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Gewehr 43 posted:Let me know how it goes since the rest of your post sounds so incredibly similar to my story. I took two lessons about 8-9 years ago but stopped when the stupid poo poo tried to buy pot off me during a lesson. I don't smoke and the whole situation struck me as very awkward. You must have played the secret 'I'm holding' riff
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Sep 6, 2010 21:19
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Paramemetic posted:I consider myself a fairly decent guitarist, but I have a relatively beginner question. How does one pluck with a pick such that it doesn't sound so aggressive and staccato? I have a problem where individual notes played on an acoustic guitar hit with a lot of attack, and I'd rather it be more fluid. Personally I use a lighter pick with acoustic because of the higher resistance, it feels like I'm fighting the strings if I use one of my electric picks. Try a more flexible one and see how that goes. The angle of attack can change the sound too, and what Mr Wilders said about picking with the tip too. Basically experiment!
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Sep 10, 2010 20:26
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Arashikage posted:What? Em as in 022000 has the minor third represented . I think he means the part you fret is like a power chord, if you ignore the top three strings - kind of a confusing thing to say!
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Sep 11, 2010 22:51
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Coritani posted:Finally, does anyone have any beginner songs to learn? I really want to stick with learning guitar, and I figure one of the ways to do that is to make sure there's variety in my practises, so I'm not learning the same song over and over. If you want the classic beginner song, House Of The Rising Sun. You'll learn a few standard chords and if you're going fingerstyle you can get used to picking the individual strings. If you can name some bands you like you might get some good suggestions, it helps to play stuff you enjoy
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Sep 13, 2010 20:21
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Thoren posted:You probably just need to practice it then it is a kind of awkward chord. Yeah, it's definitely do-able - practice the chord without the top string (let it ring open though, so your finger's not going to mute it) and add the harmonic later. Also this isn't necessarily easier but technically this is the same chord: x074<5>0 (harmonic on the B string)
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Sep 19, 2010 19:18
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I'm no shredder but guitarists tend to use the one-finger-per-fret technique, where you have your hand in one position (say index finger over the 5th fret) and your fingers cover a box of four frets, with each finger responsible for the notes on the fret it covers. There's more to it than that (you can sometimes stretch, you might need to play more than one note at once, and if you're moving position it might make sense to fret a note with a different finger) but that's the basic idea. On another note, when I started playing I borrowed some books, and one was for METAL GUITAR. It encouraged you to learn whole-tone bends with every finger, including the pinky, which was real hard work - and I never did it, but it would have been useful! Short version - totally use your pinky
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Sep 19, 2010 19:43
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Clockwork Sputnik posted:I suppose, but I really do know the parts as well as one can. I can play them with my eyes closed essentially. Personally when I attempt to sing and play I tend to focus on one aspect (usually the singing since I suck) and I'm on autopilot for the other - this can shift around during a song if say there's a trickier guitar part or rhythm or whatever, but in general my hands get on with the guitar work on their own mostly. It's less about knowing the guitar parts and more about not having to think about them. That's how it works for me anyway
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Oct 1, 2010 01:46
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Thoren posted:edit: It's like god designed my hands perfectly so that the first string goes under the joint of my finger when I barre 4 strings. God drat it. And if I barre 3, it just gets drat awkward. Try rolling your index finger to the side, so you're barring more with the flatter edge of the finger than the bottom
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Oct 3, 2010 22:47
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I wondered the same thing about fingering, but the reasoning is basically that your picking hand needs the dexterity to actually sound and express the notes. There's some of that in your fretting hand too of course, but mainly in the picking hand. I'm not exactly sure what you mean about pushing the strings - if you mean you fret strings and then push them across the neck, like pulling the string on a bow, that's bad. That's called bending the strings and it raises the pitch, which is only good when you actually want to do that! If you're talking about pushing strings you're not playing out of the way, that's not a good habit either - if you don't want a string to sound you mute it, which is touching your fingers (or some part of either hand) against the string so it sounds dead if you hit it. If you get a wrrrrk half note going on you're applying too much pressure and actually fretting it. Your fingers will get more nimble though, and try to play with the tips so your fingers are coming straight down from above, you'll be less likely to touch strings you don't want to. Practice trying to get chords to ring out nicely, every string sounding the correct note - as you work on that your fingering will get much cleaner
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Oct 5, 2010 21:50
