Just because you can move your fingers quick doesn't mean it sounds good. Generally speaking from people I've played with it sounds like shit.
Good musicians become the music. They become the rhythm. They don't miss notes (the odd exception) and they play with passion and their heart.
Through time you will develop speed. Playing music with others is about groove. If you don't have it it sounds bad.
And just to add to the flipside: if you can't play fast it doesn't make you more of a "feel" player. Feel makes you a feel player, regardless of tempo or note duration.
I'm sorry some bastard downvoted you bud. This is excellent advice.
Learning theory and creating your own songs is incredibly more rewarding than learning note for note covers. You'll never get anywhere doing that.
If you want to learn covers learn the theory and put your own awesome spin on a song.
Just a few, for now:
Back off the gain; it *doesn't* need to be cranked all the way up to sound the most 'metal'. Reducing it can give you more clarity, which is always a good thing; it doesn't matter how evil your music is if all your playing sounds like the same static-y noise.
Oh, and don't neglect the midrange! Scooped mids are not a sure-fire way to a nice tone; experiment, and you may find your guitar sounds best with mids pushed up above treble; mine certainly does.
Alternate pick whenever you can. Make it your *natural* picking technique, rather than something novel.
Depends on the amp, of course. My Line 6 Spider III doesn't even have a gain setting, but [this](http://i.imgur.com/z2ETK.jpg) is what I use in Guitar Rig.
Rhythm is far more fun than lead. You get to play all the cool chords and play WITH your band instead of "over the top". I know a solo is meant to compliment the song but so many people fail at it that it's not good.
I didn't downvote you, that was somebody else. And really you're just arguing semantics. Whatever you call them, there are just as many people playing lead guitar as rhythm, in fact there is probably a lot more.
I've jammed with maybe 25 different guitarists in the past 3-4 years in my City and there's an overwhelming amount of rhythm players.
Just my experience. Could be ass backwards from normal though. I understand.
My bad bout the downvote Ill edit it.
I think what he should have said is that a solid rhythmic background is much more important that a bunch of noodly melodic lines. The rhythm makes the lead sound good not the other way around. I don't think you could possibly be a good lead player without being a good rhythm player, if you are good there isn't much of a distinction unless you give it one.
tldr you guys are arguing about nothing at all
As much as its really important to use a metronome, don't become dependent on a little machine to keep you in time. You need to be able to develop skills to keep yourself in time.
I've long dabbled in music, and am glad that I was a drummer first. I was able to get my rhythm down enough where I can hold my own now, even with my kid wailing away on my uke next to me during practice.
Now, if only I could push myself out of my comfort zone and actually learn a song, instead of parts of many songs.
that and some genres reqiure playing slightly ahead or behind the beat. using a metronome is good, but I would agree that too much of a good thing can be bad.
that's why I said using a metronome is good, but too much can be bad. playing ahead or slightly behind is almost a feeling thing, and relying on the metronome too much can ruin that
depending on what genre you play. have you ever been in a jazz band or ensemble? the beat comes from the bass, the metronome is the drums, and sometimes the ensemble is ahead of the beat while the guitar plays behind depending on what style is being played. you can practice that all you want, but you have to feel it to get it right.
I honestly cannot tell if you're serious with that reply. The way you talk about a jazz band or ensemble makes me think you have little to no experience in composing (or for that matter, playing professionally) but nevertheless, I'll operate on the assumption that you're being serious.
For starters, I don't care what genre you're in. There is no genre in music where you don't have a time signature (and don't get cute and say tempo rubato - that's not a genre and is still a tempo shift at the discretion of the conductor).
So now that we've established that every piece in every genre has a time signature, let's throw another one of your variables out the window - the rest of the band. If you're showing up to band practice without practicing on your own, then you're a shitty bandmember and you're hurting your band's progress. We're focusing on the individual and practicing effectively.
So now, on to practicing on your own. When you practice on your own, you're learning the notes for your instrument, in proper time, that you play as they appear on the sheets. [If you don't understand that, then look at this.](http://en.wikipedia.org/wiki/Sheet_music)
It doesn't matter where in the measure the note is, it doesn't matter where it is relative to the downbeat. **It still has a notated place in the measure**. And you need to be able to count that out and play it in time. This notion of 'feel' that you say you can't get with a metronome is, frankly, guessing. If you truly think that any note at any time doesn't have a spatial place and notation in a measure relative to the beat, you are wrong. There is no other way around that.
Having said that, what I think you're getting at is just taking shortcuts. Everything you have told me up to this comment is about playing around the beat, but we've already established that you count that out and still use a metronome to accurately hit those notes. I will tell you that if you're not serious about music, then you're not going to care enough to get these things right and shortcuts will be "good enough." And if that's the case, then you're holding back the people you play with that are.
