Found 400 results
Found 400 results
So, recently I've been really focusing on soloing and improv especially, but whenever I sit down, turn on the backtrack, right from the first bend to the last root note, all I want to do is smash my guitar, crawl into a tiny whole and stay there till Christmas. My phrases sound like shit, all I get is pissed off. Any tips? Articles? Ideas? Anything? I really want to keep at it, and I WANT to get better, but I just am in a rut, or moving at slow pace or w/e.
TL;DR I'm ****ing frustrated man.
btw: self-taught, know very little theory
I think you need to read up on modes more. I provided several links in post #8. The fundamental thing about modes is that they are NOT scales and should not be treated that way.
You can, by all means, treat their intervals as scales. (For instance, a lot of people use the "Dorian scale", which is simply a scale with the same intervals as the Dorian mode.) But keep in mind, that is not modal, necessarily.
First learn the scales as something purely theoretical, that could be applied to any instrument. Memorize the interval patters, and memorize all the notes in every natural major and minor scale. Forming melodic/harmonic minor is easy enough after that. Be able to just rattle that shit off. If you can sing (some people just can't) be able to sing them too, given a starting pitch.
Then learn each note on each string at each fret. Be able to put a finger anywhere on the fretboard and instantly name the note.
Then put that shit together.
DO over think it. It's not the same. It's the difference between being able to do something and knowing what you're doing.
anyone got any tips for learning scales as a group of notes allover the fret board, rather than boxes or positions of notes to be used in isolation ?
its easy to learn the boxes, but has anyone got any suggestions on ways to mould them together so that it becomes easy to make runs up and down the fret board rather than playing a lick in one box, then moving to another box etc ?
A troll on the interwebz darn I thought I wouldn't find you here!
Look i'm tired of coming on here, and seeing people post about how they feel like they're stuck in a rut because they keep playing the same thing over, and over again. Or how they want to learn how to improvise, but every attempt they make at improvising sounds like they're running up and down scales. Or how one person will come on the forum and post a song and ask how to play like the specific, artist they posted.
Let's end this foolishness right now guys. Why is learning how to play by ear so important you may ask? First of all you if you read what I've previously written in the beginning of the post you will not have any of those problems. Instead of coming on this forum asking how to play like the artist you have in mind you could just transcribe their song.
What's transcribing you may ask? Well transcribing is basically figuring out the song by simply listening to it, and writing down what you've figured out. It's beneficial in many ways. It's so beneficial that it would be impossible for me to list all the reasons why it's great because there's literally 1000's of benefits.
Music is an art of hearing if you don't use your ears how will you understand what's going on in a song musically? How will you be able to tell what the key of the song is just by listening to it? Do you want to be the type of person that goes into a jam, and can't start off the jam because you have to ask what key the person is playing in? What happens if they key changes in the middle of the song what are you going to do?
are you going to Ask the person what key they've changed to in the middle of the jam?
Hell no that's
embarrassing, and not fun it's lame if you ask me... We all want to be able to improvise on the spot like musical gods, but the only way you'll be able to do that is if you learn how to transcribe songs it's good ear training.. You wonder why you can't improvise, and make something sound good in the spur of the moment. But yet you know all these scales you're confused as why it doesn't sound musical.
It just sounds bland and scale like well my friend I have the answer to your problems when you improvise you don't think scales, and patterns guess what? You think sound! Mhm right now you may be confused. Did he just write sound? How is this even possible...
Well you play what you hear in your head, and the only way to be able to do that is if you're using your ears... When you start using your ears transcribing countless songs you will begin to understand that possibility of how a song can be played in many various different ways instead of playing it over, and over again note for note. It doesn't sound fun playing a song way a million times the same way.. But when you're in the spur of a creative moment, and you hear something you'd like to put in the mix you could just bring it out of you just because of the fact that you know your instrument purely by sound!
With your ears you're only limited to imagination my friends, but with scales your limited and bounded by scales.
So get to transcribing unless you want to be stuck in musical ruts for the rest of your life. Doors will open musically for you just because of the fact that you'll have the ability to transcribe anything you hear. You can literally enter the mind of the, artist that your transcribing, and figure out how he came up with that musical idea.
If you want to learn a new style like jazz or blues you could just simply transcribe it. Using your ears is the best method to making music learning all the theory in the world will not teach you how to compose music, but using your ears certainly will!
-------------------------- Sorry I was in a rush when I posted this so excuse me if I've made some Grammatical mistakes.-------------------------
what is the best way for me to warm up. I have tried stretching but that has just made my fingers more tense (turns out that its bad to stretch before exertion). Is there any dynamic warm ups.
