tell you which of these is the most important, but I will say that if I was doing regular, focused practice, I'd be doing four different kinds of practice: dirty, clean, dirty with effects, and clean with effects.
So there's one thing that my first teacher told me ages ago that helped me: keep your eyes fixed on where your fretting hand is supposed to end up. So, if you need to land on the 19th fret, keep your eyes on that. For this part this means you'll need to look pretty quickly, but it should help you get it down slow, and speeding it up will be much easier.
I think this is one of those times when finding a name for it isn't actually going to help: no one here has a name for it, so it seems pretty likely that if you find a name... you'll only end up explaining what you mean anyway. Probably infinitely easier just to go with note names.
Interesting point you raise, I can't think of many songs that make extensive use of it off the top of my head. The two I can think of though, while not exactly metal, are definitely worth a listen: checkout out "Waves" and "Slidey Boy", both by Guthrie Govan on his album Erotic Cakes. Seriously monstrous guitar playing, and they both make really effective use of glissandos.
It might also be worth checking out slide guitar. Again it's not something you find much in rock and metal, and it doesn't sound quite the same as 'regular' playing, but it's worth listening to I think.
Knowing the chords will help, but it's not neccesary, at all. Knowing the chord will help you pick out sounds you're already super familiar with, but really you can learn to pick out chords and figure out the exact fingering in time.
Don't feed the bots dude. They're SEO systems that gain traction by having links to whatever they're selling on 'legit' pages like this, so in future: don't quote, don't respond at all, just report it and move on. The mod team will get to it and remove the spam.
"Improvisation" lessons specifically? Probably not, I'm not sure that's a thing. All the people you named took lessons from some pretty exceptional musicians and at some world class institutions (e.g. Petrucci dropped out of Berklee). Hell, Gilbert and Satch were professional guitar teachers for years each.
The idea being the 30% figure is to get you to slow it down to a point at which you can really control what you're doing. You stop relying on your muscle memory to play, and you can actually alter your technique and make it better.
Firstly, calm down. This isn't The Pit, don't treat it like it is.
Secondly, I mean that noodling about will not improve your technique. It will ingrain what you already do, which is not improvement. You will get more comfortable in the way you already play and the ideas you already know: your movements won't get smaller, you won't get rid of any tension already present in your body. You are very unlikely to learn anything new at all, unless you start transcribing what you hear around you, on TV or whatever, and there's definitely a lot of value in ear training, but that's not the same thing as noodling if you ask me.
Don't get me wrong: there's nothing wrong with having fun noodling, but it almost certainly won't make you a better player. It'll make you the same player, only... more.
birkettlewis that's not such a bad thing really. Really, when you're improvising, you don't want to be thinking about note names and intervals and all that, you want to be thinking about sounds. That said, I do recommend that you don't just let your fingers take over and do whatever. I mean, sometimes that's fun and awesome, but I think you'll find that if you let that happen a lot you'll end up feeling that your playing is getting stagnant; it's a problem that we see here in GT quite often.
You want to be thinking about the sounds you want to make, and how to get those out. Sometimes that's going to be "Ok, I know that sound is a G, where is the nearest G to my hand?", but sometimes it won't be.
Sorry, I'm rambling a bit, but I hope I'm making some kind of sense!
I think you might be expecting too much of yourself too quickly. You need to go through a process of using methods like this for a time before having the knowledge down cold. I mean, if we're talking about knowing all the frets on all the strings, that's (on a 24 fret guitar) 6 strings * 24 notes, which is in the order of 144 notes to know.
I think the best thing to do is to carry on as you are now; being aware of the notes you're playing as much as possible. It'll come in time, if you're conscious of it then I reckon you'll find soon that you won't need the reference points.
This is one of those details that might have some affect on your playing (there's something to be said about inertia and having to deal with that when your picking hand changes direction), but really it's only going to be an issue if you're already in the top 0.0001% of pickers in the world, and then it might take you to the top 0.00001%. It's like the mechanical difference between economy and alternate picking: there might be some theoretical advantage to one way, but if we're being pragmatic about it... it doesn't matter.
Depends really, it's not going to improve your technique, it's you're unlikely to learn anything new, but there's definitely value in simply becoming more comfortable with the instrument and getting as relaxed as possible with the process of playing.
As long as you don't only do that and then wonder 6 months down the line why you're not suddenly shredding Malmsteen tunes it's fine.