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Stumpus posted:Should one strive to press the string down directly between two frets or does it matter where the string is pressed down? The closer to the fret (the one further down the neck, towards the body) the better, it takes less pressure to get a nice clean note. You can try holding the string as far away from the fret as possible, playing the string and slowly releasing pressure, and see how quickly the note goes blergh Spruce posted:So here are my questions: Going to take a stab in the dark and say they're short-scale guitars (maybe also called small-body, or 3/4 size), but like you said it's not easy to tell how small! Apparently the Baby Taylor is 22-3/4" scale, so you can compare the scale length of other guitars to that. There are others (like this but I don't know how good they are Here's a category list though to narrow things down http://guitars.musiciansfriend.com/acoustic-guitars/travel-mini
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Oct 6, 2010 02:37
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Hanpan posted:Yea, somehow I missed this really basic skill and I'm paying for it now. I'll give what you suggest a try and hopefully I can pick it up quickly. In general too you should be playing most stuff with a mix of down and upstrokes - the basic rule is down on the beats, up on the 'and's (as in 1-and-2-and-3-and-4-and), keeping your hand moving like that even when there's a gap in the rhythm, so you're kind of constantly strumming either the guitar or the air. It makes playing rhythms more natural and helps if you're planning to sing too. Try busting out a few simple acoustic songs and play them like this until it feels natural, then it's just a case of building up speed! Oh while you're learning upstrokes you might want to learn palm muting too, I only ever did muting with downstrokes and whenever I have to do the ups it sounds awful. Two birds with one stone etc
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Oct 8, 2010 02:26
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Hanpan posted:Gah, guitar is so frustrating. I've been playing pretty much every day for a month (sometimes for more than 2 hours) and I just feel like I'm not really making any progress. I'm playing Blink 182 - Dammit fairly well, but it's kind of fast and I'm struggling to get all the way through it. The intro in particular I struggle to play clean and after a month of practicing it over and over I guess I was expecting to be able to play it by now Well y'know, even 'simple' three-chord punk songs have a level of technique to them, especially when they're fast and rhythmically tight. Don't beat up on yourself for not having it down yet! Practice slowly at first (this is important), use a metronome to get your timing accurate, and gradually speed up. It's not just timing either, I'm sure you've noticed when you try and play along to the song you stumble here and there but the song keeps on going and you have to try and catch up - playing to a consistent beat forces you to lock in and play things right, and your mistakes get smaller. If you're having trouble playing the intro cleanly, and you have other strings ringing everywhere, try this - when you play (say) the D string, mute the lower (A and E) strings with the heel of your picking hand. Like palm-muting them if you've done that, but make sure you're not muting the string you're playing - it should ring out nice and clean. With your fretting hand, mute the strings above the one you want to play (the G B and E strings) by resting your fingers against them. When you play a different string, you do the same thing - mute the strings below with your picking hand, and the strings above with your fretting hand. The idea is that only one note is ringing at a time, and even if you accidentally hit another string it won't really sound because the string is muted. It's a technique you'll have to work on a bit but it's definitely worth it. And if you're struggling to go from one thing to another (intro riff to power chords, C major chord to an F major chord etc) then practice that transition over and over, slow at first but speeding up as you nail it. Just play the end of the intro and the first few power chords over and over, and your fingers will learn what they're meant to be doing
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Oct 13, 2010 04:07
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seigfox posted:Help! I feel like I'm being pulled in too many directions. Honestly I think you ideally want to play things that sound enjoyable to you, or anything that sounds like it'd help you express yourself musically, so don't worry too much about different styles - go for what you like and as you improve you'll naturally start to branch out. Most people are probably going to recommend finding a good teacher to give you a structured learning experience - there are probably some books in the OP too, I forget. Really music's made up of all the things you mentioned, and being able to approach it from different directions will help you understand the big picture more - like how chords relate to scales and so on. Sites like https://www.musictheory.net and https://www.teoria.com are good places to learn about the theory. Here's some important stuff anyway:
That looks like a lot of posting, and close to the overwhelming amount of stuff you're already doing - I guess the answer is you ideally learn theory, technique and basic knowledge (chords, scale patterns) at the same time, but building each of them up and gradually putting them all together. It's not meandering so much as doing a bunch of stuff instead of one thing in isolation. I think if you learn basic theory and build on that, and have a particular direction you want to go, you'll start to improve a lot more - especially if you create a study plan, keep a record of exercises so on to see how you're progressing. What do you actually want to get out of guitar? Anything in particular you'd like to be able to play or do? Also I have a question (bolding this because people are going to skip all that) - https://www.studybass.com rules hard, it's a great beginner's resource and I think it would help guitarists too, but is there anything similar dedicated to guitar? Very structured with exercises (and MIDI playalongs). baka kaba fucked around with this message at 02:48 on Oct 19, 2010 |