So, is it best to be proficient at playing before I concern myself with theory? Or should I learn to play along side learning theory? One my musical goals is to become very proficient in theory, so I know that I want to learn at some point, but I want to do it at the right time, in case I learn wrong. I hope that made sense.
Also, any advice on a good place to start? I know good places to learn technique, but theory seems a little more hard to come by.
Sorry if this was covered somewhere else, but none of the stickies seemed to satisfy me, and looking up older threads has never worked well for me.
I'm mainly an electric guitar player (rock, fusion, metal, etc.) but since I heard this guy I started playing my acoustic more often. I would like to know how to play like him, what scales he uses, how to improvise and compose this way. I know he uses open C tuning but is it really necessary to play like him? Also, what kind of music would you say this is..
I want to learn how to improvise this type of style. At the moment I can play scales but do not know how to mix them or add extra notes like this song. What else do I need to learn to play guitar like this? If you could tell me exactly whats going on in this song that would be grate but i understand if not.
For the last year and a half I was very determined to be "the best". .
I heard learning scales is important and helps. Is that true? What scales should I learn first?
the thing is that I want to know what I'm playing in my bass, I want understand music.
I am starting feeling that i'm a not a true musician without knowing any theory
and most of the people saying either thing won't really be qualified to make an informed decision
Ok, so I read the posting about asking about modes, but hopefully this won't be deleted, or worse, I will be humiliated in public
So, for some reason my teacher taught me the modes as the first scales to learn, I've been able to use some of the modes while playing some songs, but still struggling with them.
No longer with my previous teacher, due to low funds, I recently started to read about the Major scale and how I need to learn the Major and minor scales.
Now, I know the Ionian = Major scale and the Aeolian = minor scale, but here is where my confusion begins, when I see the Major scale across the entire fretboard like in the link below I can see the exact same notes as the modes including the minor modes
Major Scale Diagram
So, my question is very simple, is the Major scale the same as the modes? except with different starting points? if so, can somebody explain why they are called two different things if they are one and the same? and why are the minor modes being played in the major scale? or am I completely looking at this the wrong way?
Hope someone can help me out, because this has been bugging me for a while..
that probably goes both ways, though, nomatter how bad something is there'll also always be someone praising it
Today in my Forms & Analysis class, we ended up getting really off topic from what we were supposed to be doing, because of a few questions in class, and basically my professor is this lady who got her PhD in Music Theory at Harvard, and we were just talking about all the problems she had with music pedagogy. Stuff like not enough counterpoint being taught, problems with the Kostka-Payne textbooks, too much emphasis on four part chorale writing, and not just college curriculum, but private instruction and how it's generally taught in the US.
Anyways, I've always had my opinions on what's wrong with how X is being taught, but that's mostly just in the realm of classical guitar. From you guys' experience being taught as musicians, what are some qualms that you've gained?
He thinks he has won...
Hey GuitarMunky, I totally agree - learning existing solos is a must and the best way to grow as a player. and If you are a creative player it will immediately inspire you with ideas for your own solos too.
Nowadays with play along tabs and youtube instruction videos showing you exactly how to play, it's a fast and very accurate way of learning the solo / riff / tune, however, it does take some of the thought process and ear training away. I remember watching a interview with Nuno Bettencourt and he talks about it. he basically says that learning with today's tools makes you a copycat and the best way is to learn it by ear and play it (position and fingering) as you feel it.
1) I don't "have" to switch actually, I can do vibrato and bending with ease with a thumbs behind grip. I only switch because it is comfier. As for the other stuff, I've yet to come across these.
2) It's totally not relevant in terms of practical knowledge(I have to do this to prove my point), but if you were to choose one position to restrict yourself to, you would be better suited with a thumbs behind grip.
I believe the thumbs behind position is greater overall, yes. Because you can play anything you can play with a thumbs around grip, with a thumbs behind grip, plus a lot more. Simple as that. It's sooo incredibly simple, seriously, read that again.
But I also believe you can switch when you come across the type of passages that benefit greater of a thumbs around grip, like passages when you don't play chords, sweeps, stretches or anything involving vertical position shifting, or something that's easy relative to your playing ability. I do this myself as it's comfier with the wrist in a more natural position, but because my fingers are in a less efficient position I can't do this during the stuff that requires a thumbs behind grip. Make sense now? Or am I still idealizing?
I hope I stated my point clear and correct this time.
Should a guitar solo be improvised or composed?
What makes it more exciting? Is it the thrill of connecting to the moment, trusting your instincts and letting your fingers run free... or planning the ultimate composition - one that has been crafted, polished and well practiced on the fretboard.
Perhaps, it's a mixture of both worlds. An improvisation that sticks in your head and gets played over and over again - each time with a small alteration, a slight improvement to the primary improvised solo.
