Quote: (07-08-2014 06:52 PM)Ethan Amarante Wrote:
My major gripe with a less theoretical approach is not so much that you can't become a great musician, but that I believe it to be less conducive to writing very original compositions, which was always my goal.
This reminds me of what a music performance friend told me, that at some point you have to decide if you want to be the performer or writer. He says it's not impossible to be both, but under time constraints, you will probably be nudged one way or the other.
If OP just wants to perform, then scale practice, metronomes and guitar techniques will be more than enough.
I still think a bit of harmony will help put the entire thing in perspective, but I don't think he will be needing to buckle down and learn serialism or any of that jazz.
Quote: (07-08-2014 06:52 PM)Ethan Amarante Wrote:
I don't think the two approaches are fundamentally incompatible, though. I see no reason why someone cannot play a piece back by ear and understand the technical details behind the piece - if anything the two approaches should be complimentary.
Definitely not. Having an ear for licks and a knack for details is a killer combination. I'm thinking Django Reinhardt going from oral tradition to songwriter or Jimi Hendrix from experimental rock to wanting to compose classical (before his untimely death).
Quote: (07-08-2014 06:52 PM)Ethan Amarante Wrote:
I don't want to go off-topic, but sometimes I wish I hadn't stopped playing before I really got into game - have you ever made use of your talents in this way, Unbowed? Perhaps one day I'll use music for game, but that'll probably be in the distant future.
Maybe it's different in Germany but in the US people seemed to care more that you knew an anthem or some kind of gimmick theme. Anything not Jack Johnson or Beatles related was only appreciated by other musicians... hence a bunch of nerds high fiving each other
Having a "prop" like a guitar was considered cool, especially if you can make the people feel familiar emotions. Flogging Molly, Oasis and Bob Dylan were safe bets.
Maybe I'll build a new repertoire and head to the park one of these days now that I've graduated from the school riff raff.
Quote: (07-08-2014 07:33 PM)thedude3737 Wrote:
All I can say is, like any art, I find it's best to know the rules before you break them. It's best to be able to play each note perfectly on beat before you start breaking out the legato and rubato.
And yes it is about what any music student wants to get out of it, but I still maintain that scales are the ultimate practice. I'm not just talking major/minor scales. I'm talking learning pentatonic scales in each key and in each fret position. If you can play your pentatonic scales in each key and fret position, you can solo along to 99.99% of any rock or blues song in existence. At first it'll sound mechanical, that's fine. Play your scales. Then when you can do this shit with your eyes closed, that's when you smoke a blunt, think about your childhood dog that got hit by a car, and really let it rip.
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Start by learning all major and minor chords, and their various positions on the fretboard.
Then learn 7th chords.
Then learn diminished and augmented chords.
This will give you a good foundation for playing different chords in different keys.
If you want to solo, then it's time to learn scales. Learn your circle of 5ths. Learn minor, melodic minor, and harmonic minor. Learn how to play in each of the 7 modes.
It's funny because what you said in this post and your first one about the different chords is almost literally
all a player needs. The trick is to really get the player to sink it all in. Literally, scales and chords in every key. Sounds daunting almost. This is why I would recommend an intro to harmony to put it all into context. Intervals, chord movements etc. At least that's what worked for me. Reminds me to go brush up on some scalework.
If you "get" what a major/minor/penatonic scale is/does, then it becomes a simple matter of mapping it out on the fretboard and putting in that metronome/nimble finger work.
I'm just worried that pure technical know-how will put someone in the dreaded scale box patterns trap. I'd rather a new generation of guitarists start out not mimicking John Petrucci. It's a fine line between musicality and shred. Give me a Django or a Barney Kessel and I'm all ears.