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chordate posted:What guitar/amp combo is best for wooing fair maidens
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Aug 25, 2010 05:43
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You'll be good at the instrument you play the most. You can get some skill crossover by practicing diverse music on every instrument.
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Aug 27, 2010 00:59
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TheGopher posted:I'm going to make a foray into the world of electric guitar soon. I've had an acoustic for a few years now, and I'm not particularly good because I don't practice like I should, but that's another topic entirely. Try an Epiphone Les Paul through a small Marshall or Fender combo amp, with, say, an MXR Distortion pedal in between. And practice, 'cause otherwise that sweet, caramely crunchiness will be indecipherable.
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Aug 30, 2010 06:11
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PoisonedV posted:So for learning guitar with an instructor, is there much of a difference between taking lessons and taking a class at the community college? I don't know mines reputation for their guitar class, but it would be a lot cheaper than private lessons. I have an accoustic and electric guitar, but most attempts I have put forth to learn them have ended poorly which I think could probably be based on the fact that I tried learning using dumb DVD's instead of lessons, which usually work well for me in other areas. I'd take a second look at their pricing structure. I took lessons through CU Boulder's Continuing Ed department and it came out to 8 lessons at $50 each, when the same teacher only charged $40 for private lessons. Through private lessons, you're also more likely to find a teacher who suits your goals, rather than one who is assigned to you and has a narrow specialty. If you're just starting, the pricing is what will make the biggest difference, but it's still nice to find a teacher you can stick with for a while.
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Aug 30, 2010 14:36
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TheGopher posted:Picking up an Epiphone Standard Plus after work for $325 from some guy. wouldn't even bother spending that little on a pedal
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Sep 1, 2010 01:06
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Pocket Billiards posted:Might be able to find a DS-1 at garage sale or something for that much. used, all bets are off. I got a used MXR Phase 90 for $50 at Guitar Center last week. Freakin steal.
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Sep 1, 2010 14:34
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the posted:I want to learn flamenco/spanish guitar. I have the proper equipment. The problem is that I have no instructor. If there is a university nearby the guitar department will probably have flyers all over for classical/flamenco lessons
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Sep 11, 2010 16:46
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TheGopher posted:Hey, can somebody please give me (including key) important scales I should know that are not used as frequently as say pentatonic or major/minor scales? You don't need to provide tabs/notes, as I have a book. beyond those diatonic scales, they are all derived from the chords in a song. You could learn your melodic and harmonic minors, but those aren't of much use outside of certain musical contexts that, really, you don't see a whole lot in guitar rock music. You'll probably get a lot of people who say to learn the modes of the major scale, but at your progress level that's a waste of time. What you should develop are practical skills. Spend a lot of time practicing all the major scales in every position (practice one scale through every position, then the next scale), and the diatonic chords for every scale. Work on your technique, too. Diatonic scales and chords are foundational and provide the most useful base of ability when you do start getting into real chord progressions, modes, and non-diatonic progressions.
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Sep 11, 2010 21:12
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Porn Thread posted:
If your rhythm, melody, and harmony are good it's just a matter of getting your technique up to what you hear. The more I learn to hear in music the more I see what I'm lacking technically.
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Sep 12, 2010 06:00
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chordate posted:classical technique sucks when you're standing well you change posture but you don't lose the precision you get from practicing classical music.
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Sep 15, 2010 00:31
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The most important thing for consistent improvement is to have a method, goals, and a practice routine. Having a teacher and keeping up with the homework will yield the best results, but if you can organize yourself effectively, you'll still see much better results than just jamming with the radio. It could be worth taking a couple lessons just to get an idea of your weaknesses and how to set up a practice routine. quote:I guess I'm also looking for good habits I didn't know existed. I would be careful not to assume that just any guitar teacher is a "professional" guitarist, in the sense of musical ability. There are a great number of teachers, guitar especially, who do not have great chops, but know enough to teach beginners, who are the vast majority of lesson takers. A "good enough" guitar teacher may not recognize subtle technical flaws or how to improve on already good technique. If you want a teacher who can give you direction and works to make you a well-rounded player, look for people with varied professional experience and lots of teaching experience. Probably not going to be some guy in the guitar store.