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Oct 19, 2010 02:40
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Dickeye posted:I'm satisfied with it, I was just hoping maybe there was some trick i was missing. Like I said, I can play an F#, but moving up one fret just fucks me up bad. And this is after getting my neck straightened and my bridge fixed, so the tension on the first fret isn't retarded anymore. It's 'down' if you're going from F# to F  lower in pitch and all that.There's still more tension at the first fret just because you're so close to the nut - try fretting as close to it as you can and you'll see what I mean. To make things easier make sure you're barring as close to the fret as you can, and try rolling your barring finger to the side slightly, so you're barring with the edge of your finger and not the bottom (where all the gaps and creases are). You could try pulling back with your arm to add pressure too, like pulling back on the string of a bow
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Oct 19, 2010 22:44
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Luff posted:Check out tapped harmonics and plucked harmonics. A plucked harmonic is an artificial harmonic where you place a finger on your right hand where the harmonic is and then pluck it. Tapped harmonics are the harmonics you get when you tap the string with a finger on your right hand. Also it might help to take your fretting finger off the string as soon as you sound the harmonic, so it can ring out cleanly
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Nov 8, 2010 23:00
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HappyHippo posted:Um, does this actually work? Shouldn't it change the note when you change the length of the vibrating string? Sorry, I meant the finger fretting the harmonic, not the one actually holding the string down
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Nov 9, 2010 18:48
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Also when you make tuning adjustments it helps to bend the string a bit at the 1st or 2nd fret, in case it's catching in the nut. If it's trapped you'll have more tension on one side than the other, and as it works itself out the string's pitch will changeThe Will posted:I'm a newbie to guitar and I'm having great fun. I want to play some songs that I enjoy (rather than Skip to My Lou, Jamaica Farewell, etc.). Ultimate-Guitar.com seems a little hit and miss and I enjoyed reading from my brother's Complete Beatles Tablature book, so am I better off buying tab book of an album I want to play more, or that is easier to play? I think generally tab books are a lot better than what you'll find on the internet, just because you know the transcriber was actually worth paying. That said the quality can vary and some have had a lot more care put into them than others. I started off learning from tab books and it's definitely a good way to get making the noises you want to make, but try not to rely on tabs if you can - they become a crutch, especially as you move up to more complicated music. Have a go at listening to songs you like and trying to work out the melodies on your guitar, and when you've learned some chords try and apply them to songs, see if you can work them out. I'm not saying don't use tabs at all, just don't rely on them for all your music learnin'. Start developing your ear now and you'll be really glad of it later!
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Nov 10, 2010 22:09
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Dickeye posted:It's not fretting that's the problem, it's strumming. I have a tendency to, every third or fourth time, not strum the fifth string, and just play the fourth and third. You could try raking the strings - where you drag the pick over them so they sound individually, instead of basically hitting them all at the same time. Then just practice your attack slowly, making sure you hit them all, and you can speed up the raking (getting closer to a normal strum) as your aim improves. If it's obvious to you when you miss you could forget the raking and just work on your aim. The other approach is to say gently caress it and hit more strings than you need, and just mute the strings you don't want sounding. Muting's a technique you should learn anyway (and everyone hits the wrong string sometimes), and you can work on your aim so it's not a crutch too. Try extending a fretting finger (usually your first) so it touches the 6th string and mutes it while you're holding the chord, or use your thumb if you hook that over (or learn both). You'll still get some impact noise (and try to avoid harmonics unless you want them!) but it works great for rockin' ((((((((((((
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Nov 14, 2010 20:42
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I'll tell you what else as well, a lot of power chords (especially in metal) are actually just the two strings, root and fifth - practice those too, there's something about the compact feel of them that makes it easier to hit both strings. And practice upstrokes while you're at it, I definitely have more trouble with those because I never focused on learning them properly
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Nov 15, 2010 01:55
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Dickeye posted:In punk you usually play the octave, too, and no upstrokes Yeah but that's why I'm saying it's good to learn now - if you neglect the upstrokes you'll find it hard to do fast rhythmic things inbetween the downstrokes, and doing the two-string power chords will make sure you're hitting the root too. You don't have to do this stuff exclusively, just work it into your practice routine EDIT: actually weren't you learning Dammit? That has upstrokes all the way through it http://www.youtube.com/watch?v=g0AelxR4qh4
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Nov 15, 2010 05:14
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MAybe something really is loose - check the screws, and especially if it has those little ones on the bridge saddles, to control their individual height.
