I think it has helped me become more comfortable with the guitar over the years for sure to noodle around when watching tv or something, like Zaphod said but if you're 'playing guitar', that is focusing only on playing, I think that only noodling is basically a waste of time. Not to say you can only do regimented practice, but an exercise I've found helpful towards developing my improvisational skills is to really try and vocalize (in your head, if not out loud) what youre playing, as you play it. I found a lot of my earlier years of playing were me reacting to what sounds the guitar made as I played, particularly when I knew nothing at all about scales or theory. I think it's really beneficial to sing the melodies along and then actually try and reach for a note that might be more than a second or a third away as you play to help develop your ability to switch between positions and make your playing more exciting by adding more of a range in pitch (spoken as someone who has often found themselves stuck in pentatonic boxes, or unable to descend through a scale without it sounding like a Petrucci exercise). Now you're not really noodling, even when you are, it's more like a combination of improvising and ear training. Beyond that, unless you're truly just guessing at the notes you're playing, you're likely always playing off some kind of pattern or concept, even subconsciously, so just try and really emphasize somehow in your practice a sense of what you're working with... is there an arpeggio, a bridge betweens scale positions, some kind of intervallic pattern you're utilizing. Most of us are working off something we have in our head, and I think it's different for everyone, but theres definitely a way to try and combine what you're hearing in your mind with what your fingers are doing in a way thats productive and not aimless.
As for your question about picking. personally I don't know how many pick slanting videos there are... but there should really only be one. I've seen the kind of videos you're talking about and to a certain degree I found the circular picking motion with the angle on the pick, but at the end of the day it's about comfort and looseness in your wrist more than anything. I had a teacher who was easily the best guitar player I've ever known in my life and he could absolutely shred but had a jazz background and said he never really bothered doing strict picking practice, but rather to use a metronome when practicing, and to emphasize technique, and that the speed will come. There was another guy in school with me who could probably play faster, who was much younger and who did spend all his high school locked in his room doing those exercises, so they work too if you work them, but if you've been playing for 20 years your problem is probably mostly just your alternate picking. I hear you about 'developing a style' using hammers and pulls for speed... I think all of us do as beginners because it's much easier to quickly play notes with hammer ons and pull offs than alternate picking, haha, but it is a crutch ultimately because it's a different sonic technique, which you obviously get if you're hearing it when guys like Bonamassa or Eric Johnson or Yngwie do it. If you want to fast track that technique into your playing some more dedicated right hand/left hand syncing practice with a metronome is gonna be more helpful than not doing any because I think it's generally agreed that timing the two hands is the hardest part about getting to super fast levels, but it's really important to make sure your wrist is comfy and loose at the speed youre doing it at. I think I set my alternate picking back years by using more legato and economy picking in the right hand to cheat my way ahead a bit but my picking is the best its been right now because I've really tried to be conscious and deliberate with the motion in both of my hands.
after reading through that pit thread.. it really bothered me how that one dude was acting. Just because you are online doesn't give you permission to act like a sociopath (unless of course.. you are a sociopath). That said, I have alot of respect for you guys... as well as James... R.I.P. friend you will be missed.
The worst thing is that after he's like "oh, I'm just trolling", so you know he understands what the thread is about and still chooses to try and antagonize instead of just leaving an RIP or getting the hell out of the thread. I just don't understand that online mentality.
Yeah, Instrumetal handled that Pit thread really well. I would have been raging.
Haha, looking back on it a day later there's still a lot more emotion there than I'd like I think, but I guess some days the trolls bug you a little more than usual. Not a topic to joke about, at least... like Duncan said, some of us from HMS had a little more interaction with him I guess.
Nope. I was thinking about explaing why I stopped trying to flame.
As for my experience with death, I've brushed with it close enough, I just don't feel the need to express my remorse over the internet.
If you don't feel the need to express remorse, at the very least don't go into a thread and try and pull the rug out from under those who do.
As far as explaining the troll logic behind your funny little adventure here, I could care less whether you share it with us or not. As far as I'm concerned if your only intent of joining a forum is to try and agitate others with passive aggressive comments and a smug trololol attitude, you're just one more of these "Anonymous" idiots that the internet would be better off without.
Well I'm sorry if you actually feel so strongly about this. I'd explain further but I think there's no point.