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Sep 16, 2010 23:44
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quote:What's a good resource for learning a Duane Allman/Derek Trucks style of slide? Books are great, video's a secondary option, whatever works out the best. I'm primarily interested in open-E tunings. "At Fillmore East" and "Joyful Noise"
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Sep 17, 2010 22:01
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chordate posted:Right but I'm looking for something along the lines of common rhythms, not so much tone. I don't think you're going to find any resources for genre by rhythm, since specific rhythmic figures aren't definitive of genre. You're not going to find anything that's a "jazz rhythm" or a "classical rhythm" because context is everything. You can find huge similarity between the rhythms used by Bach and Charlie Parker, and huge differences, too. You'd do best to start boning up on scores and listening to how musicians play with rhythm.
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Sep 18, 2010 20:38
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Walked posted:So I've been using my acoustic and my rondo AL-2000 back and forth. If you liked the acoustic and like the feel of thick strings, then play acoustic. Electric guitar technique doesn't lend itself well to extremely thick strings (except jazz), and trying to use that technique as a beginner could be physically difficult. 13s are really unusual for electrics and I'd be curious what she needs them for. I think acoustic guitars are easier to get sounding nice when your hands aren't too steady. With the electric everything is amplified and compressed, so small sounds get through more clearly than on an acoustic. Thick strings also make your fingers feel like they're on more solid ground, as it's much harder to bend a single note in a chord out of tune. There's really no reason not to learn on both an electric and acoustic, since they do diverge technically and being really proficient on one doesn't transfer to the other without some work.
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Sep 23, 2010 00:06
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Scott Justice posted:Ok, I'm not exactly new to guitar but I figured this would be the best place to ask this question. I'm working on a song and I can't exactly figure out which key it is in and which other chords would work with what I've got so far. My song starts with Am - AmMAJ7 - Am7 - Fm - Am - E7 - Am. My guesses have been that it's either in the Key of C or A minor harmonic. Any suggestions on what other chords go well with the sound? anything "harmonic" only refers to a scale, not a key. Considering a harmonic minor and C as keys indicates you're over-"modalizing" things. Your song is in the key of Am, most definitely. The V i at the end is the strongest possible way to define the tonic. C isn't an option in this progression, because it doesn't make an appearance at all. Key is defined by the root of the tonic and nothing else. It's whatever note is the bottom of the ultimate chord of resolution. When determining key, the mode/scale is pretty much irrelevant except the M/m dinstction (but that's obvious enough when you hear it). What you should look for is root movement and where the progression starts and ends. Scales are defined by the notes you're using relative to the tonic at any particular moment. You'd use notes/arpeggios from A natural minor scale most of the time, but then use melodic or harmonic minor over the dominant, E7. The scale usually coincide with the key, but they in no way define each other. CalvinDooglas fucked around with this message at 00:48 on Sep 24, 2010 |
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Sep 24, 2010 00:43
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chordate posted:
ii V I is the basic harmonic unit of jazz. Similar to how certain patterns like I IV I or I iii in classical and pop music can effectively be analyzed as I alone, the ii V I in jazz is almost a basic unit of tonality. Look for minor-dominant-major and half dim-dominant-minor patterns. The movement of ii V I circle of 5ths patterns is all over, even through key changes. This is getting into NO LONGER NEW territory, but Here's a good way to connect blues and jazz in this way: When you hear an upbeat blues song, you often hear a I IV on each chord. on the I you hear I IV back and forth and on the IV you hear IV bVII back and forth. Even though both the I and the IV contain two chords, you don't hear a progression, just a vamp on I and a vamp on IV. ii V I in jazz is used similarly. You'll hear a ii V I on the I, then a ii V I based on another key, and so on until it cycles to the dominant. As for rhythmic aspects of harmonic progression in jazz, look for changes every four bars. When you get comfortable with identifying ii V I patterns in keys outside the tonic, you'll start to see how the target "I" defines the tonality of a few bars at a time. Even though you're playing over individual chord changes, that final "I" (not necessarily tonic) is what your ear hears coming up. A jazz blues like "#1 Green Street" by Grant Green will help you understand by ear how jazz and blues differ in their treatment of tonicization. If you this doesn't make much sense, post the question in NO LONGER NEW and I or someone will give a more thorough explanation with examples. Understanding tonality in jazz is definitely beyond beginner stuff. Bear in mind it's also not entirely necessary to understand the "big picture" of a jazz tune right away. If you are technically and theoretically still a beginner, it's OK to understand a jazz song a few bars at a time. Macro-level analysis takes a while to get good at, even if you know the concepts already. What's most important is your ability to play the idea, even if you don't totally understand it. CalvinDooglas fucked around with this message at 02:25 on Oct 4, 2010 |
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Oct 4, 2010 02:18
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cpach posted:I have an anal-retentive correction to make to the otherwise good OP. I don't know why tuning temperament would even be relevant to beginners. It's hardly relevant to professionals.