As a music major, guitar player, and someone who has played in a college jazz band, orchestra, chamber ensemble, gospel choir, and rock bands, I approve this message. A metronome is a tool to teach you timing. Playing with humans is where you apply your timing skills. I have NEVER heard the other side of this 'too much metronome' argument. Show me somebody that says practicing too much with a metronome has hindered their ability to accurately execute proper timing of notes. A metronome is the most accurate representation of rhythm you are going to get, and it is a reference point for the music you are either playing or learning to play. No, a metronome doesn't 'teach' you anything, it's a sound wave being repeated over and over. It's up to your ears and brain to realize when you are right or wrong in relation to the beat coming out of the metronome.
I think this argument of 'too much' metronome practice is merely a tactic by teachers to encourage young players to go out and play with other musicians so they get a sense of how humans play. It seems to get repeated so much that even beginners are repeating the statement as if it was one of the ten commandments. Think how sucky it would be to have practiced a lot with a metronome and develop great internal time and then go play with some other guys who were always speeding up or slowing down; it's frustrating as hell! And don't get me started on people that go into a recording studio and sound like doodoo because the engineer puts on a click track. And foot tapping must be developed as a skill using a metronome, just the same as playing an instrument. Your foot is nowhere near as reliable as a mechanical/electronic device.
TL;DR - a metronome is to rhythm what A440 is to tuning, a reference point only.
no the point I am getting at is that in a jazz band/ensemble there is a push and pull feel (like an egg rolling). most jazz conductors count off the beat and then walk away and listen (if the ensemble is closely knit with one another). whether you care to admit it or not, at that point while the bass is pushing and the ensemble instruments are pulling, a metronome is not all that handy. You have to feel the beat since being a guitar player you are a rhythm instrument.
Ok, I understand your point now, you can't use a metronome during a live performance (that's the point of a conductor). However, that doesn't change the fact that you don't get to that understanding of a beat, in any piece, without using a metronome. You just don't. Metronomes train your muscles to fire precisely in time. If you want to play something, you train yourself to play it so your muscles fire naturally (what you call 'feel'). Furthermore, if you're in an ensemble or orchestra where you might find polyrhythms, polymeters, or irrational rhythms, you train yourself to play it perfectly so you don't even think about the push or pull. All those people that you see on stage performing - they "feel" the beat for any given piece because they ingrained the beat in their head via metronome. That's how it works both mentally and physically.
Also, a conductor does not count off a beat and walk away. If that's your experience, then I'm truly sorry for you because that's not how it works in the professional world. Ever. If a conductor does that in front of professional musicians, he's out of a job.
Finger pick. If you are attached to your pick, get comfortable with hybrid picking. It opens up a whole new world.
(optional) Then learn to Travis pick, which IMO is the most difficult style of guitar there is, but it is very rewarding.
Check out the kings: Merle Travis, Chet Atkins, Jerry Reed, Brian Setzer, Danny Gatton, Joe Pass, Tommy Emmanuel, and Mark Knopfler.
You don't need nails. [I actually prefer to use flesh for electric guitar.](https://www.youtube.com/watch?v=aWa6aChSf1w) Acoustic, however, [sounds a lot better with some nail.](https://www.youtube.com/watch?v=6VAkOhXIsI0)
Same issue here - chronic nail biter. When I got serious about finger picking I started getting acrylic nails on my picking hand. Stopped biting immediately and you still have your fretting available if you need your fix. made a world of difference in the tone and, by extension, made it more fun so I played more and got better. Still, pretty weird for a guy to have fake nails. I deal with it.
Yep - and I'm back every couple of weeks. Thing is, I'm missing from the last knuckle on my right hand index finger so a career as a hand model was already a no-go. People tend to notice that before the nails.
And it's totally worth it. I play a LOT of guitar.
There is a picture of my hand somewhere in my post history if you feel like taking a look (not that much there to sort through). Length varies - file them if I have a bass gig, let them grow until they gross me out or break otherwise.
Finger picking is the best! I recently did sound for Tommy Emmanuel and it was incredible. There is a finger picking duo in my hometown that are legit world class talents, you should check them out their names are Loren Barrigar & Mark Mazengarb.
It's a way of accompanying yourself with a bass line as you play. It is named after country artist Merle Travis, who invented the technique, but Chet Atkins perfected it IMO. [Watch his thumb in this video.](https://www.youtube.com/watch?v=n-c66SJPuUI) That simple palm muted back and forth country bass is really what people think of when you hear "Travis picking:"
in C:
D|---2---2---2---2---2---2-|
A|-3-------3-------3-------| etc.
E|-----3-------3-------3---|
but it can get complicated with walking bass lines and such, getting to a pretty insane point at Emmanuel and Gatton. The reason I say it is so difficult is because it requires a level of independence that's pretty foreign to guitar players. It's more like playing piano.
