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  1. Originally Posted by Steadfastly I hope you're saying this "tongue in cheek". Any one who is serious about playing music should be able and want to read music. There are so many things sheet music can tell you that tabs never can. Rests, time signature, length of notes and tied notes are just a few of them. Problem with sheet music is that sometimes it's just not going to be there. Relying on sheet music to tell you about rests and ornamentation is a massively dangerous thing when it is really needed that you develop your ear to judge for yourself where stuff like this is necessary. One of my favourite guitarists Allan Holdsworth can't read a note and he seems to manage just fine. I think this thread's gone off on a tangent slightly though...I've taught guitar classes before where not a note of the stave made an appearance and yet every single student was able to play the material I'd set them to be able to play, with piano accompaniment. The issue isn't even the sheet music but the fact that this student can't play guitar along to a piano accompaniment, whcih was really the entire point of me bringing in the keyboard to class in the first place. It likely wouldn't have mattered if I'd just given him a lyrics/chords sheet without the stave.
  2. Originally Posted by Steadfastly It seems to me if I understand your post properly, that you need to teach your student how to read music first. He's a guitarist...how many guitarists will ever need to read sheet music outside of classical guitarists?
  3. Urgh, this is going from bad to worse. I took in my keyboard and tried to use it in class with a student, and regardless of what I seemed to do my student seemed to really struggle. I tried various different things including playing right or left-hand parts only, breaking it down bar-by-bar, explaining the chordal patterns....pretty much anything I tried seemed to fail. Part of the problem seemed to be that he could not follow the sheet music, which consists of the two piano staves with guitar chords written above them. I'm quite frustrated now, as my hopes were that future lessons would involve me doing more accompaniment and my student could then be allowed to play more freely unaccompanied and free from me having to show him every single thing he needs to do. So, can anyone think of a decent solution to this problem? My only idea was to teach sheet music reading for the piano accompaniment so that he could then follow it as I do. But this seems like massive overkill and isn't likely to be that helpful outside of these specific songs. I'm beginning to wonder if the problem is me; I've always been in the lucky position of being able to just get on and play alongside other musicians without getting lost, and on the reverse nearly all the new musicians I've dealt with have been able to do this as well. Similarly, I learnt to read sheet music pretty easily, and so think nothing of reading staves.
  4. I'm trying to arrange it so the single student I'm now teaching gets a varied range of different practice techniques and one of them is to practice an exercise with them accompanying me on the piano (or keyboard depending on what's available in the room we use). I'm now aiming within the next few weeks to teach them a complete song with backing. My major concern is that this student isn't particularly experienced. They've only been playing 6 weeks and although we've gotten past the basic chords (E,A,D,G,C, and their minors) as well as basic playing techniques such as up/downstrumming, I'm wondering if throwing them into the deep end of asking for what is quite a difficult thing to do, accompanying another musician, may actually hinder them rather than help. At the same time, I'm hoping that if I can teach this student some basic band skills now whilst they're still a beginner, it will make band playing when they are more advanced a lot easier. Anyone care to advise? I've never formally used a keyboard to provide accompaniment like this before, only to provide examples of notes or chords, or to play a short exercise.
  5. I've been listening to Billy Bragg's 'What Side Are You On?' and whilst I've been able to find guitar chords for the song, and I've been able to learn those, I just cannot work out how he's getting that sound out of his guitar. Anyone care to give the song a listen and tell me what he's doing?
  6. Originally Posted by Yngtchie Blacksteen http://www.youtube.com/watch?v=Lpx6tzNOFuI Damn, that's good stuff. *hot sweat*
  7. I now want a new guitar...playing Holdsy on an acoustic isn't going to work!
  8. Something that I would add in addition to the great advice people have given here, I would add one thing: form the rules right at the start and be consistent in sticking to them. Write them on a poster and hang them up in the classroom if you think it suitable. That way everyone knows what the rules are and can't complain that you're favoring someone/a specific group in the class, or that it's somehow unfair if you do hand out a punishment. Also, on that note, make it a two way thing. Something I did with the classes I teach is to ask students in the first lesson what they think would be suitable rules for the class, and this way they cannot moan about rules being unfair because they were the ones who helped set them, and can't say they're having something imposed upon them.
  9. Originally Posted by 1001gear You have no excuses then. I read an interview or maybe it was YTube where Holdsworth said his method of pulls entail little more than lifting the fingers vertically. Tappers usually have their tone optimised for tapping so that (tone) may be a major factor. The other thing is go slowly until your flexors and extensors are in sync and not in conflict. Good plan! I think I'm going to have to see if I can find some clips of Allan Holdsworth where I can see his hands, so I can see what his fingers are doing.
  10. Originally Posted by 1001gear That guy's pinky is longer than my index finger. I have enormous hands..I can do a 3rd-9th fret stretch easily.
  11. For some reason my speed when playing guitar hasn't particularly improved too much, although I can play up to 125bpm easily. But I'm desperate to speed up as I really want to study some of Allan Holdsworth's stuff and for this I need to be speedy in order to play legato. Help me sound like Allan Holdsworth HCLL! How do I speed up?
  12. Originally Posted by Virgman Yes, you are weird. I suggest counseling and attending as many Paul Gilbert seminars as you can.
  13. Originally Posted by JonR Man, you are definitely WEIRD... Surely all normal guitarists want to stand out the front with their foot on the monitor and their hair blowing in the wind, while pulling constipated facial expressions! If you don't want to do that, there has to be something funny about you... You need to go and join that strange club including weirdos like Keith Richard, Pete Townshend, John Lennon, Freddie Green... That's what annoys me about a lot of guitarists...the whole constipated-faced, posing bullplop. And if that's the weird club, sign me up! Seriously, you're quite right that an "insistence on playing rhythm guitar is going to effect my chances of playing guitar well." It will affect your chances by IMPROVING them! The foundation of "playing guitar well" is a solid sense of rhythm. (A lead guitarist who is not also a great rhythm player is not going to be a very good lead player.) Can only help my bassplaying too. Besides, you are also improving your chances of employment. Good rhythm guitarists are valuable, and rare. Because most guitarists want to play lead... Well that can only be a bonus given there's a million guitarists fighting for band places.
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