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spruilldog

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  1. I've been playing for quite awhile but always ignored tapping in favor of the fundamentals. Lately I've been trying to learn the technique. I've been using the middle finger so I still have the pick between my index and thumb but I know a lot of people including EVH use the index finger. I know there is no "right" way but I would like some input from you tappers out there. Also any advice for making it easier when standing? Do you support your tapping hand on the neck anywhere? Any advice for reducing string noise from open stings? Any good, free, websites I can learn the technique from? What say you forumites?
  2. I think the main source of my confusion was when they said F minor for phyrgian for example I thought they were referring to "the" minor i.e. aeolian instead of a minor mode, phyrigian. Now I don't have any idea how long it will take me to assimilate this information into my brain so that I can call it up and use it without taking 15 minutes and a sheet of paper to work it out.
  3. Thanks. that does help. Now I understand that you jazz guys are way too smart and I should go back to wanking pentatonics over 3 chord rock. No seriously your explanation did help get me moving in the right direction.
  4. Has anybody looked at the Pat Martino lesson in the Jan 2010 Guitar Player. I'm not a jazz player but I have been trying to work through it. I just don't understand it so there is obviously something I'm missing. I'm with it right up to part 6 which they refer to as the "revelation". Apparently the revelation is over my head. If you have a copy of it I would appreciate some insight. It says for Gm, Gm7 or Gm9 play G minor for dorian. But isn't that aeolian? or Cminor for aeolian or F minor for phrygian:confused: The rest of that section continues to make little to no sense to me. I do have a knowledge of what modes are but little in the way of their practical use. Can some one set me straight on this?
  5. I've been trying to pick the way Paul Gilbert suggests on fast stuff and it does help and it gives you a good percussive sound without hanging the pick up on the strings for fast passages. However, it sounds thin and sterile to me if you don't have at least some gain going. I mostly practice unplugged from my amp to make sure I'm not covering up mistakes with distortion, just realize it will sound like you are not picking well when you angle the pick down like he says unless you've got some gain going.
  6. My realplayer won't let me play your clip for some reason but I'll take your word for it. I definitely can't get it into the 130 or 140 range clean. I've been playing for a long time and I was always told to practice accuracy and speed will follow. This works to a point but after awhile, yes I started doing speed drills and still do, just not all the time. 16th notes at 120 are about as fast as I can go picking every note, but it depends on the phrase. Single string or adjacent string stuff is obviously easier than anything with any string skipping. I've been trying to play the solo from Modern Day Cowboy by Tesla. Has a run of sixteenth note triplets at 112bpm starting with an Amin triad. I cannot get it there. I've been trying for about 2 weeks. Maybe one day.
  7. 120 bpm after 15 minutes strict alternate picking after 2 beer and a gin and tonic:thu: The edge of my palm is touching the bridge. My pinky just touches the pickup at the bottom edge.
  8. I've been going through the theory exercises on Mark Wein's website and I was doing one where he has you improve using the minor pentatonic scale on a single sting only in an attempt to break out of the stock scale patterns. I was playing in A minor pentatonic over this: http://www.youtube.com/watch?v=Isl1Lk_-yw8&NR=1&feature=fvwp when I hit a "wrong" note. This "wrong" note sounded good so I kept going back to it. It always seemed to work but sounded better at some times, particularly during the turnaround, more than others. The "wrong" note was F# which I think is a maj 6, so I added in the maj 2, B, a few times and it sounded pretty good to. So was I noodling in A dorian? Just want to make sure I'm thinking about this right.
  9. I used to feel the same way as the OP but now I am more impressed when a skilled songwriter can take the same 4 chords I've heard in 300 other songs and make it sound fresh and new, especially when it evokes some kind of emotional response in the listener, which is really what this should be all about. Take Always with Me, Always with You by Satriani. Basically a I-IV-V in B but he uses extensions and melody to make it fresh. I love the way the Bass changes the feel towards the end of the song. Don't get me wrong, I appreciate a more complex piece but only if the complexity is necessary to convey the feelings of the songwriter. If it is overly complex and technical just for the sake of being complex and technical I get about the same attachment to it I get to a calculus problem. To me it takes more skill to construct a meaningful song that stands on its own using simple tools than to construct a technical piece nobody wants to hear. I forgot where I read this but what's the difference between a blues musician and a jazz musician? A blues musician plays 3 chords for 1,000 people. A jazz musician plays 1,000 chords for 3 people. Before the flaming begins, I do like jazz. It's a joke:thu:
  10. I've tried alternate picking it and I can play it clean up to about a blazing 104 bpm. I'm going to try hybrid picking it or playing it the way clickonce tabed it and see what sounds best. Thanks for all the suggestions. Tough stuff.
  11. It's the last phrase in the Wait solo by White Lion. I've been on an eighties kick lately. Here's a guy on you tube who does it very well. It look likes to me he alternate picks it. And no I'm not ready for such licks, but I've been playing for 18 years so I'm going to try anyway.
  12. ---17-------17------17-------17-------17------------21 ------15-------15------15-------15-------15-----15--- ---------14-------14---------------14--------14------- ---------------------------16-------------------------- ------------------------------------------------------- ------------------------------------------------------- It's supposed to be 16th notes at 140bpm. I can't even get close. Alternate pick? Economy pick? Other? Thanks in advance
  13. Thanks. I've been working on technique and theory. Has really helped my playing but:bor:. It was fun to just rock out for a few minutes.
  14. He may have ripped EVH licks but he did it tastefully and melodically. I'm not sure melodic is in the EVH vocabulary.
  15. I remember White Lion from when I was a teenager and just getting into guitar. I recently got re-interested in really learning the instrument after several years of not playing much. Like most people who are washed up I started listening to some of the stuff from my teenage years and holy crap. I knew it sounded good then but I didn't realize how talented Vito Bratta was when I was a kid. Whatever happened to this guy? I read he had some family issues with his parents and some medical problems with his wrist. I sure would like to hear him put something out again. No wonder I couldn't play any of his stuff back then.
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