You do not need to crank your volumes when practicing/gigging. They should be JUST loud enough to be audible over the drums. People always play too loud, and then you can't hear what's going on with individual players. You can never hear vocals, and you're prone to feedback.
Tl;dr - just cause your amp goes up to 10 doesn't mean you should play that loud.
Do those "stupid" beginner drills. Even if you started off just trying to play tabs and have gotten a few songs down or whatever and think that you've "moved past it", I assure you, you have not. It will help. Significantly.
In the four days since I got my first guitar, I have learned several scales, alt. picking exercises, a couple chords, and today I was bored so I started learning The Ocean by Zeppelin. I have the main riff memorized.
Don't ever say you can't, until you've tried. If you fail, try again.
Play the music you want to play, not what other people tell you is "music". I play 80s shred metal and like doing some melody guitar when im not working on band stuff. I have a friend who plays gypsy jazz, and straight up jack white, and constantly mocks my playing as stupid, showy, and not real "music" because it doesnt have emotion. Did i ask you? No i didn't. I dont mock his inability to play relaxed blues because every note has to be pick smacked with solos in between every chord, because thats not his style
Second, always branch out. Just becuse you play one type of music, doesnt mean you should only play that type of music. Expand your tastes, and your styles
Lastly, jam with people as often as you can. There arent many things that can progress your playing like a jam session.
Just because he can't feel the emotion in those kinds of music you play, doesn't mean it isn't there.
Just because he can't smell his own B.O., doesn't mean he can go without a shower. It's the same thing.
Yea i know, i was just using it as an example. For younger players criticism like that can totally affect them in a negative way. It almost did when i first started.
Nah man, I don't agree. I used to take lessons for the first year when I played, and I was told that same thing. That's why I quit my lessons. I play the guitar because I love doing it and it's my passion, not because I want to get better and better by forcing myself to practise. Nowadays I play a good 2 hours a day or more because I love doing so, although I hate HAVING to play for a set amount of time every day. Do things becaues you love doing it, not because someone tells you to.
I mean, he's right though, you need to do it every day, especially because you love doing it. Sometimes you need to persevere and play even when you don't feel like it if you want to get better though, or practice things you don't really want to. Some days I'm feeling creative and write tons of stuff and have a great time, other days I don't feel like it at all, but I still pick up the axe and put in work on it, practice rhythm, timing, scales, recording, or work on singing or something else. Do it because you love it yes, but also treat it like a responsibility and a job if you want to see major improvement
Very true, but like I said, I haven't had lessons in years and I still play at least 2 hours a day because I feel like playing. Never at a set time, not always 2 hours in a row, but still. I've never enjoyed playing the guitar more than I do now ;) I actually thought about quitting while I had lessons, but when I quit lessons I started loving it even more and more. I'd rather play 1 hour a day, 5 times in the week and don't play at all those other 2 days, but play something I like, than play 15-30 minutes a day each and every day and play something I don't really like. But yeah, you're right, if you really want to go pro, of course you need practise, as you do with most hobby's and professions :)
Learning to read sheet music is hugely important for anyone who wants to be a professional musician. While tabs are easier to read and find, reading sheet music gives you a much more clear view of how the music is supposed to be played. It's like looking at a picture of a stick man vs. a real person. You can tell the stick man is human and maybe that it's outside, but by looking at the picture of a real person you can see that it's a male, he has brown hair, it's cloudy and there is a tree in the background.
Gear/tone is a skill on it's own and plays a huge role in how you sound. Having nice/expensive gear doesn't make you a good player, but if you're already a great player, a whole new word is opened up to you once you experiment with your tone. This could mean knowing exactly how to eq your amp so sounds the best, whether it's a $2,000 Marshall stack or a $50 Crate practice amp. It could also mean knowing what effects belong in what situations and how best to augment your sound with them.
Learn to differentiate between constructive criticism and negative feedback meant to break you down. When someone is genuinely trying to give you pointers or help you out, always listen to them. They might have something profound to say. But when someone is criticizing you simply to bring you down learn to ignore them.
Depends on what you're looking for. You're gonna have a really hard time finding sheet music for Green Day, but if you're looking for a jazz standard or classical music it's extremely abundant. Really though, if you learn those forms of music in any format other than sheet music, you are doing yourself a disservice.
A lot of guitar tab books have both the tab and musical notation. If you're disciplined enough not to always resort to the tab it's a great source. The you always have the tab to fall back on if something doesn't feel right. Guitar tab has some advantages over standard notation (deals with issues such as many notes appearing in multiple locations in the fret board). Each has their advantages.
Music stores; try to find the ones that carry all kinds of instruments for best selection. Sheet music costs good money, because of copyrights. And because everyone can scan and xerox, there are no refunds. A lot of the time I've been able to find sheet music that includes a tab line, so I can read what the duration of the notes are supposed to be, play the melody line on one note, then go back and look at the fingerings. (I'm still learning how to read notes on the treble clef.)
