Members meganutt7 Posted September 23, 2010 Members Share Posted September 23, 2010 Hey guys.. i am actually thinking of writing an instructional book for guitar/music and was wondering what you thought would be a good topic for a first offering... I don't want to make it a 5,000 page compendium. I would try to make a series of it that would be affordable and specific. Ideas are certainly welcome! Link to comment Share on other sites More sharing options...
Members Jasco Posted September 23, 2010 Members Share Posted September 23, 2010 My first idea would be to do a search of topics you'd like to write about and find some areas where no book exists or only weak books exist. No use writing something thats already been covered well. My second idea is that while you have vast music and guitar knowledge and are effective at communicating that knowledge, the world would be better served by you making actual music instead of writing how to's for others. Inspiration is more valuable and rarer than knowledge. Just tell me where to send my money, and I'll buy any CD's you make, seriously. Link to comment Share on other sites More sharing options...
Members meganutt7 Posted September 23, 2010 Author Members Share Posted September 23, 2010 My first idea would be to do a search of topics you'd like to write about and find some areas where no book exists or only weak books exist. No use writing something thats already been covered well. My second idea is that while you have vast music and guitar knowledge and are effective at communicating that knowledge, the world would be better served by you making actual music instead of writing how to's for others. Inspiration is more valuable and rarer than knowledge. Just tell me where to send my money, and I'll buy any CD's you make, seriously. I love you for saying the kind things, bro, but I don't really care much for MAKING music, per se, anymore...I will do a makeshift gig here and there, but for the most part all I do now is teach and practice... I have a second CD that i have shelved for a while, but all the tracks (well, almost all the tracks) for it are on my myspace page.I have a debut CD that is ALOT heavier and somewhat weirder that I don't mind you checking out, but I would feel bad charging YOU for it, Jasco.As far as your advice.... I dunno... There are plenty of books on almost ANY topic... it's just that sometimes, a certain person may have NEW advice, insight or theoretical ideas that may have eluded others, or that haven't been captured amply/articulately or in a way that is easy for the layperson to understand fully. I dunno... I have a few ideas, but wanted to see if you guys had anything to suggest that either YOU feel hasn't been amply covered, or you think I would be good at explaining/covering... I might even go with a DVD or something... You never know... Link to comment Share on other sites More sharing options...
Members JonR Posted September 23, 2010 Members Share Posted September 23, 2010 MODES! Link to comment Share on other sites More sharing options...
Members meganutt7 Posted September 23, 2010 Author Members Share Posted September 23, 2010 MODES! Should I call the book: "Modes are for Chodes: A Study In 21st Century Musical Nihilism"? Link to comment Share on other sites More sharing options...
Members mosiddiqi Posted September 23, 2010 Members Share Posted September 23, 2010 As a rock player, what I think are the least well covered topics: Technique - Vibrato..I know this is a tough one in that it's so individual...but perhaps even a breakdown of say, Angus Young, Yngwie and Gilmour..just as an example of three very different vibrato's...covering how they're achieved..I mean in microscopic detail...and how small changes to vibrato can change particular phrases or licks completely. I've been kind of obsessed by this recently. Listening skills - We always advise people here to transcribe...perhaps a very guitar specific lesson on how to listen. I'm reasonably good at this because it's all I ever did..but in this day and age where us old farts complain about TAB etc.....perhaps taking a simple example song/solo and describing the actual process of lifting it...listening for the bass notes, learning to recognise the "cowboy chords", open strings etc.. Oh, the reason I say "guitar specific" is that for example, I can tell the difference between a C Major chord and a D Major chord played on a guitar easily. Not sure I could if it's played on piano. I'd work it out quickly if I had a guitar to hand for sure..but on guitar I know it instantly without needing to check on a guitar. I know people that would recognise that they were listening to a Major chord, but couldn't say if it was a C or a D. Just a couple of long winded thoughts Link to comment Share on other sites More sharing options...
Members JonR Posted September 23, 2010 Members Share Posted September 23, 2010 Should I call the book: "Modes are for Chodes: A Study In 21st Century Musical Nihilism"?Maybe check it out with a few publishers first.... I can tell you that in the UK the word "chodes" is not common parlance - that's if you care about a UK market. Link to comment Share on other sites More sharing options...
Members meganutt7 Posted September 23, 2010 Author Members Share Posted September 23, 2010 Maybe check it out with a few publishers first.... I can tell you that in the UK the word "chodes" is not common parlance - that's if you care about a UK market. I could rename it in the UK - Perhaps: "Guitar Stunts for {censored}e C****"??LOL. That was awful. Link to comment Share on other sites More sharing options...