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Oct 4, 2010 22:39
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Thoren posted:Can anyone tell me a bit more about ties in Sheet Music? you combine the two notes' values. If they are different notes, that's called a slur and it means to play legato.
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Oct 8, 2010 03:31
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Paramemetic posted:Which is generally pretty hard to do on guitar unless you can slide to it or bend to it, but I think the generally accepted way of doing it is to let one note continue to ring when you begin to pluck the next note, then releasing the first one, so that the sound remains uninterrupted. The guitar is just fine for legato, and strictly speaking legato on guitar means hammer/pull or slide. It just takes practice. You can pluck legato if you really have to, but it doesn't sound as good. The technique you describe is distinct from legato. No fixed pitch instrument is going to get the same legato as a wind instrument (which are sometimes portamenti), so I wouldn't use the clarinet as the golden standard of legato. Every instrument has its own legato technique and they all sound a little different. Piano music has as many legatos/slurs as anything else, but there's nothing you can do to "slide" between pitches there. CalvinDooglas fucked around with this message at 03:40 on Oct 8, 2010 |
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Oct 8, 2010 03:37
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Thoren posted:Thanks. Right, the Beam was indicating 8th notes. The thing that tripped me up is that there are many ties connecting the 8th and quarter notes, I am a bit lost on their purpose. what is the example you're curious about? it's hard to tell say how to play it without seeing it.
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Oct 9, 2010 00:31
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Zo posted:I just barre and slide a lot. My guitar's action is actually pretty low and I'm using 10s. You're pressing way too hard. Technique that hurts you is completely counterproductive.
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Oct 19, 2010 00:14
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Also, I play a lot. Threw a bandaid on there and just kept going!
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Zo posted:No, trust me, I'm not pressing down hard at all. I slide a lot with my finger on the string and it slowly opens up the skin where the lines meet, which doesn't hurt at first, but then digs deeper and opens it wider until it hits a nerve. No, trust me, you're pressing too hard or using the wrong part of your finger to barre/slide. If it injures you, you need to make an adjustment. It's entirely possible to play for long periods regularly without any pain at all, but only with good technique.
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Oct 19, 2010 00:57
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Zo posted:I'm using the best part to barre, the bit right under your finger pad that's all boney. I'm well away it's possible to avoid injury but "press lighter" doesn't help me at all since I'm not pressing hard at all. I suppose this is a question for the next time I take a few lessons since the internet has no answers. You'd be surprised how lightly you can touch and still apply a great a amount of force. Unless your arm feels fatigued very quickly, you can only diagnose tension by other symptoms, such as finger injury and the feeling of physical limitation. The best place to barre isn't the underside of your knuckle, and it's probably the worst place for sliding. Roll your index finger slightly to the outside so the strings have some flesh to dig into. You may have to adjust how far much finger extends beyond the fretboard. Fretting on the bony parts of your hand is not only painful, it's inconsistent because the point of contact is smaller. With the fleshy parts, the contact point is larger so it's easier to keep consistent fretting even as the fingers move about. Sliding should be done with the fingertips, where there is lots of padding, but a bone close enough to keep consistent pressure.