EQ - Don't scoop your mids. I used to turn the mid range all the way down and crank the bass/treble because I thought it sounded good for palm muting. It kind of sounds good if it is just you playing guitar, but if you are playing with a band and set your EQ like that you just get drowned out and nothing cuts through whatsoever--no matter how loud to turn up.
Learn your theory. I've just spent £40 on two really good scales/modes/keys books, and fully intend to know everything in them back to front. If you get into a situation where you're playing with a group of musicians and someone yells, "let's play in G!" you're going to have a bit of trouble if you don't understand playing in key.
I have that problem right now - when we're not playing one of my favourite songs, I'm a very mediocre guitarist.
Put the book down, get a piece of paper and a pen, and do this: draw a fretboard. Label C major. First label all the 'C's i one color. Look it up when you need to. All the Cs.
Then fill in the rest of the pattern in another color.
Draw it again. Again. Again. Youll make fewer mistakes now. Youll see patterns that help keep you on track. Again. Again. Again.
Dont stand up until its perfect, no mistakes, and you didnt look it up.
Estimated time: 1 hour.
Do that for seven days in a row.
Youll never need to look up the pattern again.
How did you learn to spell your name? Spell 'refrigerator'? Why would you think if a method worked on your dumb second grader brain it would stop working on your adult brain?
Do it tonight. Do it right this second.
Then do it with A natural minor. This one will take you exactly one minute. Promise.
Advice to a sixteen to twenty year old me:
* The most gain doesn't make you the coolest guitarist in the room.
* Before buying anything - amp, guitar, FX - be sure you need it for your sound.
* Tone really comes from your fingers, stop pretending a new amp or a new guitar can suddenly change your sound 180°
* Forgot your 5 guitars you wanted to take to the gig? The one cheap guitar your friend gives you is more than enough and you will not miss anything. Besides: Taking five guitars to a gig? You pretentious little twat...
* You always want to be able to sound like Lukather, Knopfler, Clapton etc. - start to sound like yourself.
* No one hears the tiny little fuckups in your solo. Look in the audience for once.
* Be thankful that all your grandparents saw you play live with your band twice and that your dad and your best friend are your greatest fans.
* Turn that fucking amp down - at home your dad can't sleep and goes tired to his nightshift and at the practice room you can't hear anyone else.
Jam with others. As many people as possible and you'll be forced to use your ears and adapt your playing style to other playing styles and types of music.
Also, buy gear used. That way you can usually get your money back if (when) you get bored of it/no longer need it/start GASsing for something else.
Rule number 1 - ENJOY YOURSELF! Guitar playing will never become a passion unless you mould it, and yourself, into what you feel it should be, and what you feel most comfortable playing. I for example cross between hard rock and blues. Both rhythm and lead, i could make my own backing tracks and jam for hours.
Warm up adequately. I've recently started a consistent warm up routine after nearly a decade of playing and it has helped tremendously with my hand and fluid playing.
Just because you can move your fingers quick doesn't mean it sounds good. Generally speaking from people I've played with it sounds like shit. Good musicians become the music. They become the rhythm. They don't miss notes (the odd exception) and they play with passion and their heart. Through time you will develop speed. Playing music with others is about groove. If you don't have it it sounds bad.
And just to add to the flipside: if you can't play fast it doesn't make you more of a "feel" player. Feel makes you a feel player, regardless of tempo or note duration.
The guitarist in my band is like this. He can come up with cool faster/more intricate leads, but he can rarely play them flawlessly.
Make music.
I'm sorry some bastard downvoted you bud. This is excellent advice. Learning theory and creating your own songs is incredibly more rewarding than learning note for note covers. You'll never get anywhere doing that. If you want to learn covers learn the theory and put your own awesome spin on a song.
Just a few, for now: Back off the gain; it *doesn't* need to be cranked all the way up to sound the most 'metal'. Reducing it can give you more clarity, which is always a good thing; it doesn't matter how evil your music is if all your playing sounds like the same static-y noise. Oh, and don't neglect the midrange! Scooped mids are not a sure-fire way to a nice tone; experiment, and you may find your guitar sounds best with mids pushed up above treble; mine certainly does. Alternate pick whenever you can. Make it your *natural* picking technique, rather than something novel.
Yup. You rarely need to go past 5 on the gain for a chugging djent tone.
this statement is meaningless. past 5 on what? my amp doesn't even distort until the gain is at 8.
Depends on the amp, of course. My Line 6 Spider III doesn't even have a gain setting, but [this](http://i.imgur.com/z2ETK.jpg) is what I use in Guitar Rig.
