That is the blues right there my man, more specifically the kind of blues that came into existence with Jimi Hendrix and beyond.
I always advocate learning real music when learning how to play, so i am going to support you with a long list here of players that have that kind of style and you'll have to dig through and see what you like. The best way to learn (in my opinion) is to copy the ones that are already playing well, so learning from records you love and such.
Anyway, players you might want to check out include: Tony Spinner, Bernard Allison, Albert Cummings, Mike Zito, Julian Sas, Nils Lofgren, Reef, Gov't Mule, Alvin Youngblood Hart, Shannon Curfman, Tedeschi Trucks Band, Two Ton Shoe, Bryce Janey, Popa Chubby, Kenny Wayne Shepherd, Robben Ford, Tab Benoit, Chris Duarte, Jonny Lang, Tommy Castro, Joe Bonamassa, Robert Cray, Jimi Hendrix, Eric Johnson and Stevie Ray Vaughan.
As said though, you might have to do some digging. For example Stevie ray vaughan have a lot of stuff that are straight up blues and not that kind of style in the video, but then he has songs like "Lenny", "Little Wing" (Jimi Hendrix tune) and "Riviera Paradise".
Same with a lot of guys on that list. Robert Cray have a lot of tunes you'd probably like the guitarwork on, like "Lotta Lovin'" and "Times Makes Two". It requires some digging, but if you do it you will probably strike at gold.
As spambot said though, we are not here to tell you what to play. But we are here to help. I hope some of these suggestions are somewhat what you were looking for. If you have any other questions, go right ahead and ask.
Best Regards Sickz
From the 5 minute mark: Definite Hendrix style. Learn to do "double stops".
Get "The Real Book". It's THE textbook for standard jazz. Transcribing is great. But I save it for the improvisations that I think sound cool. I learn the melody and chords from the sheets first.
Screw those pay-per-view lessons. I can't recommend that since I have only had bad experience with those kinds of online teachers (I can't speak for everyone, but they seem to only want your money IMO. Go to a real music teacher, one who can teach you theory and is passionate about it).
Here is what I know about jazz. I'm no expert, but it was a part of my curriculum, for three years, half a year ago so I do know enough to get you started. I'm writing it down here before I forget it to help both you and me . I hope you find it useful because you seem rather serious about this.
I assume that you're well versed in basic music theory. Otherwise, buy a book or get some lessons. Don't hesitate to ask if you have any questions though.
Here we go! It's my combined braindump/jazz lesson.
Jazz basically consists of two parts. The first being theoretical knowledge. The second, knowing how to approach a jazz tune.
The theory - It's complicated untill you get it.
First of all, learn all of the notes on the guitar, if you don't already know them. Ask around the forum for tips on this.
A great exercise is to learn one note each day. E.g. Monday you decide to learn where all the e's are on the guitar. Play all the e's to a metronome for about as long as it takes to sink in.
Tuesday, all the g's. Etcetera. I don't recommend learning them in order. You'll have it down in less than two weeks if you do this (it's way easier than it sounds like).
1) Knowledge of chord functions. I.e. What terms like "tonic", "dominant" and "subdominant" mean and how they work together. (Hint: Circle of Fifths) For example that the dominant leads to the tonic (most important step in jazz is to know: Dominant > Tonic aka V > I).
1a) Be able to translate it into jazz terms. (this is very simple) For example: Tonic = I, Dominant = V, Subdominant = IV, The Dominant's dominant (Don't know the english term. It's the two D's on top of each other. Looks like the Daredevil logo) = II.
1c) The difference between a dominant 7th chord and a major 7th chord. - If you're really going at it: When it's called a 13 instead of a 4th - and so on with the rest of the double digits. All in all: Thorough understanding of chord construction.
1d) Know your parallel keys. E.g. C major is parallel to A minor. F major and D minor and so on. (Don't worry... I don't even know all of them by heart).