There's nothing you could explain further. You could switch around the wording of your previous posts as if you meant something different, or you could revise which parts were "BS" and which you actually felt were true, even post some youtube video to try and explain about how expressing sympathy is more a result of societal expectations than humanity. Beyond that, I don't know how you're going to convince anyone that leaving a simple RIP, even if you didn't ever speak to the guy, is a waste of time... much less an arrogant, phony way of living up to 'society's expectations'.
You're probably young, maybe death hasn't really affected you as it has others, in which case I'd say you should tread lighter in the future when you try and be a troll figure at the center of one of these situations. Or maybe it has, and you learned absolutely nothing about empathy while going through the grieving process. Either way, maybe you should get off the forums for a while and try and remember that there are people behind the usernames.
Exactly the picture I was thinking of. But really, whether you believe me or not, I was.
I still think empathy over the internet is fake to a certain extent, though. I just don't mind it.
EDIT: ^^ While I do think that it is respectable to make a RIP thread, I really feel that expecting everyone to be serious about it is a bit too much.
Whatever, I really feel like you're a fucking idiot for coming into an RIP thread, trying to troll to get some laughs/outrage/whatever, and then bailing out and leaving us to contemplate how outrageous it is to expect that people such as yourself would actually treat the death of a young musician with any more tact than you did. There's a million threads you can troll that won't involve your disrespecting those who have just passed away, if you truly feel so inclined to waste your time with that sort of personal "entertainment".
Honestly, as much as the whole "trolololol" bullshit is irritating anyways, the fact that the people like you are too stupid to see a difference between going on about it in a thread like this and say, any other thread in this subforum, is what really makes me sick about it. Grow the hell up.
Again, do you really feel bad for someone you don't know at all? For instance, someone in Australia or in Peru?
If I'm being totally honest, not so much. I recognize the tragedy and I feel empathy at least in that I acknowledge how tough that must be, but that's not what we're talking about. We're talking about a member of this online community, who many of us had personal interactions with. I'm sure if I showed up at the funeral of one of your family members or friends (God forbid), and gave you that kind of back-assed logic about how if you don't weep for the children of Africa your sadness is clearly phony, you'd reeeally appreciate it.
Someone makes a silly joke; everyone laughs at it and excepts its worhlessness.
Someone posts RIP: people feel like it's something that has to be done and treat it with respect as if it's includes any honesty. If I'd get the feeling that people actually mean what they say, I'd have no problem with it, but saying it and than expecting me to believe you is arrogant.
I have no problem with the uselessness, I have a problem of people denying it.
It's a completely different story IRL, though. If you actually see someone die or at least see the footage, you naturally feel bad.
How the hell can you say what's honest or not? God forbid people feel like they should treat it with respect... the idea that it's arrogant to expect people to not joke around and pigeonhole you as some anonymous person trying to hop onto the sympathy train is ludicrous.
See how many people in this thread give a fuck whether you have a problem with their empathy in this situation, or with people like myself denying that.
All the people saying they feel sad are lying and should get over themselves. Whether you like it or not, emphaty is much less intense or common than you'd like it to be.
You make me sick, what exactly do you want those who've posted to "get over"? Look at the demographic of this website: teenagers and young adults who love music and playing guitar, and discussing it with others... that's what Jew was, he could have just as easily been one of your friends if you lived closer together.
Empathy isn't something that you wear as a badge of honour, and I don't even know what you're on about with "intensity" or how common it is... All it is is the recognition of and sympathy towards of the pain of others, and if you really want to get up on a soapbox against that, I have nothing else to say.
Interestingly, if you check the thread about James there, there's no shitty jokes or disrespect. He was an interesting cat with awesome taste in music, if King of Suede ever had a conversation with him I'm sure that he would have something more to say besides making garbage WoW jokes to try and catch a laugh.
Even as I post this, with the guy below... you don't need to make some kind of fucking statement about how useless it is to post "RIP". Unless something dramatic has changed since I frequented this forum, most of what's posted is complete garbage, if leaving some small admission of respect for a person who's died constitutes as "useless".
Haven't posted here in a long time, but I wanted to sign on to share my condolences.. James was a killer guy, we were friends on facebook after posting regularly on HMS, and I hold him personally responsible for introducing me to virtually all of the prog rock and electronic music I listened to so much during those days. After HMS shut down for a while I sent him an email asking for his MSN/AIM/whatever so we could continue to share music and he was more than happy to oblige.