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Oct 19, 2010 02:19
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Zo posted:Naw, it's none of that. I barre extremely consistently, and I'm not using the knuckle, but rather the part above it. And of course I fret individual notes with my fingerpad. it takes considerable pressure to get "burn" from a guitar string, especially if it's not a wound one. It's also got as much to do with your finger running over the frets. I'm trying to emulate the technique you describe it's definitely suboptimal, and borders on painful even for me. Choke down a little and use the fleshy part of your finger, and have a defined "leading edge" slightly to the inside or outside. It is tempting to use the "hard" parts to apply pressure, but the knuckles are not as controllable and don't stand up to the punishment. Barring for a slide is also only appropriate if you're sliding more than one string. If you're sliding up just one string, save yourself the pain and work out the motion with the finger tip. If you play enough to break the skin you won't need more than a couple practice sessions to get it right. Keeping fingers "locked" when they aren't in use is a hallmark symptom of tension. I suggest some finger isolation exercises that force relaxation and independent control. To reiterate, proper technique will not cause injury, so if you've hurt yourself, you're doing something wrong. Slow down, take the time to work out technique that is comfortable. Spend some of that playing time on real practice so the playing has less impact. CalvinDooglas fucked around with this message at 03:12 on Oct 19, 2010 |
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Oct 19, 2010 03:06
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quote:ropeburn on a wound string when I switch positions really fast. CalvinDooglas fucked around with this message at 05:32 on Oct 19, 2010 |
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Oct 19, 2010 05:29
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man thats gross posted:If anyone was curious about my progress so far, the lessons are really helping a lot. Using the scale exercises my instructor gave me, I've pretty much memorized seven different forms that give me all of the natural notes from the first fret to the fifteenth. Memorizing the actual NOTES I'm playing isn't coming along quite as quickly, but it's coming. Either way I'm already finding it easier to improvise. In general do not spend too much time thinking about chord and scale shapes, but do make sure you know which note is which in and their relationships to each other. Shapes are helpful for basic memorization, but further down the road you will have to use other information to determine your chord choices (which note is on top/bottom, altered chord tones, etc). A big hurdle for many players, even good ones, is getting outside of the shapes they learned early on. quote:Is it wrong that the only way I can comfortably play an F chord is by sliding my thumb around (so rather than have it resting against the neck, I'm holding it baseball style or whatever it's called)? I get the feeling I shouldn't be doing it.
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Oct 19, 2010 23:44
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Nevergirls posted:Can I plug an electric guitar into a DJ mixer (using a 1/4" to RCA adapter orsomething)? Will it sound like complete poo poo? My idea is I want to buy a guitar, run it through a DJ mixer and then use a DJ effects unit to throw delay on the guitar etc. will sound like poo poo
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Oct 21, 2010 04:06
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SSJ2 Goku Wilders posted:Got tendonitis... again. The muscle connecting my elbow to my wrist, on the 'underside' of my forearm (the part that would not tan if you were to sunbathe, let's say) is all swollen and painful. If it's your picking hand, you're probably gripping way too hard
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Oct 29, 2010 03:14
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Philthy posted:I'm working through Wish You Were Here, and at one part it goes: There isn't really a defined starting point for that kind of slide. It's hard to describe, but look at the lesson as teaching you how to deal with vagueness or subjectivity. "Long slide" is about as specific as it gets in musical notation and interpreting that is up to the player. Listen to the recording and hear how David Gilmour plays it. Work with it and you'll figure out what's too long or short. Sliding into a note like that is an indispensable technique.
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Oct 31, 2010 07:03
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Xlyfindel posted:Are new pickups something that a new player like myself will benefit from, or are they mostly something more advanced players would use to nail a particular sound? If you find pickups that you're really hung up on, though, you can always save the stock ones and reinstall them when you do get a new guitar. quote:I don't know what else I'm doing wrong or how to fix it, any tips? lay your fingers flat against the strings so they are making firm contact, but not pressing on the frets. After a while you'll be able to mute without as much movement, but get used to the feeling now.
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Nov 3, 2010 06:35
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might it be useful to put "buying my first guitar" questions in a larger gear recommendation thread? It seems like at least half the questions in this one are about purchasing a guitar rather than playing it.
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Nov 9, 2010 00:59
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Tarnien posted:No I know how to figure out what the notes should be on paper - I'm saying in terms of finger arrangement. So if I know G is 320003 - from this, is there anyway to know G7 is 320001, without just knowing what G7 is? For instance "Oh, you want to make a major chord into a 7th? Just slide your highest pitch note down 2 frets!" or something similar (but obviously more complicated, I'd imagine). The "formula" if you want to think in these terms is: in a "triad" with two appearances of the tonic, you lower one of them a whole step. You can also get away with lowering the root of a real 3-note triad, though it might not sound as complete on a guitar alone.