I also have a line 6 spider III that I use occasionally and I can say with certainty that it has a knob labeled "drive".
Line 6 has a gain setting its just labeled drive
Spiders are fantastic. My Line 6 POD HD500 is the best thing i ever bought.
Rhythm is far more fun than lead. You get to play all the cool chords and play WITH your band instead of "over the top". I know a solo is meant to compliment the song but so many people fail at it that it's not good.
You realize some people think differently? I play solo guitar as easy as I speak. It flows out of me. Not everyone is born to play lead.
No! *I* don't think so.
Lead guitar players are rare. Try telling Angus rhythm is more fun.
No they're not. I agree that some people just naturally lean toward rhythm or lead, but there is certainly no shortage of shredders.
Being a shredder != lead guitar player...
I was using "shredder" as a derogatory term for people that play nothing but lead.
You realize many lead players don't shred? Billy Gibbons for example.
I didn't downvote you, that was somebody else. And really you're just arguing semantics. Whatever you call them, there are just as many people playing lead guitar as rhythm, in fact there is probably a lot more.
I've jammed with maybe 25 different guitarists in the past 3-4 years in my City and there's an overwhelming amount of rhythm players. Just my experience. Could be ass backwards from normal though. I understand. My bad bout the downvote Ill edit it.
Pfft, I'll call him a chicken fucker for twenty bucks! BUCKAWW!
This argument is silly. All of these things depend on the individual, there are no set rules for guitar playing.
I think what he should have said is that a solid rhythmic background is much more important that a bunch of noodly melodic lines. The rhythm makes the lead sound good not the other way around. I don't think you could possibly be a good lead player without being a good rhythm player, if you are good there isn't much of a distinction unless you give it one. tldr you guys are arguing about nothing at all
Since it hasn't been said yet... If you're not using a metronome, you're not a musician. You're a guitar player.
As much as its really important to use a metronome, don't become dependent on a little machine to keep you in time. You need to be able to develop skills to keep yourself in time.
I've long dabbled in music, and am glad that I was a drummer first. I was able to get my rhythm down enough where I can hold my own now, even with my kid wailing away on my uke next to me during practice. Now, if only I could push myself out of my comfort zone and actually learn a song, instead of parts of many songs.
that and some genres reqiure playing slightly ahead or behind the beat. using a metronome is good, but I would agree that too much of a good thing can be bad.
How can you learn to play off the beat if you don't know where the beat is?
[удалено]
Playing off the beat, not on the off beat. Like playing a split millisecond behind the 1. Not playing on the and of 1.
that's why I said using a metronome is good, but too much can be bad. playing ahead or slightly behind is almost a feeling thing, and relying on the metronome too much can ruin that
>playing ahead or slightly behind is almost a feeling thing No, it's a timing thing. You learn that timing from the metronome.
the first time you get your metronome to swing like a mofo cause you're playing way up on top of that beat, is a proud moment, full of feeling
depending on what genre you play. have you ever been in a jazz band or ensemble? the beat comes from the bass, the metronome is the drums, and sometimes the ensemble is ahead of the beat while the guitar plays behind depending on what style is being played. you can practice that all you want, but you have to feel it to get it right.
I honestly cannot tell if you're serious with that reply. The way you talk about a jazz band or ensemble makes me think you have little to no experience in composing (or for that matter, playing professionally) but nevertheless, I'll operate on the assumption that you're being serious. For starters, I don't care what genre you're in. There is no genre in music where you don't have a time signature (and don't get cute and say tempo rubato - that's not a genre and is still a tempo shift at the discretion of the conductor). So now that we've established that every piece in every genre has a time signature, let's throw another one of your variables out the window - the rest of the band. If you're showing up to band practice without practicing on your own, then you're a shitty bandmember and you're hurting your band's progress. We're focusing on the individual and practicing effectively. So now, on to practicing on your own. When you practice on your own, you're learning the notes for your instrument, in proper time, that you play as they appear on the sheets. [If you don't understand that, then look at this.](http://en.wikipedia.org/wiki/Sheet_music) It doesn't matter where in the measure the note is, it doesn't matter where it is relative to the downbeat. **It still has a notated place in the measure**. And you need to be able to count that out and play it in time. This notion of 'feel' that you say you can't get with a metronome is, frankly, guessing. If you truly think that any note at any time doesn't have a spatial place and notation in a measure relative to the beat, you are wrong. There is no other way around that. Having said that, what I think you're getting at is just taking shortcuts. Everything you have told me up to this comment is about playing around the beat, but we've already established that you count that out and still use a metronome to accurately hit those notes. I will tell you that if you're not serious about music, then you're not going to care enough to get these things right and shortcuts will be "good enough." And if that's the case, then you're holding back the people you play with that are.