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Nov 17, 2010 01:59
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Not exactly sure what you mean, but try plucking the string with the finger you're pulling off - more of a sideways movement basically. Easiest thing to do is a trill - play a note then hammer on and pull off repeatedly, trying to get a consistent volume for all the notes (and you only pluck the first one). It will be hard at first but practice will help. Also muting strings you don't want sounding is a very good habit to get into. Use your fretting hand to mute the higher strings, and your pickign hand to mute the lower ones. It's probably worth practicing both ways though (with muting and without) since there'll be times where you want other strings ringing and you just don't want to hit them
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Nov 21, 2010 00:15
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bromplicated posted:I mean you "pull" to one sideways direction from the fretboard with your finger to sound the note but if you "push" in the opposite direction or do like an upstroke with your finger you don't have to worry about muting the other strings it seems. Well to a point use Whatever Works, but honestly it sounds like you're doing the exact same movement in the other direction, your finger has as much space to move before it hits another string so really it's down to technique. You have more strength and control curling your finger in, so I'd practice that way until you have it under control. I'm guessing your finger's just going too far because it's more powerful doing that movement, so practice trilling until you can get an even sound without hitting any other strings. It doesn't actually take much of a pull either, you'll see as you do more of it. Also you should be fretting as close to the fret as possible, to maximise the distance between the note you're pulling off from and the one you're going to. This matters more when the notes are one fret apart - try pulling off from the first fret to an open string, and see how much harder it is when your pulloff finger is close to the nut
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Nov 21, 2010 03:45
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crm posted:http://www.ultimate-guitar.com/tabs/p/pearl_jam/better_man_ver3_tab.htm You should probably read a tab primer like this: http://www.guitartabs.cc/tabfaq.php And yeah for that one you play the 2 and slide up to the 4 in a smooth motion. You need to listen to the song to hear how it's meant to sound
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Nov 21, 2010 23:48
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Dickeye posted:Good to know Don't pull them tight before you start to turn the tuner, I did that once and popped a brand new string too. I leave a fair amount of slack and let it wind around the tuning peg, seems to help seeing as I never break strings anymore :o
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Nov 26, 2010 21:46
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crm posted:Took my first lesson Monday. After playing piano for like 20 years, I feel completely retarded doing scales. And struggling at it. You guitarists have completely backwards note layout. Think of it as six one-fingered pianos in one!!
