Found 400 results
Found 400 results
Any guitar teachers here came across some more "difficult" customers/noodlers like this one? Any advice on how to handle the situation better?
im a perfectionist so if i want to learn a song i want to learn everything note for note, so i use tabs as a guideline and correct all the mistakes. I tried to also emulate the exact vibrato used in the song. Does this actually improve me as a musician and a guitar player?
anyone else like me, can't play a song 95% correct, gotta be 100 % down to the last minute detail if im doing a cover not a tribute.
can't play a song 95% correct, gotta be 100 % down to the last minute detail if im doing a cover not a tribute.
Hi, I was watching my favorite episode of Squidbillies and trying to replicate the first part of Early's guitar solo (the first part where he plays an E Minor chord so crazy and fast, it makes a laser sound with his guitar). I'm curious if it's possible to replicate that part. I've already had someone transcribe the rest of the solo so this is the only part I'm stuck on. I've heard it involves glissando on that E Minor chord but how do you accomplish that?
A link to the solo in question
Also I was continuing my quest for a new tonality by messing around and stringing different 16th note arpeggios together into one piece. I'm curious what key my experiment is in and what tonality would fit it? Here's a link.
I know these are unrelated but I'd like advice on either one.
You always hear people saying " it takes years to be a great guitarist". Well, do you think that is because a lot of people do not know the correct approach to take to achieve musical goals?
Everyone is just different and not everyone can benefit from the same methods of teaching as others for many reasons.
So do you think that when it takes years it is actually due to a lack of proper knowledge and other things when trying to achieve musical goals?
I bet if I knew what I knew now years ago I would have been so much better than I am now. Now I know why those handful of people seem to be better than the rest is simply because they just KNEW WHAT TO DO for their own personal musical goals. Too bad we can't rewind the clock.
With fixed Do you're assigning names to notes, not scale degrees.
but moveable has the advantage that you're singing and internalizing scale degrees and their relationship to the tonic.
Have you ever taken Aural Skills classes and used the solfege system? Did you find it helpful, or able to do without?
I agree with you. But my point was that the note example he proved used just CST. If you looked at the progression, there was no one scale over the whole thing. There was a dorian scale over every minor 7th chord. It treated different chords as different scales.
Being in the mode of A dorian is different han playing the A dorian scale. In jazz people many times play the dorian scale over minor 7th chords. For example if we have a basic blues kind of progression in minor, we could have Am7, Dm7 and E7 chords in it. But you could play the A dorian scale over the Am7 chord and it's actually pretty common (especially if we stay on the Am7 chord for a bit longer time). But that would not make it modal.
I'm by no means denying the existence of modes. But many songs that use modes in them are not really modal. For example parts of Dream Theater songs can be harmonized with dorian/phrygian/mixolydian/lydian scale but that's just one part. If you add all the parts and all the modulations in the song, you can tell it's not modal. A great example is "Under the Glass Moon". The riff that starts after the intro melody is definitely phrygian sounding but the parts that come before and after it just make the b2 note an accidental. The song also has a dorian sounding part but again, that's just one part of the song and doesn't make the song modal.
For example if we have a basic blues kind of progression in minor, we could have Am7, Dm7 and E7 chords in it. But you could play the A dorian scale over the Am7 chord and it's actually pretty common (especially if we stay on the Am7 chord for a bit longer time). But that would not make it modal.
No, not modal at all. It's just chord scales. It just suggest scales you could use over those chords.
Even if the scales have mode names (for example dorian), it doesn't make the music modal.
You can use A dorian scale in the key of A minor (which is really common).
Using the dorian scale usually means that you are using A minor scale with a major 6th accidental.
^ oh yeah i should clarify that i liked what i heard of those todd duane clips too. i hadn't heard of him before, nice find ronald
So, I am a guitarist but I excel at drums and play drums in a very established, popular, professional band.
These people are (were) my family. They were all I had. I recently had a rough breakup and am going through major health problems (which I don't let my band know about how major they are and drumming with them was actually one of my only escapes from the severe pain I'm in - both emotionally and physically).
My band has a powerhouse singer who has won many awards. The other three are very average musicians. The guitarist is definitely the weakest link, he has no clue about scales, how to solo, all over the place with time when it's just him playing or starting a song. But he's also the husband of the powerhouse/amazing singer. He's also the designated "leader" of the band and "songwriter". He has been frustrated about writing songs lately when he brings basically no ideas to the table. When he plays a riff, even if it sucks I never say anything and just try a million different drum beats. We recently wrote 2 songs and I am so proud of them. He thinks I am not "clicking" when he's the one who can't even figure out a simple solo in the same key of the song!!!