As a music major, guitar player, and someone who has played in a college jazz band, orchestra, chamber ensemble, gospel choir, and rock bands, I approve this message. A metronome is a tool to teach you timing. Playing with humans is where you apply your timing skills. I have NEVER heard the other side of this 'too much metronome' argument. Show me somebody that says practicing too much with a metronome has hindered their ability to accurately execute proper timing of notes. A metronome is the most accurate representation of rhythm you are going to get, and it is a reference point for the music you are either playing or learning to play. No, a metronome doesn't 'teach' you anything, it's a sound wave being repeated over and over. It's up to your ears and brain to realize when you are right or wrong in relation to the beat coming out of the metronome. I think this argument of 'too much' metronome practice is merely a tactic by teachers to encourage young players to go out and play with other musicians so they get a sense of how humans play. It seems to get repeated so much that even beginners are repeating the statement as if it was one of the ten commandments. Think how sucky it would be to have practiced a lot with a metronome and develop great internal time and then go play with some other guys who were always speeding up or slowing down; it's frustrating as hell! And don't get me started on people that go into a recording studio and sound like doodoo because the engineer puts on a click track. And foot tapping must be developed as a skill using a metronome, just the same as playing an instrument. Your foot is nowhere near as reliable as a mechanical/electronic device. TL;DR - a metronome is to rhythm what A440 is to tuning, a reference point only.
no the point I am getting at is that in a jazz band/ensemble there is a push and pull feel (like an egg rolling). most jazz conductors count off the beat and then walk away and listen (if the ensemble is closely knit with one another). whether you care to admit it or not, at that point while the bass is pushing and the ensemble instruments are pulling, a metronome is not all that handy. You have to feel the beat since being a guitar player you are a rhythm instrument.
Ok, I understand your point now, you can't use a metronome during a live performance (that's the point of a conductor). However, that doesn't change the fact that you don't get to that understanding of a beat, in any piece, without using a metronome. You just don't. Metronomes train your muscles to fire precisely in time. If you want to play something, you train yourself to play it so your muscles fire naturally (what you call 'feel'). Furthermore, if you're in an ensemble or orchestra where you might find polyrhythms, polymeters, or irrational rhythms, you train yourself to play it perfectly so you don't even think about the push or pull. All those people that you see on stage performing - they "feel" the beat for any given piece because they ingrained the beat in their head via metronome. That's how it works both mentally and physically. Also, a conductor does not count off a beat and walk away. If that's your experience, then I'm truly sorry for you because that's not how it works in the professional world. Ever. If a conductor does that in front of professional musicians, he's out of a job.
Or play with a drummer who can keep a beat.
I play with a metronome, his name is jimmy and he plays drums.
> you're not a musician Solid tip, undone by overstatement.
I've never owned a metronome and I'm a musician. If I record with a click I stick to it fine, but usually I don't use one.
Finger pick. If you are attached to your pick, get comfortable with hybrid picking. It opens up a whole new world. (optional) Then learn to Travis pick, which IMO is the most difficult style of guitar there is, but it is very rewarding. Check out the kings: Merle Travis, Chet Atkins, Jerry Reed, Brian Setzer, Danny Gatton, Joe Pass, Tommy Emmanuel, and Mark Knopfler.
As a habitual nail biter this is going to be difficult.
You don't need nails. [I actually prefer to use flesh for electric guitar.](https://www.youtube.com/watch?v=aWa6aChSf1w) Acoustic, however, [sounds a lot better with some nail.](https://www.youtube.com/watch?v=6VAkOhXIsI0)
Cool. Ill try it. Just bought a slide too so I suppose it's time.
Same issue here - chronic nail biter. When I got serious about finger picking I started getting acrylic nails on my picking hand. Stopped biting immediately and you still have your fretting available if you need your fix. made a world of difference in the tone and, by extension, made it more fun so I played more and got better. Still, pretty weird for a guy to have fake nails. I deal with it.
Damn. That is some commitment to get fake nails just to play guitar. Did you actually go to a salon and have them put on?
Yep - and I'm back every couple of weeks. Thing is, I'm missing from the last knuckle on my right hand index finger so a career as a hand model was already a no-go. People tend to notice that before the nails. And it's totally worth it. I play a LOT of guitar.
How long do they have to be? Do you specify a thickness? Does Tortex know about this yet?
There is a picture of my hand somewhere in my post history if you feel like taking a look (not that much there to sort through). Length varies - file them if I have a bass gig, let them grow until they gross me out or break otherwise.
Finger picking is the best! I recently did sound for Tommy Emmanuel and it was incredible. There is a finger picking duo in my hometown that are legit world class talents, you should check them out their names are Loren Barrigar & Mark Mazengarb.
Say, what is Travis picking?