Some of the greatest guitar solos seem to be at least partly composed, as the player plays them identically live every time. Some examples of that include: Sultans of Swing (Dire Straits) The Wall (Pink Floyd) Sweet Child O' Mine (Guns and Roses), For the Love of God (Steve Vai) and many many more.
What do you think????
Considering you can play all the things you can play with a thumbs around grip, with a thumbs behind grip(I assume you can at least, I've yet to come across a passage that would prove the opposite), it would insinuate that the thumbs behind grip is simply more efficient.
C) Efficient for playing the part of the spectra of passages that can't be played by a thumbs around grip.
D) Why aren't you claiming that?
I've never advocated that you should restrict yourself to the thumbs behind grip only.
I'm simply saying that the thumbs behind position is simply more effective.
If Rusty Cooley, and Steve Vai, and John Petrucci were to be restricted to a thumbs around grip then yes, I believe I could play stuff they wouldn't be able to play with my thumbs behind grip.
I'm saying you're achieving a less efficient position(And this would mean that you could still possibly outplay a less skilled player depending on your level, you seem to think this was relevant so I just mention).
Are you claiming that you can play the exact same stuff with a thumbs around grip that you would with a thumbs behind grip?
Couldn't find the new topic button in the music theory section, so going to post this here.
Anyways, I have been wanting to get more serious with guitar, so I worked on controlling how loud I pick the strings(I played very loud before, just realized that is why my gain was so low on my mixer), and other stuff I can't really remember, plus barre chords which I am actually noticing that they are easier to play than I thought, only having problems with the F chord.
Now, I like tabs and stuff, they are really nice to have(especially since I got guitar pro last year). But, I am feeling kind of limited because I can't read sheet music. I guess my guitar teacher had actually taught my brother how to read sheet music, but never taught me for whatever reason, and now I am clueless on what to do.
Lol, why would I talk condescending towards a technique on the guitar?
But if we were to elect one of the positions as technically superior it would definitely be the thumbs behind grip.
Yes, I also think the plain bending and vibrato is easier with a thumbs around grip. But it's just too clumsy during passages that you need to have a thumbs behind grip to do, unless it's slow and switching doesn't take too much time for you to not be able to fret the notes, whatever(or simply: technically hard passages). ANYWAY, I don't think we can elaborate on this any more than done
^ what thumb position does bubbles use when he plays guitar?
Lol, we made a three page long thread arguing about the thumb position when bending a string
What sounds do you think are essential and you should be able to name by ear?
By 'sounds' I mean things like Major, Minor, Sus4, 7th, Diminished, etc.
And TS, the song is definitely not in dorian. It's in D minor.
Correct. no V, no key. That Bminor chord could be a ii, iii, or vi of major keys or a i, iv, or minor v of minor keys.
with that droning Bmin chord you could play in all those keys and it wouldn't sound bad.
Lol fascinating how so many people here have false information about music theory, c'mon guys at least try to verify your shit.
So I've learned some chords and finally getting barre chords down. I'm thinking the next step would be to learn scales. What is the best method you have found for learning them? Thanks.
Playing with the thumb over isn't "wrong", but it's not always "right". Thumb-behind is never bad technique, it's never the "wrong" way to position your hand.
As for bends... you shouldn't have to change hand position to bend. I'm happy to provide visual proof that bends are just as easy thumb-behind. It really doesn't take much force to move a little wire half an inch. It takes more force to open a door than bend a guitar string up a whole step - it all comes back to precision.
I also find it funny how the "thumb round the back of the neck" guys are talking about "challenging" and "not challenging" music. First of all I think that's very condescending- blues or even rock might be easy to play at a very basic level, but like any style of music it's hard to play *well*...
Ah, alright then. But all these guys put their hand behind the neck whenever a technical passage comes by(possibly not very high up the neck or if they have big hands, like PG), doesn't that signify something? What these videos show is that these guitarists have no difficulty in changing the thumb position when they happen to bend. It may be 'easier' to bend a note with the thumbs over, but I still believe that if you maintain the thumbs behind position it puts your fingers in a better position for any technical difficulties. If the passage is easy, then maybe you would save some energy by putting the thumb over. But if you still have control with the thumbs behind then don't see the problem with using a thumbs behind bend or vibrato, regarding the actual vibrato and bend.
My only argument for using thumbs behind is that it makes you more ready in technical passages, don't you agree with this? I agree that a thumbs around grip puts the hand in a better position for the bending or "vibratoing" only though. But as I said, in a technical passage(particularly involving wide stretches), it might be troublesome to change positions, so it is simply more effective in the long run the keep the thumb position at the back.