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Nov 27, 2010 04:24
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It means you pull the string through until it's taut, then pull it up off the fretboard at the 12th fret until you get about an index finger's length worth of clearance. You're not stretching it, just letting out some slack. Then you let that slack wind around the tuning peg while you tune up, don't pull it through to get it tighter quicker I just wing it personally but that sounds about the same amount of slack I go for
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Nov 27, 2010 19:04
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No idea about the books, but I can tell you a little about intervals. Basically it's the difference in pitch between two notes, and in western music we go up in increments called semitones (or half steps/half tones). On yr guitar going up a fret on the same string is going up a semitone, and that one-semitone interval is called a minor 2nd. Here's the main ones and how many semitones each interval is: 0 Unison (exactly the same note, no pitch difference) 1 minor 2nd (one semitone higher, i.e. one fret up) 2 major 2nd (two semitones higher, two frets up) 3 minor 3rd 4 major 3rd 5 perfect 4th 6 tritone / augmented 4th / diminished 5th 7 perfect 5th 8 minor 6th 9 major 6th 10 minor 7th 11 major 7th 12 octave (same note (like F and F) only higher in pitch - try playing an open string and then fretting at the 12th fret) As for the names it's just convention - the 4th and 5th are called 'perfect' because they're regarded as the most consonant and pleasing intervals, tritone literally means three (whole) tones (six semitones), augmented means added to (4th +1) and diminished means reduced (5th -1). As to which name you use, you don't really need to worry about it at first - but if you have a scale like the Lydian mode, which is a major scale without a perfect 4th and with the tritone, you can consider the 4th to have been changed and pushed up a semitone to become an augmented 4th, whereas the perfect 5th is still hanging out as-is. EDIT: I'm not even close to being knowledgeable about music theory so if that last bit is wrong someone shout at me
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Dec 2, 2010 18:04
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mAlfunkti0n posted:Edit : Re-reading the last bit you mentioned makes me think that the guy was just providing a list of every possible combination of interval for every possible scale/mode/etc. If that is the case, then I totally get it, if not, he screwed my head up bad. Yeah basically - it's like I was saying before about changing the perfect 4th in a scale, if you raise it by a semitone you'd call that note an augmented 4th, to make it clear which note of the scale it is and how it's been changed (so people don't assume you're diminishing your 5ths instead). In this case I think - and I'm kinda guessing here - that you'd have an augmented 2nd when your 3rd is a major 3rd, to make it clear that your scale's 2nd note is being raised and that it's not a minor 3rd (which would be enharmonic). When notes and intervals are enharmonic it means that they sound the same (they're the same pitch) but they're functionally different - I really don't know a lot more than that and music theory can get pretty complicated, but the good news is that you don't really need to worry about it at this stage. By the time you need to worry if something's an augmented 2nd you'll probably have enough understanding to find out more
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Dec 2, 2010 20:11
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Your standard strings are nickel roundwounds, there are other materials and such out there (have a look here) but you're probably best going with those at first. String sets come in different gauges which tells you how thick they are, heavier gauges are thicker which means more tension and a different tone, but you usually need to set your guitar up to use them - the standard gauge is 9's or 10's, if you wanted to take your guitar to the store they could probably tell you exactly what you have on already but it's no big deal. If you currently have 9's then 10's will feel a little harder to bend, that's about it. The gauge refers to the thickness of the high E string (9's = 0.009 inches thick) and that determines how thick the others are - you might see different sets of the same gauge called things like 'Heavy Bottom' which is a set with extra-thick lower strings and so on, just grab a standard set and you'll be golden. There are different brands like Slinkys, Rotosounds and so on - personally I like D'addarios, they have coloured ball ends that make it easy to tell which string is which, might be a good option for your first attempt. Otherwise just say 'I need some standard electric strings' and if they're not a total douche they'll give you something suitable Also there are expensive strings like Elixirs and D'addario EXPs, I wouldn't bother at this point!
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Dec 3, 2010 17:32
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TwoDogs1Cup posted:What strings would you recommend getting for an Epiphone ej200? We should have a string gauge thread or something, I've pretty much always used Lights which are apparently 12s (and I think the standard) but I just bought some 13s - might string my acoustic later! People seem to think 13s sound a lot better but it would be good to hear some opinions... anyway I guess get a set of 12s (12-5?), or 13s if you don't think the extra tension will make it too hard to play. The Earthtones ones are phosphor bronze so they shouldn't be as bright as the others, I've never heard of Rainbow and I have heard of Martins but that's up to you!
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Dec 4, 2010 16:46
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What I'd try is tuning it up, making sure to bend each string at the 1st or 2nd fret to make sure the string isn't caught in the nut - if it's catching there'll be a tension difference, and bending could even it out and change the pitch. Tune, bend, tune, bend until the string is stable. Otherwise it could be the strings, are they the old ones?