They actually said I am too good for them?! They said a million times how much they adore me as a person, how much of an "amazing" drummer I am. But uh, we don't want you. WHAT?!?!! I am nominated for drummer of the year in my state and the award ceremony is coming up. First 20 drummers were nominated and now it's down to 4, I am one of them. I have a degree in music. I am the only person in this band who has been in many other successful bands. I am the most professional when it comes to the business side of being in a band. I have been nothing but helpful. When most people in my shoes would become so frustrated with being so much better than the other musicians, I always kept my cool and would sometimes offer suggestions if someone just wasn't getting something. Even though the musicians are average (guitar player being the worst, despite being the "leader") we gel as a band and I absolutely love playing. Our singer tears the house down, she is unbelievably good and I have never been more in love with playing with these people.
My life is hell right now for many reasons and I'd keep saying "at least I have this band, at least I have this band". I love them so much. We have the best gigs coming up right now with summer starting. And that award ceremony. And I just bought a new drum kit that LOOKS like my band's look. And I just ordered a custom kick drum head with our logo on it, so ironic. I've been on the floor sobbing for hours. I can't believe this.
After shows, both the singer and I have fans swarm all around us. People I don't know, and drummers/experienced musicians who know what's up always say how awesome I am. And how much better I make them sound (they had an old drummer who had absolutely no idea what he was doing about 4 years ago).
I have nothing right now. Absolutely nothing. I need to be on stage. I need to drum. They kept saying "we love you so much, your drumming is amazing" ?!?!?!? But they want me gone?!?!?! Everyone knows me as the drummer of this band. This can't be happening....this cannot be happening.
I decided to research John 5 and learn some Rob Zombie songs (and other things he played). That would be helpful.
Who's the weirdest guitarist (playing wise) you can think of? What's their favorite scale? Give a description of their style and example of their playing.
Here's Brad Paisley playing a sweet country shred solo with Keith Urban.
Hi, I just started listening to Todd Duane and was wondering something. How is his playing so alien (like Alan Holdsworth, Frank Zappa, Buckethead, and Syd Barret level oddity) and unique.
Are there any techniques and/or strategies that would give me that kind of sound (besides practicing too much)?
What genre would Todd Duane even fit into?
I'd like some answers as to how this guy's playing works.
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
Ok, I know the title sounds stupid, but I need to know.
I've been playing guitar for about 6 weeks now, and I can play Garret Evan's (Goliath Guitar) interpretation (fingerstyle) to The A Team (started learning it a week ago) . I can also play "Let Her Go" by Passenger (fingerstyle and strumming) I have a book called "Fingerpicking Beatles," and I can pretty much play any song on there, and some of the harder ones I can get with some more time. I can listen to some songs and figure some of them out, but I'm pretty crummy at it.
I can't play bar chords yet, which bugs me, and I feel like it takes me too long to learn a song. How can I tell if I'm good or not?
Hi could anybody tell me the best methods for ear training?
My point was, a scale is not just a pattern on guitar; pattern in this case meaning "box shape, linear line along 1-2 strings, or diagonal run". A lot of young guitar players get to thinking that they can only play scales 1-2 ways, and we all know that's just not true. There's just so many places/ways to play any given set of notes on any instrument that I feel people are missing out on a lot if they get stuck in playing a set of notes in just 1-2 ways.
Of course, scales are actually patterns of intervals that are the same across all instruments. It'd be dumb of me to dispute that. lol
So, yes, you are technically correct. But you missed what I was saying.
Dude...you're missing the point.
a scale is a collection of notes.
a scale is NOT a pattern
Is there a way to know that the chord you're playing is not part of some larger chord?
Eh, probably. But the point is, regardless of the video, that Skolnick generally knows more theory than the guys I was complaining about.
I have been playing the guitar now for about 6 months. I'm still learning loads of songs aswell as getting what I know already to a good level. I am wondering if maybe I should try and learn music theory too, would this help my playing? or would it allow me to write some of my own music? it's more to help my playing at this point but down the line I would like to write some of my own music. Can anyone advise on this?
OK, I understand numerous scales (pentatonic, every mode of the major, etc.), but when I make bass lines, solos, whatever, I find that I get stuck in this box of just kinda running through the scales and randomly picking notes from the scale.
Instead of actually forming lines that sound good, I usually end up playing things that sound OK, but not really good or emotional, which is what I'm wanting.
I really want to be able to use my knowledge of scales/intervals to create emotional and well written pieces and improvisations, but I feel that my theory knowledge is ultimately holding me back because I get stuck inside this metaphorical box when I play of just following the scale and not picking the next note I play because it sounds good, only because it "works".