Members meganutt7 Posted September 23, 2010 Author Members Share Posted September 23, 2010 As a rock player, what I think are the least well covered topics: Technique - Vibrato..I know this is a tough one in that it's so individual...but perhaps even a breakdown of say, Angus Young, Yngwie and Gilmour..just as an example of three very different vibrato's...covering how they're achieved..I mean in microscopic detail...and how small changes to vibrato can change particular phrases or licks completely. I've been kind of obsessed by this recently. Listening skills - We always advise people here to transcribe...perhaps a very guitar specific lesson on how to listen. I'm reasonably good at this because it's all I ever did..but in this day and age where us old farts complain about TAB etc.. ...perhaps taking a simple example song/solo and describing the actual process of lifting it...listening for the bass notes, learning to recognise the "cowboy chords", open strings etc.. Oh, the reason I say "guitar specific" is that for example, I can tell the difference between a C Major chord and a D Major chord played on a guitar easily. Not sure I could if it's played on piano. I'd work it out quickly if I had a guitar to hand for sure..but on guitar I know it instantly without needing to check on a guitar. I know people that would recognise that they were listening to a Major chord, but couldn't say if it was a C or a D. Just a couple of long winded thoughts Mo, Great ideas... I totally agree with respect tothe whole "guitar-specific" transcription thing. You can HEAR THE VOICING, if it is one you have played a bunch of times. But if you listen to Wayne Krantz, for instance, who uses a lot of "uncommon" voicings employing open strings, pedal tones, inner line movement, etc. it DOES require us to actually try to FIGURE IT OUT. Moreso, for me (as for you) if I hear a line played on a piano, or saxophone, for instance, it is more of a challange to pick it up quickly and instinctively, becaseu of the timbre, technique and vocabulary of said instruments. This is somethign that I find VERY VALUABLE. Being able to lift things as easily from OTHER INSTRUMENTS, not just guitar....But That is certainly a topic to examine. As is vibrato. And bending. Articulation, in general... Link to comment Share on other sites More sharing options...
Members Scarywoody Posted September 23, 2010 Members Share Posted September 23, 2010 "Mastering the Guitar, One String at a Time." I've never seen that. Link to comment Share on other sites More sharing options...
Members mosiddiqi Posted September 23, 2010 Members Share Posted September 23, 2010 As is vibrato. And bending. Articulation, in general... Oh yes!...I was showing a guy who's been playing a short while how you can take a simple pentatonic/blues scale and make it sound (kind of) Japanese or Blues or Jazz or Rock just by changing the accents, the phrasing and the pick attack/articulation. I think we've said before here that although knowledge of the scales/harmony/arps/triads etc that are common in whatever genre you're interested in is good to develop..what's even more important perhaps is to get a handle on the phrasing...playing a particular scale isn't necessarily going to make your playing sound "jazzier" for example..but sliding into that 9th or 6th from a half step below helps!..likewise bending the minor third just a fraction up towards the major third is instant nasty blues!. Link to comment Share on other sites More sharing options...
Members Espresso Posted September 24, 2010 Members Share Posted September 24, 2010 Maybe an ear training course with exercises starting from really easy and getting harder gradually. This would obviously need an accompanying CD. Link to comment Share on other sites More sharing options...
Members jonfinn Posted September 24, 2010 Members Share Posted September 24, 2010 I would think about these things: -What can you offer that's unique and different? What will the book's audience gain from reading it? -Who are you writing the book for? Who needs it? -Where will you start? Where will you stop? I honestly wouldn't advise taking the project on at all until you have a clear idea of what the end product will be like. It took me almost 10 years to write the first one, and I knew exactly what I wanted to do. The hardest part was deciding what to leave out. Link to comment Share on other sites More sharing options...
Members 3shiftgtr Posted September 24, 2010 Members Share Posted September 24, 2010 I would think about these things: -What can you offer that's unique and different? What will the book's audience gain from reading it? -Who are you writing the book for? Who needs it? -Where will you start? Where will you stop? I honestly wouldn't advise taking the project on at all until you have a clear idea of what the end product will be like. It took me almost 10 years to write the first one, and I knew exactly what I wanted to do. The hardest part was deciding what to leave out. Whew. I feel better. I've re written mine twice....on my third draft. It's been 3 years. Great advice Jon, thanks..... Link to comment Share on other sites More sharing options...
Members Virgman Posted September 24, 2010 Members Share Posted September 24, 2010 This is a tough question. Jon Finn has some good advice. And Jasco makes you think about why we do it. As for myself, I haven't a clue. Link to comment Share on other sites More sharing options...
Members GreenAsJade Posted September 24, 2010 Members Share Posted September 24, 2010 Well I'll be darned, I learned a new word today! Link to comment Share on other sites More sharing options...