1e) Know all of standard 7th chords that come from the major scale and which note is the root. Cheat sheet: I Maj7 II chord: m7 III chord: m7 IV chord: Maj7 V chord: 7 (dominant 7th) VI chord: m7 VII chord: dim7
2) Analyse standard jazz tunes I'll briefly explain what a standard jazz tune looks like, so you know what to look for when you start analysing them.
A standard jazz tune consists of 32 bars, much like a standard blues consists of 12 bars. I believe that those 32 bars are called a "jazz choir" or simply a "choir". I was taught jazz in danish and "choir" is just a direct translation of the danish term, so feel free to correct me if I'm wrong here.
Now, the choir can be further divided into the following formula: AABA' That's 8 bars of A, another 8 bars of A, 8 bars of B and finally 8 bars of A'. You can often tell the difference by listening to the drums, since they almost always play the ride becken during the B part.
Obviously things can change from tune to tune. At my exam I had about a tune which was only AB for example.
This form is determined by which chords are played.
The jazz choir is actually just repeated throughout the whole song. How do they keep it fresh? It's simple, they improvise like this:
Introduction, everybody plays the melody that was written for the song together. (1 full choir) 1st solo, e.g. saxophone (1 full choir) 2nd solo e.g. guitar (1 full choir) 3nd solo e.g. drum (1 full choir) and so on with maybe some contrabass solo and whatever. Until the last choir. Here they play the introdution again.
Now this the complete, run off the mill, regular jazz formula.
All of the above may sound really complicated but I hope it's just encouraging. It was to me anyways haha.
2a) Key changes. This is where jazz gets complicated. This is also where you're going to need your knowledge of chords and scales - and you're gonna need it in a sort of backwards kind of way. Normally (in anything but jazz) it goes like this: You have a key. That key determines the chords. In jazz however, it goes like this: You have some chords. Those chords determine the key.
As a result, jazz changes keys very often and you need to adjust your play to that. I take it that you know how to do this, since you played in a jazzband already. If you need a book on the subject, try Jody Fisher's books on jazz for beginners, intermediates and advanced students. Other people have vouched for those books but personally found them boring.
short lesson in determining the key
There is a surefire way to identify which key you're in: The 7 chord, since there's only one of those in a key. If it's a 7 chord (not maj7 or m7), it's the V chord of the key. Make a powerchord using only your ring- and forefinger. Make it so that you place your ringfinger on the root of the 7 chord. The key is where your forefinger is resting.
Example: Say we have a Dm7 followed by a G7 and then a Cmaj7. What key is this in? Well... We have our G7 so that's definitely the V. Put your ring finger on a g-note on the guitar and the forefinger is resting on a: C. So we're in C major, which fits perfectly since we had a Cmaj7 chord in the example, which is the I chord in C major. (Consult with the cheat sheet).
In our example we also had a Dm7. Which number does that one have? Try to figure it out before you see the answer.
2b) Jazz progressions. These are common chord sequenses that occur in jazz. The most common is probably the II-V-I (look in the spoiler for an example of one such progression). A II-V-I in C looks like this: Dm7 G7 Cmaj7 Most of them are a variation of that one. These also help to determine the key and know which is the I in the key and so on, so you can adjust your improvisation around that.
As a guitarist, your job is to do some "comping" while not playing lead. It's just playing syncopated rhythms in the background while another instrument takes the lead. I guess you already know that since you played in a jazz band before. If not: Hit some off-beats, skip a beat, hit it right on for a bar, gently stroke the chords on the first beat and let it ring, then do something else etc. Remember to follow the dymanics of the drummer and don't be all over the place with your rhythm. It's generally good to stick with one rhythm for the 8 bars before you switch.
While comping you can also add 9's, 13's, 11's or use parallel chords and such to color the chords even more. Remember to learn the inversions of the chords and use them too. It's ok if you start out by only playing inversions of 7th's, you don't have to push for those inverted 11's anytime soon.
