i don't think it's possible to justify a degree in jazz guitar by saying you want to make money
unless you're academically inclined to study music, i wouldn't try for a degree so much as just taking private lessons while pursuing other avenues and backup plans as above. some people just don't have the drive to learn the innards of what their playing past a certain point, and i wouldn't gamble on it if you have no experience in reading music or playing with diverse groups when you could get a very similar experience without having to put all your eggs in one basket.
Haha that's not what I meant. I mean learning either classical or jazz music will give you more knowledge as far as harmony and theory and all that a opposed to metal or rock. Gos knows nobody makes money playing just jazz. But you are totally right in saying that there's no reason to go to school for it unless you're academically inclined Or else you're just masking your money and time.
Check out Humber in Toronto. It seems like the to to Place in Canada for contemporary music. Again, it's rooted in jazz, but you won't find somewhere that has a curriculum based around Metal for the above reasons. It's just not harmonically or structurally complex enough to make a useful program out of. You'll have a way better chance in the real world were its not all about playing what you like, rather what will pay the bills if you have a background in a traditional music style. This coming from somebody who listens to tons of metal too.
there are some good Trivium songs from their Crusade album and a couple of 6 string songs off of Shogun that are good to come back to standard E 440 tuning again. Couple of Pantera songs as well. Not a lot of new heavy stuff is in standard tuning but there are some gems to find. You can also just grab some metal backing tracks off youtube and make your own material.
What about track length though? Like "Thick as a Brick". It's only two sides, and technically only two songs (or two parts of one song) but it clocks in at over 45 minutes. Same with Dream Theater. They have like, 6 or 7 songs but the albums are like and hour long.
It works out the same way, the first beat will just feel different. The values of the notes dont change depending on the time signature (there will always be two eighths in a quarter, etc). The top number is how many beats there are in one bar, and the bottom number is what beat receives one beat. So in 3/4 there are three quarter notes in a bar, 6 eighths, 12 sixteenths, etc. Does that make sense?
I'd say start learning your major modes (starting the major scale on a different note, ie D Dorian is the second mode of C major, and the notes are DEFGABC). I'm sure that there's a ton of lessons on the site to help you with that. As for songs i'd say some of the easier Metallica solo's, like The Unforgiven, and Enter Sandman, as well as Iron Maiden solo's like Number of the Beast, and The Trooper. Try those out. There's some fast passages and stuff like that, but it's nothing that you probably couldn't do with some practice.
I remember reading a lesson in guitar player (i think) with Greg Howe, and how he was saying that a technique he uses to keep speed but not necessarily use straight alternate picking, is a technique he called "Hammer-ons from nowhere". The main concept of it is say you were playing a 3 note per string scale descending, you would hammer on the first note of the scale on the next string instead of picking it. Essentially it's just playing legato except that he reverses the usual order of things. (not picking the inside notes, just the first note of a triplet and pulling the rest off). Hope that makes sense / helps in some way! However, there are tonal differences and the other people in the thread were right when they say to practice both, because there both usable in different situation, and to just rely on one is kinda lazy.
I bought one, and the only thing that I don't really like is the bridge. I'm working on changing it out now, but the Edge 3 isn't exactly the most reliable tremolo in the world, but I don't think that it's as bad as most people say. I have also changed out the pickups for DiMarzio's and I think it sounds fantastic through a tube amp. Pretty good guitar for the price, but you should probably go and try it out and compare with other guitars just to see if you like it.
^+ 1 Also, harmonic minor is used a lot in metal. Melodic minor, not so much. They way I've been taught is that there is two ways to play melodic minor. The Classical Theory way is Melodic Minor ascending, with the flatted 3rd and the natural 6th and 7th, and then harmonic minor on the way down, so you raise the 6th. The Jazz theory way to play melodic minor is as a normal scale, although then you can get into the modes of melodic minor.
Learn the basic modes first of all, and how they relate to the chords, then start to get into how to make your sound a little more "outside" and dissonant. Try putting on one chord and just picking a chord and get used to how certain scales sound over certain chords.
That seems like the wrong reason to play guitar IMO. Also Paul Gilbert=Mostly hard and most girls probably wouldn't even find that impressive I would think... most listen to top 100 shit, so you'd be better off learning those songs and improv a bit maybe, or just figure something out.
Just learn both shapes. You can never assume that the bass and piano are going to be covering a specific note at a certain time (Due to walking and comping) unless it is a specifically written in part. Play the full voicings (I would recommend learning at least three different voicings for each chord type, with the root on different strings) and If you find that the pianist and bassist are just playing by the books, play the modified voicings, or melody voicings of those chords.Just listen and you should be able to tell. Just my 0.03.
EDIT: some of those shapes seem a little bit bizzare. especially the diminished one, if you are playing two cords to a bar at 180 bpm, it would take a lot of practice that could be spend learning new shapes or improv stuff. Honestly, in the couple of jazz bands that I'm in, i've never had to use voicings like that, economy of motion and being able to play every chord is more important IMO to having some unique chord voicings. Other than that, the F/E is right, you play the note under the slash as a bass note. That A-7b5/Eb is a little bit weird, but you could use it, and the same goes for the rest of the chords. Its really your choice if you want to go with the traditional voicings or the more difficult ones, just make sure you can do either without jumping all over the neck. Hope that helps a bit.
I'm from Sackville, and with all this talk of TPB, John Dunsworth taught my mom acting in university, so that kinda cool. Halifax is a pretty cool place, but i'd like to move somewhere bigger later in life.
Judging by the name, i was hopeing that it would be more like angel of Death by Slayer...but it's not bad. I'm not into hardcore, but its still not bad. Just better pray that the hardcore Slayer fans don't rape you.
pentatonic, blues, pentatonic blues, i think that these are the basic classic rock scales... you might also want to learn the major and minor scales, as wel as all the modes, as it will increase your ability to inprovise alot