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Dec 19, 2010 02:48
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Sewer Cartographer posted:What's the best way to train your ear? use your voice. Play a note on the guitar and try to sing intervals above and below it. You also don't have to use "songs" per se, just anything with music. Maybe try to figure out the first few bars of a Mozart violin part or a Miles Davis trumpet solo. It's also good practice just to figure out random music on the fly; when I watch TV with the guitar in hand I'll try to figure out commercial songs before the commercial is over. also, https://www.teoria.com. https://www.good-ear.com and https://www.iwasdoingallright.com
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Dec 24, 2010 17:17
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Southern Heel posted:Hm, I like the Explorer copy but I'm not a huge fan of the Les Paul or Strat body style to be honest - and they seem to be approximating those. Is there something inherently worse or better about aforementioned Dean/BC Rich/Ibanez stuff which makes it easier/harder to play (forgetting the fact I would look like I went through a gothic-puberty stage 10 years too late if I bought a Warlock) I'd be wary of the quality. Guitars made to cultivate some kind of "rock n roll image" tend to charge for it. Something like a Schecter with blueburst maple flametop for $300 makes me wonder how much you're actually spending on the parts that make sound. A lot of those guitars marketed to metal players also come with absurdly low action and an unusually broad and/or skinny neck. I find them uncomfortable and they really don't make you any better. Excepting stuff that's actually poorly made, your fingers will get used to whatever guitar you buy. Comfort is important. Oddly shaped guitars like the Explorer and Flying V are pretty bulky and don't lend themselves to setting on your lap. While practicing entirely on your feet may be metal as gently caress, you probably won't want to practice at all if you can't sit down and do it comfortably. For a beginner guitar I'd keep resale value in mind, and that may suffer with some of the more "metal" looking guitars compared to a generic strat/LP body style. If you really want a non-standard body style, go with the Bo Diddly.
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Dec 28, 2010 02:21
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crm posted:Thanks! I'm really enjoying the acoustic I got, but there's some things it just can't do If it works that's a good deal. Fender likes to save money by using a few different circuits in a bunch of different amps, so it's probably going to sound about the same as a slightly more expensive Fender solid state.
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Dec 29, 2010 01:06
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Those notes don't have to be the roots of your chords. Any chord with an F# in it will work. The notes in the chords are always "safe" melody notes.
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Dec 31, 2010 00:57
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CaptainApathyUK posted:
does not exist. You just gotta use the scales any way you can. Say the note names out loud, learn to sight read, start building chords, compose melodies, practice non-linear scale patterns, arpeggios... Just use them like you're trying to wear them out.
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Jan 5, 2011 02:27
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Dickeye posted:
12th fret harmonic vs 12th fret fretted or open string. It can be difficult to discern narrow differences, so I suggest a very sensitive tuner. If you've never done this before (I've played for 15 years and have done it like twice) I'd suggest scheduling a basic setup and seeing what you can do in the mean time. It's very easy to get the intonation waaay out of whack, and it's pretty frustrating, too.
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Jan 6, 2011 05:43
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CaptainApathyUK posted:This might sound obvious but when you're checking the intonation, do it with a fairly new set of strings on (once they've been sufficiently stretched out etc) I recommend new strings every 3-4 weeks.
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Jan 7, 2011 03:06
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Zo posted:I hope you never end up teaching anyone, since the worst thing you can do to someone is to kill their basic motivation to play. If I had to practice chords for 6 months before I was 'allowed' to play a song I wouldn't pick up a guitar at all. If you have to practice chords for 6 months before putting them together in a song I'd say motivation isn't the problem. Once you have basic dexterity it shouldn't take very long to get moving between chords. It doesn't take any more or less time to get playing actual songs with knowledge of the notes/chords than to learn songs by arduous memorization of fret numbers. Bb isn't any more difficult to remember than 3. CalvinDooglas fucked around with this message at 20:43 on Jan 22, 2011 |
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Jan 22, 2011 20:40
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