Tritone Substitution It is only a compositional tool, so it's not really that useful for playing jazz. Except for knowing "'what's up" but then you only need to know the chord, not why it's that chord. In case you're interested anyways. When/if you analyse jazz songs you're gonna stumble upon a common chord that doesn't fit the key. This is most likely to be because of something called a "tritone substitution":
A lot of fellow pupils in my class had a hard time grasping this concept, but it's an important one in understanding the fundamentals of jazz.
Back to our II-V-I progression: Dm7 G7 Cmaj7
You basically take what's supposed to be a V (in this case G7) chord of a II-V-I and substitute it with a 7th chord that is a tritone away from the V chord. So G7 becomes a Db7, since the note "db" is a tritone away from the note g.
If we do a tritone substitution of our II-V-I in C, it'll look like this: Dm7 Db7 Cmaj7. This chord is also a dominant that leads to the I, only it's much more powerful since every note in the chord is half a step away from the notes in Cmaj7.
Notice the baseline in those the chords. It's chromatic. When you come across this, it's a great time to go get some chromaticism going in your impro.
Approaching a Jazz tune This isn't so complicated, but I'll give some pointers that I follow.
a) Learn to play the chords of the "choir" by heart. Only then experiment with different comping. Don't use the tritone substitution for comping!!! - Tritone substitution is just a way they write the songs and a Db7 and G7 sounds terrible together. Am7 and Cmaj7 (parallel keys) do not, however. b) Learn to play the melody as it is written. This will give you pointers about where and what to play when you improvise.
It doesn't necessarily have to be blues. Find some music that really turns you on, musically.
I feel my skills with soloing actually increase when im not playing, since I tend to imagine the lines that I would play if i had a guitar. That's when play around with developing melodies and making them evolve into other phrases.
First off, I did searchbar the topic but I couldn't find anything.
Here I am asking for guidance from the pros . So, I need to do some ear training in preparation for an admission test. No problem, I have found some solid eartraining software that I like to use (http://www.solfege.org/ in case you wondered).
So, while I'm doing the exercises on ascending or descending intervals I found it much easier to answer correctly if listen to the notes and then play them on an instrument. Since I already know how to fret the intervals I can just look at my hand and see if it's a minor or major triad. Based on my hand position I can figure out the correct answer. But I can't help but wonder if it's a good way to train my ears or if it would be better to just try to make a guess and then later discover if it's correct or wrong.
Be patient and curious. 1) Learn to play songs that you like and observe how it's structured both in large scale (form, dynamic, what have you) and how it's structured in small scale (breaking down riffs and melodies etc). At first it's ok to just learn parts of songs to get an understanding of how the small parts in songs work. But later on you're going to have to learn whole songs and learn how to execute them well in order to get an understanding of what to do with the small parts that you've written. 2) Make song.
Edit: Maybe you're getting too caught up in just doing exercises? My guess is that you've been pushing yourself a little too hard for some time... Learning songwriting can only go as fast as it can. You could spend some more time just discovering music that you feel very passionate about and have an easy time enjoying.
Bah, don't need relationship advice. Need musician advice. Is music a talent or a skill?
Otherwise, I'm not terribly interested in the macho "dump the bitch" BS. I have a well paying job, despite the "had to sell the guitar" (financial crunch, vet bills, locked brake calipers, sisters birthday, etc). She lives with me at my place and yes the sex is "Hey Baby, this is my cute friend Sarah. What can we all do tonight?" amazing. I play acoustic and have messed with it off and on since I was 16. I have taken classical guitar lessons and am actually "technically" proficient at it. I have no intention of giving up guitar, but can see her point on trying any new instruments. Maybe I'm just a guitard or the musical equivenlent of a wet fart. I don't know b/c I sound ok to me.Has anyone had to deal with a similar situation?
BTW, Not a troll.