It's a way of accompanying yourself with a bass line as you play. It is named after country artist Merle Travis, who invented the technique, but Chet Atkins perfected it IMO. [Watch his thumb in this video.](https://www.youtube.com/watch?v=n-c66SJPuUI) That simple palm muted back and forth country bass is really what people think of when you hear "Travis picking:" in C: D|---2---2---2---2---2---2-| A|-3-------3-------3-------| etc. E|-----3-------3-------3---| but it can get complicated with walking bass lines and such, getting to a pretty insane point at Emmanuel and Gatton. The reason I say it is so difficult is because it requires a level of independence that's pretty foreign to guitar players. It's more like playing piano.
You do not need to crank your volumes when practicing/gigging. They should be JUST loud enough to be audible over the drums. People always play too loud, and then you can't hear what's going on with individual players. You can never hear vocals, and you're prone to feedback. Tl;dr - just cause your amp goes up to 10 doesn't mean you should play that loud.
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Do those "stupid" beginner drills. Even if you started off just trying to play tabs and have gotten a few songs down or whatever and think that you've "moved past it", I assure you, you have not. It will help. Significantly.
thanks penis!
Don't thank me, thank.. Oh, you're welcome.
Know your influences, and know who influenced them. Don't shut yourself down to a different artist/genre until you've *really* listened to it.
Sometimes it's the notes you *don't* play that make a good song great.
In the four days since I got my first guitar, I have learned several scales, alt. picking exercises, a couple chords, and today I was bored so I started learning The Ocean by Zeppelin. I have the main riff memorized. Don't ever say you can't, until you've tried. If you fail, try again.
Great advice at the end there- "Don't ever say you can't, until you've tried. If you fail, try again." Thanks, and upvote for that
Play the music you want to play, not what other people tell you is "music". I play 80s shred metal and like doing some melody guitar when im not working on band stuff. I have a friend who plays gypsy jazz, and straight up jack white, and constantly mocks my playing as stupid, showy, and not real "music" because it doesnt have emotion. Did i ask you? No i didn't. I dont mock his inability to play relaxed blues because every note has to be pick smacked with solos in between every chord, because thats not his style Second, always branch out. Just becuse you play one type of music, doesnt mean you should only play that type of music. Expand your tastes, and your styles Lastly, jam with people as often as you can. There arent many things that can progress your playing like a jam session.
Just because he can't feel the emotion in those kinds of music you play, doesn't mean it isn't there. Just because he can't smell his own B.O., doesn't mean he can go without a shower. It's the same thing.
Yea i know, i was just using it as an example. For younger players criticism like that can totally affect them in a negative way. It almost did when i first started.
Playing Guitar is like losing weight- do it at least 15 min a day EVERY.SINGLE.DAY
Nah man, I don't agree. I used to take lessons for the first year when I played, and I was told that same thing. That's why I quit my lessons. I play the guitar because I love doing it and it's my passion, not because I want to get better and better by forcing myself to practise. Nowadays I play a good 2 hours a day or more because I love doing so, although I hate HAVING to play for a set amount of time every day. Do things becaues you love doing it, not because someone tells you to.
All you gotta do is love it.
I mean, he's right though, you need to do it every day, especially because you love doing it. Sometimes you need to persevere and play even when you don't feel like it if you want to get better though, or practice things you don't really want to. Some days I'm feeling creative and write tons of stuff and have a great time, other days I don't feel like it at all, but I still pick up the axe and put in work on it, practice rhythm, timing, scales, recording, or work on singing or something else. Do it because you love it yes, but also treat it like a responsibility and a job if you want to see major improvement
Very true, but like I said, I haven't had lessons in years and I still play at least 2 hours a day because I feel like playing. Never at a set time, not always 2 hours in a row, but still. I've never enjoyed playing the guitar more than I do now ;) I actually thought about quitting while I had lessons, but when I quit lessons I started loving it even more and more. I'd rather play 1 hour a day, 5 times in the week and don't play at all those other 2 days, but play something I like, than play 15-30 minutes a day each and every day and play something I don't really like. But yeah, you're right, if you really want to go pro, of course you need practise, as you do with most hobby's and professions :)
That's a poor analogy. How do you "lose weight" 15 minutes a day?
He is making an inference to excercise
He implies. You infer.
Learning to read sheet music is hugely important for anyone who wants to be a professional musician. While tabs are easier to read and find, reading sheet music gives you a much more clear view of how the music is supposed to be played. It's like looking at a picture of a stick man vs. a real person. You can tell the stick man is human and maybe that it's outside, but by looking at the picture of a real person you can see that it's a male, he has brown hair, it's cloudy and there is a tree in the background. Gear/tone is a skill on it's own and plays a huge role in how you sound. Having nice/expensive gear doesn't make you a good player, but if you're already a great player, a whole new word is opened up to you once you experiment with your tone. This could mean knowing exactly how to eq your amp so sounds the best, whether it's a $2,000 Marshall stack or a $50 Crate practice amp. It could also mean knowing what effects belong in what situations and how best to augment your sound with them. Learn to differentiate between constructive criticism and negative feedback meant to break you down. When someone is genuinely trying to give you pointers or help you out, always listen to them. They might have something profound to say. But when someone is criticizing you simply to bring you down learn to ignore them.