HMS was a fairly tight community for a while and even though I never really got to know James, he shared enough about himself on that forum that it really resonates to hear this news... in all the anonymity of the internet you sometimes forget that there are real people behind the usernames, and hearing about this really puts that in perspective.
RIP James, hope things are killer on the other side.
There doesn't need to be such a schism about liking acoustic or metal and not the other.. take whatever benefits you as a musician from whatever music you hear. Do I care for top 40 radio, no, not so much, but the songwriters are masters of identifying trends in music and creating catchy, infectious hooks that stick in your head. I was a huge metalhead for years and although I don't listen to it so much these days, the technical prowess those guys posess is pretty inspiring still. People classify themselves so much ("I basically just like shred", etc.) but honestly, most of the people on here are still so young. There was a time that I thought that metal was all I'd listen to for the rest of my days.. how wrong I was.
Listen to as much music as you can, and try and find something useful or interesting in everything you hear. There's no sense pigeonholing yourself or your musical interests, especially in the earlier years of learning an instrument. Listen to metal til you're blue in the face if you want, but don't discredit the things that other styles of music have to offer. I'm grateful for my metal background, because when I ultimately burned out on trying to play it all the time and started learning jazz and rock stuff with more diligence, I already possessed the capability to play fast and difficult parts. I started listening to reggae and motown, oldies, classic rock.. before you know it, you have a basic understanding of groove, melody, 'song'..
I'm not one to discredit metal as being too wanky or acoustic music as too boring, and you're obviously going to listen to what you want to listen to. But whatever that is now may change in a year or five, and believe when I say you'll be glad then to be a more well-rounded guitarist for having absorbed musical knowledge from different sources in years past. Would you rather sound like metalgtar300 on youtube, who can rip up Yngwie solos but has an awful tone and zero musical understanding outside that one specific context, or someone like Steve Vai or Guthrie Govan who put the hours into technical study but have exposed themselves to all types of music and approach everything as a student willing to learn?
Keep in mind that what you're asking for is a more comfortable voicing for the chord.. but different voicings have different character to them. The one DiminishedFifth gave you is a good one that sounds pretty stable as well, but you'll improve yourself as a musician immensely by trying to learn several different voicings for this same chord. If you can become comfortable with the one that was giving you trouble, you'll have twice as many options right off that bat.
As well, I understand that discomfort when playing complicated chord shapes is discouraging, but it would be advisable to power through it and become more familiar with it. Ultimately you're going to want to learn things like this one day, may as well start now. Remember how tough barre chords were at first?
Are you guys certain about that? IIRC, doesn't an accidental apply to all of the same notes before the next barline? Sometimes accidentals are rewritten for courtesy, but I don't think you need to put an accidental before every out-of-key note in a bar, just the first one. Once you hit the next bar it's cancelled out.
Ignore this person, they're clearly 15 as well. You need your parents, and you'll need them for years to come. Your bad-ass rebel attitude won't get you the lift home in the blizzard or rain you desperately need, the 20 bucks till payday to grab some food or bus fare, or a warm roof to sleep under. Too often teenagers take their parents for granted and don't realize exactly how valuable it is to have their support. I was a kid who ****ed around and got into some trouble with my parents for a few years, but they helped me through music school and supported me for years, encouraging me to follow my dream, because I worked on repairing my relationship with them and not trying to be a free-wheeling musician with a devil may care attitude. Not to say I don't still **** around and do my own thing, but I'm 20 now, and my parents and I enjoy a much better relationship because I sucked it up for a few years and earned some of their trust back.
Try and explain yourself and let them know your dream is to play music and that you're willing to work hard to pursue that. Let them know you have a backup plan (and HAVE a backup plan!). Explain the steps you're willing to take and show positive development. The worst thing you could do is develop a sense of entitlement and start being a would-be independent bastard unknowingly burning bridges for yourself now and in the future. There's plenty of room to be a musician without trying to be a rockstar.
I was playing something like that the other day. It kind of had a jazzy/soul kind of sound. I don't know what those chords are, but if you play them into a tuner it will tell you. I don't know how to finish it though, maybe try a bluesy turn around or something to tie it up.