Hmm.. Well when was in my late teens and told my parents that i wanted to play music, which they did not approve of. I eventually saved up and bought an electric guitar, read about guitar and theory online and i have made some progress. I know that my interest in music is "under developed" in comparison to people who come from a musical family and has had musicians around them their entire life, but that just makes me want to pursue information on this subject even more. I've been doing just that, and where am I now? Well, I'm happy with my technique, which has taken a couple of years to get to a satisfactory level and I'm currently studying composition and theory so that i will eventually be able to write my own quality songs. I got into a music school, joined a band and I've had a couple of gigs in the major cities in my country. I haven't had a single gig where somebody didn't compliment on my playing. I even inspired a kid to start playing the guitar. I know I'm not the composer that I want to be, but somehow I know that with all the information available, not just on the internet, and with the will to learn, I can become just as good as I want to be. It's been 4 years since I first picked up the guitar and my parents have been disapproving of it all the time, but I've gained so much from just being humble, willing to learn and not listening to them when they tell me not to play music.
So no, I don't think musical talent has to come from birth. You can have an advantage, but I don't see any reason that somebody who isn't tone-deaf can't catch up on it.
I'm a beginner. My biggest problem is actually to get the things to fit nicely together. Not so much lyric wise, but musically. I get tonnes of different ideas for songs all the time, but I'm never able to finish a song. I think I around 20 songs on my HDD with unfinished songs. I think my problem is that I start writing, get an idea of the overall progress of the song, but then when I record it, there's always either the bass, the drums or whatever that just doesn't feel right. It annoys me because no matter how much I try to make it right it just won't or I'll get a new idea of how the song should be. So I just end up giving up on it and start writing something else. It's probably because I'm in a phase where it's still hard for me to grasp all the details in the soundscape or something...
OP, can I ask you why you're so curious about this ?
currently attending a private school. the main difference from the public ones is that we live at the school, so we get a closer relationship with each other and the teachers plus the administration. But the educational content isn't that much different from public schools. In some cases it's actually worse x).
Erm, excuse me? When using a urinal I usually just want to get it over with, not wave my young gentleman around trying to get as many points as possible. Surely we should leave this kind of thing to the Japanese?
Well if you don't want to play, you can just skip the game... >_>
And the Japs probably already have peniscontrolled street fighter anyway.
The legendary rock group Black Sabbath reunites with Ozzy Osbourne and the rest of the original crew.
The rumors have been around for years, but the 4 rock n' rollers made an official statement yesterday 11/11/11 on Whiskey a Go Go in Los Angeles, that they're doing a comeback.
"It's now or never. We we're having an amazing time together", said guitarist Tony Iommi.
Black Sabbath are now working on their first album for 33 years, and 7-8 tracks are already done - according to Ozzy Osbourne. The group will be going on world tour next year though it is still unknown which countries and cities they'll play but they've said yes to headline Download Festival in June 2012.
The electric signal can be easily manipulated to achieve a wide variety of textures, more than are possible with an acoustic instrument. It can sound sweet or abrasive. However, I guess the same could be said of synthesizers, but they were considerably less popular due to their huge cost.
You could say that the electric guitar is an early analog version of the synth, which is digital.. Manipulation of the electric signal got popular in the 60's, but few people are aware that just turning the tone knob's also some kind of manipulation.
The fact that people started to mess with these things opened up for an entirely new aspect of musical composition. Just look at some of the popular electro/techno genres of today, where the artist operates with variation in timbre as opposed to variation in pitch. Which again has it's origins in the use of guitar effects.
There is one (sometimes two) of each note on each string up to the twelfth fret.
The objective is to find where all the E's are on each string. Play the E's on the guitar until it is second nature and memorized.
The E's are: 6th string: Open (and twelfth) 5th string: 7th fret 4th string: 2nd fret 3rd string: 9th fret 2nd string: 5th fret 1st string: Open (and twelfth)
The next day you find all the F's, the next day all the G's the day after that all the A's etc. Then learn all the sharp/flat notes after you've learned all the natural notes. Just take 10-15 minutes each day doing this. Then in total it will take you 12 days to learn all the notes on the neck.
I think most of the great musicians out there with mental illnesses are playing music because it makes them feel undepressed (is that a word ? ). So if want to play music, I suggest you find the joy in playing. It may also have a side effect of actually curing you ... who knows?