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Dec 4, 2010 20:21
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Dickeye posted:On a similar note, I'm willing to put money on the first song on Leave Home having an A and a D I V IV You'll probably benefit from learning your fretboard completely, where every note is and so on. There's a good trainer here, start with a few frets and gradually extend that until you're testing yourself on the entire fretboard: http://www.musictheory.net/exercises (Fretboard Identification) It'll help a lot because if you're anything like me, you learn how to play stuff by position - start at this fret, add the note to frets higher on the next string, and so on. You end up learning to play things from memory, without knowing what the actual notes are that you're playing. If you learn where notes are and start to pay attention to which ones you're playing, music theory will all start to fall into place and you'll be able to do way more
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Dec 5, 2010 19:47
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This is kinda 'the' guitar thread so go for it
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Dec 6, 2010 00:17
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unpurposed posted:I tried what you suggested and it seemed fine. The strings weren't catching. It's not necessarily something you can feel (if it's -really- catching your nut has problems!) but if you get the strings in tune and bending doesn't detune them anymore, you're good. It's how I always tune mine, it definitely helps. If you haven't put new strings on there that's a big deal too, especially if it was the floor model being handled by who knows how many people for however long it's been there. You can tell if they're new, they'll be very clean and shiny and have a really metallic twang to them. I really doubt the store would have put new ones on for you, unless you paid for it. EDIT just noticed you said you're getting it set up so that means new strings anyway!
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Dec 6, 2010 15:52
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ChiliMac posted:Different topic--do those of you who play with a lot of distortion use a noise gate? If not, what is the best direction to minimize string noise from moving around the neck? I'm interested in this too, I've tried lifting my fingers properly when I move instead of letting them slide up the strings, which obviously helps with the squeaking but it feels more laboured. I don't know if that's good technique or if I'm making life hard for myself SaucyPants posted:So I put on new strings today. I asked for the guys recommendation and he gave me Ernie Ball Power Slinkys in 11's ( i just asked for whatever he recommended in 11's) Why do these strings sound awful? the old set were the lime coloured Ernie Ball's I didn't think it would be that big of a difference but its just awful. What's bad about them? The only real difference between strings should be the nuances of the tone. If they sound out of tune it could be your intonation, if you don't usually use 11's - the tension difference might mean you need to set your guitar up for them
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Dec 11, 2010 18:26
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Well ideally you'd know the 7th is an F, and you'd know where to find an F on the fretboard, so you just throw that in there. Another way would be to find the octave of your root note and drop it two frets instead, or you could probably even drop the root itself in some situations. Guitar chords have a lot of redundancy (320003 has three Gs in it) so you can usually find somewhere to put another note. Still better to learn a lot of shapes, and learn the notes and where they are on the fretboard - it definitely makes you more musically aware, it's a good habit to get into
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Dec 13, 2010 02:13
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Honestly I think knowing all the notes in keys and chords will be much more beneficial in the long run. Patterns are easy but they can end up a crutch, I basically learned that way and it means I can play a lot of stuff purely by remembering shapes and positions - I don't necessarily know what notes I'm playing, or even chords when it comes to some power chord riffs. You end up locked into doing things a specific way, which is a big problem if you have to vary it (say playing in a different key). Music is a very broad subject and like anything else you benefit from coming at it from lots of different angles. The more you understand about the subject the more it all seems to fit together - so if you learn the notes of the chords you're playing you'll be able to do cool things like use notes that you know will lead into the next chord. Learn patterns too, but try and learn the notes as well. And saying them out loud is supposed to really help 
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Dec 14, 2010 03:13
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Your finger should ideally be as close to the 2nd fret (the actual second piece of metal) as possible. What you're doing is basically pulling the string taut over the fret itself, so the closer you're pressing the more secure it will be (and the less pressure it'll take to get a clean sound). So this is only happening with your A chord, and there's no buzzing on the 3rd string when you're fretting a D major or minor? What fingering are you using for the A chord?
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Dec 21, 2010 22:50
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Well really there's a bunch of ways you can fret it, it all depends on what chord you've come from or are going to, or any variations you want to be able to add, like: 111 barring is pretty fast and handy for slides, and barring with your first finger lets you stretch your pinky to the 4th fret of the high E for a nice Amaj7 123 (I use this most) switches to and from Dm or Dsus2 really well, and you can add the 3rd fret B string for an Asus4 or E string for some A7 colour 213 is similar to 123 (except it's better for Dmaj) and you can easily drop your first finger a fret for an Amaj7 234 leaves your first finger free to play with bass notes on the lower strings (kinda limited for an open A but y'know) and allows quick switches to and from Am. Also leaves you ready to slide up a bar chord if you fret them this way and so on!
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Dec 23, 2010 18:23
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