Either your conception of how to name chords is totally wrong, or you're using a pretty unusual tuner.
So I was right with the first two notes in between would be 8th and everyone between the same beat after the first two notes are 16th notes?
Also, I've been really thinking about getting a teacher with a summer job. What would I look up for the stuff you're talking about? Just to understand a little more on it.
No man, 8th or 16th notes have nothing to do with their placement in a bar. It's a subdivision of the basic pulse (in the case of 4/4, the quarter note). If you take the space of a quarter note and place two notes there instead of one, you have 8th notes, take one of those and cut it in half and you have an 8th and two 16ths, which still equals one quarter note. The same principle applies to 32nd and 64th notes after that.
influence in terms of my guitar writing i have none, in regards to bands i aspire to be as good i would say Jordan Buckley from Every Time I Die, Dave Grohl just for the song Everlong (love the rest of his back catalogue) and At The Drive-In/Refused (two amazing bands who were before their time).
but as said i don't try and copy and style of playing or mimic a feeling, it is my music so i want it to be based on my emotions not others.
You are influenced by every song you've ever heard. You may not be inspired by all of it, but to suggest that your writing isn't influenced by the popular music we're completely surrounded by and the music you listen to personally is ridiculous.
Though I don't hold them in the same esteem anymore, when I was younger the music of all those instrumental guitarists was very inspiring, really opened my eyes to the possibilities of the guitar. Guthrie Govan is one of those guys who I still admire quite a bit. I think the whole mindset of jazz, but also just of musicians who aspire to truly know the guitar inside and out is the biggest motivation - at least currently - in my own practicing. Trying to apply theory to the guitar as well as learning to read music were two goals I feel at least a degree of accomplishment with over the last year, and that was almost solely inspired by jazz musicians, particularly a teacher I had.
As far as bands that have been of some importance to me as a player, I really found the music of Pink Floyd eye-opening at a younger age, and it was certainly fantastic enough to stick with me all along. I was a big metal head for a lot of years, Muhammed Suicmez from Necrophagist and Jeff Loomis from Nevermore were both big inspirations as far as trying to gain technical proficiency - though I never got anywhere near the sort of shredding those guys do. And of course other obligatory (but important) artists like Jimi Hendrix and the Beatles, who's music has basically permeated all aspects of the popular music we hear today.
I'm sort of a hired gun for a church (let's not get into the moral ramifications of it), and while I can't really tell you exactly how to play, as the way your church interprets songs is likely quite a bit different, I can tell you some observations that I've made.
If you're playing with a piano player, which I would assume you are (the church I work at has two, for some reason, who sort of intermittently switch out) you need to recognize the time and place to provide different textures for the music. Usually a barre chord is going to be a pretty full-sounding and if the piano is playing busily, as they often are, it can create a lot of sound in the same range. The same goes for most open position chords, though they can be used a little more tasteful fashion sometimes (to my ears, anyways). Becoming familiar with triads and all their inversions on the different string sets has been invaluable to me.. if I were to generalize my playing in this context, I would say most of the time I'm playing two or three note chords, usually in a higher (or at least middle-of-the-neck) range, typically avoiding the 5th and 6th strings. This provides a lighter form of harmonic support, keeping the musical space less cluttered for the pianist, and obviously the vocalist, or vocalists, as is often the case.
Not only is this a good technique musically, it's incredibly helpful from a self-education standpoint. I've found that by familiarizing yourself with triads and hearing the most important elements of the harmony you can become much more familiar with the diatonic progressions you're likely to hear. Initially my thought was "oh well this will be good for some money" when I started playing at the church, but the musical growth I've experienced was a great bonus. Most songs you're going to be playing are typical of pop songs, I-IV-V progressions, common use of the ii and vi chords, and sometimes sounds like bVII.. it becomes much easier to transcribe songs you hear on the radio, etc, when you can translate the progressions often by ear alone.
When it comes time to take a solo, simplicity is key. People in the audience are not coming to church to hear Eddie Van Halen, they're coming to worship God. Solos should be thoughtful, emphasizing chord tones, and obviously very melodic. Improvising and expanding on the melody of the song can't steer you wrong. For most songs you play, if you can find the key, your respective major or minor scale is all you need. Pentatonic-based lines don't feature any offensive notes, but again to my ear, I find the sound isn't as suited to the kind of music we're playing. That said your church could be totally different; your ear should be your guide. One other thing I personally like to do is incorporate sixths into my comping and soloing, they have a cool harmonic sound, again are sparse-sounding, and sometimes kind of provide a country tinge, which I like a lot. Just something I like to do, again. You gotta follow your own melodic sensibilities.