When I see guys who are constantly playing things that sound good, it blows my mind because I know I should be able to play like them, but I can't. I am extremely frustrated.
How do I solve this problem?
Skolnick actually knows what he's talking about though.
Why are a good portion of users on this site so condescending?
Hey all. Just wondering if anyone knows what is happening in this jam theoretically.
You have to skip to the 5:01 mark. From then on its just so amazing to me, I find this more amazing than any mozart or bach piece I've heard (granted I've only heard a few).
But this is the sort of improvisational ability I strive for and if anyone can help me out that would be great. Scales, Keys, key changes, etc. Thank you in advance.
In any case, simplifying down to the 3 main categories helps me. All the academic terms like secondary dominant or modal borrowing/interchange are just useless information that hinder rather than help.
looking for best ways to practice without boring me to the point of putting my guitar down. any ideas on what and for how long i should practice before i get into playing the songs i really like?(90,s grunge ,thrash,some new metalcore, stoner rock, classic rock, sabbath etc..) gotta be homest i cant devote several hours to scales and left hand excersises but i can play the songs i like for hours. so please gimme some pointers on what to practice and for how long ie right now im concentrating on my gallop technique and down picking stamina for my thrash songs but id still like to know the basic scales, using a metronome, and know all the names of the chords across the fretboard. thanks for your time
Hello guys! I just bought my first 7-string guitar Ibanez Iron Label
And i got to keep the one on the floor on collateral until my new one arrived. So the one on the floor played beautiful, no problems, the tune was not giving me a problem at all.
So I picked mine up when it arrived, got home and fresh out of the box. I'm tuning it and there's something wrong. Once all strings hit the green light on the tuner and i play it, it sounds off. I don't know if I'm explaining myself very well but is it because it needs to be broken into? Its a brand new guitar so it shouldn't give me any problems T_T
i hope this is the right place to write it ,
so in the song of Eric Clapton Layla the chorus is play with F major / D minor and from my checking the VERSE is play with A major if i right.
in the A major scale the notes doesnt include the C note (its include the C# note).
so how he play the C chord in the VERSE.
i hope its clear enough.
thanks in advance .
for the vast majority of people, this is going to be discarded, because its not what anyone wants to hear.
The intonation definitely suffers a bit. If you plan on recording or playing a lot of songs with DADGAD, a setup would be preferable.
The higher strings will also be much looser, so you need to adjust your fretting technique slightly to compensate ( i.e. don't press too hard).
I just tried writing my own solo for the first time, made a few cool licks in the Key of E, and practiced them slowly for about a week so they all sounded pretty decent, then, strung them all together... Needless to say, it sounded like an ogre having sex with a dog while getting hit by a train. Does anyone have any tips on how to string together licks/ ideas for a solid solo?
I know that someone is bound to say: "Make sure you know the chords!" Frankly, I haven't put my 'solo' over chords yet, because I want to hear it all put together before I put it over chords. It's also worth noting that I don't know theory at all, and can't afford a teacher, as college is coming up too fast, and I'm trying to save.
And I know someone will say: "Learn theory," believe me, I've been trying for probably about a year now, and I've used too many sources to count. I start off strong, then hit a wall after about a week or even a month of studying a specific source, and whatever I do, I simply cannot get down what the source is teaching. Thanks in advance!
Um...I would. But feel free to disagree.
Of course, depending on your guitar, your intonation may be way off. Your action may need adjustment. Etc. But hey...if you don't give a shit about that stuff.
Just a note: if you do that, you will need to re-set up your guitar. Don't just re-tune it and call it good. Either PM me or start a thread in the electric guitar subforum for more info.
I am starting my theory from scratch. I am at chapter one of the AB guide to music theory. The book states that stems of notes can go either up or down. Depending on the context you should put one up or down. But how do I know wheter to put it up or down?
Eh, I can see where you're coming from with this. But I don't really agree with it.
Anyway, I apologize.
Yes. And? The name of the scale isn't important here, really. We could argue scale names all damn day, but the concept of the intervals in the scale is really what matters.
So, basically I am asking if we would use a D minor scale perhaps or what our options are. Here is an example of a riff I wrote (is this already a song lol sounded familiar when I came up with it?)
0~ 3~ 5/6/7 12p10 12p10
0~ 3~ 5/6/7 12p10 12p10
0~ 3~ 5/6/7 12p10 12p10
So just as an example what are the main scales one would tend to use when using riffs that go up the neck?
p.s. what do you think of the riff, it is kind of Black Sabbath inspired?