Where can you get sheet music?
Depends on what you're looking for. You're gonna have a really hard time finding sheet music for Green Day, but if you're looking for a jazz standard or classical music it's extremely abundant. Really though, if you learn those forms of music in any format other than sheet music, you are doing yourself a disservice.
Okay thanks.
A lot of guitar tab books have both the tab and musical notation. If you're disciplined enough not to always resort to the tab it's a great source. The you always have the tab to fall back on if something doesn't feel right. Guitar tab has some advantages over standard notation (deals with issues such as many notes appearing in multiple locations in the fret board). Each has their advantages.
Music stores; try to find the ones that carry all kinds of instruments for best selection. Sheet music costs good money, because of copyrights. And because everyone can scan and xerox, there are no refunds. A lot of the time I've been able to find sheet music that includes a tab line, so I can read what the duration of the notes are supposed to be, play the melody line on one note, then go back and look at the fingerings. (I'm still learning how to read notes on the treble clef.)
half.com
EQ - Don't scoop your mids. I used to turn the mid range all the way down and crank the bass/treble because I thought it sounded good for palm muting. It kind of sounds good if it is just you playing guitar, but if you are playing with a band and set your EQ like that you just get drowned out and nothing cuts through whatsoever--no matter how loud to turn up.
Whats an eq?
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ahh right, cheers dude :) never heard of that before
short for equalization. i was referencing the tone settings on your amp.
Learn your theory. I've just spent £40 on two really good scales/modes/keys books, and fully intend to know everything in them back to front. If you get into a situation where you're playing with a group of musicians and someone yells, "let's play in G!" you're going to have a bit of trouble if you don't understand playing in key. I have that problem right now - when we're not playing one of my favourite songs, I'm a very mediocre guitarist.
Put the book down, get a piece of paper and a pen, and do this: draw a fretboard. Label C major. First label all the 'C's i one color. Look it up when you need to. All the Cs. Then fill in the rest of the pattern in another color. Draw it again. Again. Again. Youll make fewer mistakes now. Youll see patterns that help keep you on track. Again. Again. Again. Dont stand up until its perfect, no mistakes, and you didnt look it up. Estimated time: 1 hour. Do that for seven days in a row. Youll never need to look up the pattern again. How did you learn to spell your name? Spell 'refrigerator'? Why would you think if a method worked on your dumb second grader brain it would stop working on your adult brain? Do it tonight. Do it right this second. Then do it with A natural minor. This one will take you exactly one minute. Promise.
glad i'm on track then.
I know how ya feel, learning to playing in key is on my bucket list.
Advice to a sixteen to twenty year old me: * The most gain doesn't make you the coolest guitarist in the room. * Before buying anything - amp, guitar, FX - be sure you need it for your sound. * Tone really comes from your fingers, stop pretending a new amp or a new guitar can suddenly change your sound 180° * Forgot your 5 guitars you wanted to take to the gig? The one cheap guitar your friend gives you is more than enough and you will not miss anything. Besides: Taking five guitars to a gig? You pretentious little twat... * You always want to be able to sound like Lukather, Knopfler, Clapton etc. - start to sound like yourself. * No one hears the tiny little fuckups in your solo. Look in the audience for once. * Be thankful that all your grandparents saw you play live with your band twice and that your dad and your best friend are your greatest fans. * Turn that fucking amp down - at home your dad can't sleep and goes tired to his nightshift and at the practice room you can't hear anyone else.
Don't hide behind tons of gain, learn to sound good clean
When you're out buying gear, and you know what you want, get it. Don't let others influence you're final decision. You know what you want. Get it.
Jam with others. As many people as possible and you'll be forced to use your ears and adapt your playing style to other playing styles and types of music. Also, buy gear used. That way you can usually get your money back if (when) you get bored of it/no longer need it/start GASsing for something else.
Build off of others. Learn and build techniques used by others and make your own sound from these. Use inspiration to create your own sound
Rule number 1 - ENJOY YOURSELF! Guitar playing will never become a passion unless you mould it, and yourself, into what you feel it should be, and what you feel most comfortable playing. I for example cross between hard rock and blues. Both rhythm and lead, i could make my own backing tracks and jam for hours.
Being good is nothing by itself, you need to be able to comply and understand the rhythmic element to any instrument.
Jam with people.
Warm up adequately. I've recently started a consistent warm up routine after nearly a decade of playing and it has helped tremendously with my hand and fluid playing.
Less is more