Ultimately, playing in a church is one of the best examples where all musicians involved (should be) concerned foremost with the resulting music rather than personal showmanship or the spotlight. Again this is a generalization, but most church musicians are playing this music as an offering to their God, and it's important to support the music and provide the congregation with a good atmosphere.
Take all I say with a grain of salt of course, because your experience is going to be different than mine, but this stuff has really provided me with the best understanding of this type of gig.
I've been working on country lead guitar a lot lately as well. One thing you can do is try and figure out how to play some of your favorite major and minor pentatonic licks (a knowledge of how to play the pentatonic scale all over the neck is essential) using as many open strings as possible, learn how to double notes with different strings and play banjo roll-style licks, hammer-ons and pull-offs, double and triple stops (knowing your triads is very helpful here), bending strings and multiple-string bends, 'chicken-pickin', where muted notes are added to licks to get a clucky, percussive sound. That's the kind of stuff most country lead primers will tell you about, though I'm probably missing something.
I've found that country guitarists often play fills that involve double stops of a third, but especially sixths. Learning how to play up and down scales in sixths, both broken and harmonized, can add some color to otherwise boring fills and licks as well. And MOST IMPORTANT OF ALL: Listen to lots of country music. You can't speak a language if you haven't heard anyone else speak it.
I didn't accumulate these notes from that solo alone. I noticed that I often see and use this "pattern" of notes in many songs and riffs.
I even discovered you can play the tune of "What Child Is This" using this pattern. I'll post an example of these notes capabilities in a second...
That's because What Child is This is based on the minor scale, with an accidental in the last bar. A scale is a sequence of notes that repeats over and over again... in your tab you have the F minor scale written out followed by what's basically the F minor scale with accidentals included. If it was an actual scale those accidentals would be found in the first octave anyway.
Besides, what you're really missing here is that you don't need to create awesome new scales to get the sounds you want. You've found something you think sounds cool and all it essentially is is the F minor scale with accidentals added. If anything I think more people should try and approach writing and improvising this way, makes a hell of a lot more sense to me than trying to figure out the D# Byzantine Altered scale or whatever because the major and minor scales are just too dull.
I think the idea of parallel fifths that you're referring to is their use in classical music and four-part voice-leading, where generally parallel fifths are avoided, due to their 'empty' sound. I'm not particularly well-versed in this type of writing so maybe Wolf or Griff can correct me. I may not be right in thinking this is what you're talking about, but in my experience usually when someone asks about a concept like this it's because they've heard they should avoid it. In four-part writing smooth voice-leading is very important and having two notes moving in a fifth together creates a more harmonically vacant sound that many classical composers tried to avoid. However, virtually every song to feature power chords has parallel fifths all over the place, so that's not to suggest that they should be avoided altogether. It's all about context, and obviously a Green Day song is not the same thing as a Bach chorale.
It's based on the one note's relation to the other.
If you have a major scale, G A B C D E F#, there can only be one note that acts as a fourth, and that's C. Cb is a diminished fourth (not commonly seen), and C# is an augmented fourth. Likewise, the only note that functions as a fifth is the D. It's got more to do with the spelling of chords.. if you were asked to spell out a G diminished triad, you would spell it G Bb Db, because to make a major triad into a diminished one, aside from changing the third, you alter the fifth. Spelling the chord G Bb C# is enharmonically correct, but to read that, you would assume something has been done to the fourth, not the fifth. It's for the same reason you wouldn't spell a G minor triad G A# D. A is the second, not the third; a minor triad has a lowered third degree, not a raised second.
Nope. Feeling comes when you have mastered the guitar. Not before. Making stupid faces whilst playing isn't feeling, sorry.
Jazz is far more complex than blues. Blues is a pentatonic scale. Jazz is a myriad of techniques that require time and effort. Jazz incorporates many different chord progressions and scales; not to mention the strange rhythms and off-beat timings that are frequently used. Blues is like the first thing you learn dude. Also, the problem with bending is that it simply comes with experience.