Members meganutt7 Posted September 24, 2010 Author Members Share Posted September 24, 2010 I would think about these things:-What can you offer that's unique and different? What will the book's audience gain from reading it?-Who are you writing the book for? Who needs it?-Where will you start? Where will you stop?I honestly wouldn't advise taking the project on at all until you have a clear idea of what the end product will be like. It took me almost 10 years to write the first one, and I knew exactly what I wanted to do. The hardest part was deciding what to leave out. That is precisely why I am on here asking you guys, Jon... I mean, the most unique thing I do that not alot of people do, is the solo guitar thing. There are only a handful of people that are KNOWN for it (Tuck Andress, Tommy Emmanuel, Martin Taylor, Charlie Hunter, etc.) and I believe I can really add a new dimension to it with my take on it... The question remains, WHERE TO STOP!!! Also, I think that a more sophisticated THOUGHT PROCESS book geared toward metalheads, who seem more technique-obssessed (for the most part) might be a good idea.... Also, Jon, while we're on the topic... How did you go about getting YOURS published initially?!? Link to comment Share on other sites More sharing options...
Members GreenAsJade Posted September 25, 2010 Members Share Posted September 25, 2010 Yeah I reckon "Solo Guitar" is a great topic. "Where to stop" would be hard ... 'cause your book could have solo guitar concepts for all genres ... it might be volumes and volumes! Link to comment Share on other sites More sharing options...
Members jeremy_green Posted September 25, 2010 Members Share Posted September 25, 2010 Danny, Whatever you end up doing mark me down for a copy! I would mostly echo Jasco's statements - screw the book and make an album man!! Don't be done! ... but you didn't really ask for that so here is my take. There are a couple decisions someone needs to make first. Mostly WHO are you aiming it at? Obviously an advanced player is going to need something that takes a lot more work ... the kicker - there are much less of them so your buying audience is cut way back. Intro level books are the biggest sellers period - but there is huge competition for this market and many agendas. You know most of this so I would babble at you longer. For me. The books I have gained the most from are books where someone has a unique view on the topic. Mr Finn's book is awesome because he figured out a different angle to view the same old stuff. These observations helped me solidify my own observations therefore creating a positive experience with the book. As was Wayne Krantz's - he made me look at different places to find sounds and the strength of making something from seemingly nonsense. Mark Levine's blah blah blah you get the picture. I think there are things you (each advanced player) do really well - whatever they are. You need to isolate what helped you become good at that and share those insights. They will likely resonate with someone - hopefully many. Was there ever a system you came up with for a certain thing? A way of visualizing or cataloging etc... you see what i mean? General playing info is really just raw data out there (and overdone) for public consumption in many forms. So I could throw topics at you ... but i don't really think that addresses your question. A better question maybe is - what makes a great book? If I must, the one topic I see a niche market for is as Mo said "How to lift songs" The process broken down in depth (what to listen for, recommended song list, theoretical clues to use and look for, scales chords analysis) . This is needed these days and a growing topic with today's mostly Tab learners. Link to comment Share on other sites More sharing options...
Members Alex_DeLarge Posted September 25, 2010 Members Share Posted September 25, 2010 Solo guitar would be nice. Learning to make arrengements of songs to a solo guitar song would be pretty cool. Link to comment Share on other sites More sharing options...
Members 1001gear Posted September 26, 2010 Members Share Posted September 26, 2010 Greatness for Dummies. Pretty good niche I think. Link to comment Share on other sites More sharing options...
Members mcmurray Posted September 26, 2010 Members Share Posted September 26, 2010 meganutt - what's your plan of attack for publishing and distribution? I'm currently writing a book on ear training/sight reading/transcribing for guitar, but as far as getting it out there I have no idea on the best way to go about it. Link to comment Share on other sites More sharing options...
Members meganutt7 Posted September 27, 2010 Author Members Share Posted September 27, 2010 meganutt - what's your plan of attack for publishing and distribution? I'm currently writing a book on ear training/sight reading/transcribing for guitar, but as far as getting it out there I have no idea on the best way to go about it. i have no plan wit hrespect to publishing. I guess I'll just shop it when the time is right (meaning when it's actually DONE...)That is also why I was asking for Jon Finns' advice.. As he is actually published... Link to comment Share on other sites More sharing options...
Members [Animals2] Posted September 27, 2010 Members Share Posted September 27, 2010 Honestly... I would rather watch videos of you teaching it than reading a book. Your videos are great. Clear, concise and entertaining. Although, I suppose you might be able to get that across in a book, AND having tabs of the solo stuff would be helpful (especially when your trying to sync up a bass chord and melody). I guess im not offering much help, but I will buy your book when its done:thu: Link to comment Share on other sites More sharing options...
Members TrickyBoy Posted September 28, 2010 Members Share Posted September 28, 2010 I'm not sure if this will make sense, but here's my two cents: There's often a lot of discussion here regarding how to "construct" a solo. Some utilize a scalar approach. Some arps, some chords tones, modes, etc. etc. I'd love to see a book and accompanying video where you start with a chord change, then utilizing that chord change, explore each of these different approaches. So you look at arps, have exercises regarding them, then show how they can become the basis for a solo, same for scales, chord tones, etc... So what you end with is hearing how each of these approaches can be utilized over the same chords to provide radically different results. IDK, for me that would be useful... Link to comment Share on other sites More sharing options...
Recommended Posts
Archived
This topic is now archived and is closed to further replies.