Are you suggesting that only the very greatest guitarists in history have been capable of playing with feeling? I'm almost tempted to think you're trolling. I'd like to think that I play with feeling and I certainly haven't mastered my instrument. Also I'm not going to disagree that jazz is quite difficult, but to belittle the blues as being something basic and simple is pretty wrong as well. Between the misconceptions about feeling and the misconceptions about the blues, I'd be willing to bet you couldn't piece together a blues solo worth listening to.
Take to heart what Sean says, OP, he's dead-on almost all of the time. As someone who has been where you are, learning songs and trying to figure out the real musical "details", theory, ear training and what have you, through the various internet mediums that are available (and by the way, a combination of google, youtube, and UG, is both more often used and less helpful than you think) I can tell you that it is absolutely no substitute for a good teacher. The bottom line is that as fledgling musicians we can research things and find answers on youtube, etc, but the actual accuracy or helpfulness of those answers are often pretty suspect. Look up any "Expert Village" videos pertaining to playing an instrument for an example of what I mean. Far too frequently people like yourself believe falsely that they have found an answer they were looking for and turn around and make videos or articles themselves to try and teach others, but when the information was flawed to begin with, it just perpetuates confusion. When trying to learn theory via free internet pages I was shocked at the wide range of different answers I found for the same questions. Even small differences can be very confusing.
I went to school for 2 years and got a diploma in Jazz Performance, and from the very get-go, I was amazed at how questions and concepts that had eluded me for years were easily understood once a real person with legitimate knowledge and the ability to realize exactly where I was going wrong was explaining them to me. Like Sean said, the ability for a good teacher to anticipate your pitfalls and tailor the information in a way that will suit you is the difference maker in a learning experience. For that reason, I've always found guitar DVDs pretty useless, despite any insane chops or gigging experience the author may have.
I understand it's difficult to find good teachers, doubly so if you live in an area without many, and maybe you don't really have 'time' to deal with any sort of formal lessons, but consider the amount of time you probably search the internet to find answers to questions that would take a teacher a few minutes to clearly outline for you. Sean is always advertising that he mentors young musicians for free, and from my understanding he does pretty good work teaching via the internet as well, I'd start by talking to him. Like others have said, you get back what you put in, and I can tell you I got way more back in a few years of real person-to-person teaching than I did from years of learning songs out of GuitarWorld and piecing together theory from user-edited wikipedia pages. UG is a great resource to be sure, but at any time you can safely assume that half the posters in a thread don't know what the fuck they're talking about.
god that's good, this thread is gonna be a shitstorm already. ts, you say yoou know all the scales and modes (which i doubt) but what exactly is the eastern scale? harmonic minor, phrygian dominant? pentatonic?
What's so laughable about the lydian dominant scale, exactly? It IS a real one.
I have a BC Rich Warlock. If you don't have a BC Rich I hereby declare you a homosexual. It's my main guitar, it's great, the BDSM pickups are good for standard pickups, awesome fretboard, body shape extremely comfy when playing (You can choose to play horizontally it like a Strat or sit it between your legs like a V), only letdown is the wraparound bridge, but that only is a bummer when changing strings, which is about 0.1% of the time you have your fingers on the guitar. You'd be surprised how awesome these things are, in terms of playability and stuff.
You just haven't played a REALLY good-playing guitar yet.
If the test is aural you're going to be identifying intervals by ear, in which case charts and stuff probably won't help. You won't likely be looking at two notes and figuring out what the distance between them is. Are you able to do that? Because if you are, it doesn't really matter whether the interval is diatonic or not.
I agree, Opeth and Children of Bordom ain't half bad, but I bet any death metal elitists would argue that they are not true death metal. I'm talking about the "true" death metal crap that the elitists think is such brilliant music. My description of that kind of death metal is how I would go about producing a death metal song, I'm not even joking either.
It's not elitists, it's people who know what death metal is. It's been so long since I've had a good discussion about this sort of stuff, probably a bit longer than since I've actually listened to death metal. But I remember your kind, and I think now what I thought then, you're either musically illiterate, or stupid as shit, to think that that's all death metal is. I'm beyond the point where I really care to argue about metal with message board trolls, but how you can call yourself a musician and then listen to Cannibal Corpse and not hear the precision of the playing and how rock-solid the time is throughout, is beyond me.