Monday, April 21, 2014
Well, I just got my hands on a new Pedaltrain mini pedalboard. It is a perfect solution for any gigging player who's pedal count is around 8 - 10 pedals.
The board features: steel frame construction, a handy travel bag, and all the required velcro. The Pedaltrain mini even comes with a handy mounting kit for a Voodoo Labs Pedal Power. This allows you to mount the power supply underneath - preserving valuable real estate up top. So if you play mostly local gigs, where a road case is not required, then this little baby is a great option.
I was able to get 8 pedals on board (including the oversized TC Nova delay) and still had room for a Wah pedal. (BTW - I powered the 9th pedal off the handy power supply out on the TC Electronics Polytune - boy those cats at TC really are thinking aren't they!).
Now I can swap out pedals at will to suit the type of music any gig would require. No muss, no fuss!
Friday, February 21, 2014
I once heard a story of a great jazz piano player (I think it may have been Bill Evans but I am not certain). As the story goes: a visitor dropped by to visit this musician's house one morning. He found him improvising over a simple set of changes (chord progression). The visitor left for the day and returned 9 hours later and discovered him STILL playing over the exact same changes. When asked about it the response came (paraphrasing) "I like to spend the time and focus on bringing out all the tonal options". Heavy - and very very smart!
Now I am certainly not suggesting you do this for 9 hours! Although, if you got the desire and focus, it would be a valuable experience! The point of this entry is to challenge you to try this. Get a loop going, choose for now, a static chord and set up a simple one chord vamp. Then dig in and improvise freely within it. I do this often sometimes for 2-3 hours at a time on the same vamp (it drives my family crazy!). It is a great rhythmic exercise and really challenges your creativity and control.
The idea is to work over every idea you can muster. Be adventurous - try different scales, chromatic approach notes, bending, whammy bar, slides, sweeps, plus TONS of different rhythmic phrases - whatever! Fail all over the place. Just go for anything you hear. This is a fantastic exercise for developing your own voice on the instrument.
Here is a sample of one I did last night to give you the idea.
Stay well people! Keep those fingers movin!
Wednesday, December 18, 2013
I have had a couple conversations lately that inspired me to write a post about guitar lessons. My background experience with teaching private lessons is quite considerable. I have also been the recipient of lessons over the years so I thought I would reflect on some of what I have learned.
This is a post written by one of the members of a guitar forum I frequent, about what she would like to see from a teacher:
"For lessons, I would hope for some sort of quick progress test with discussion of results, review of goals, intro material to work on for next time, time to work on any particular problem spots I identified, and set performance goal for next lesson with accompanying suggestions for practice. All of course based on my long and short term goals for the instrument."
Frankly, this description of what a teacher 'should do' is very good. Were I a young (or old) teacher reading this, I would write this down and use it as the baseline process for approaching your students. It is also a good statement for what to request of a potential teacher (because a lot don't do much of this). Pretty Utopian sadly.
Understanding the beast
Guitar teachers can be some of the most disorganized teachers in the world. One of the main reasons for this is that self-teaching of the instrument is the most common (and in many cases respected) in its community. Yes, sadly there is that element among guitarists who feel that actually 'learning' is for the non-gifted. Guitar Gods don't take lessons (Ahem Steve Vai)! Guitar is simply most often learned through a series of trial and error.
Players of other instruments didn't learn like this. They learned mostly through centuries old training regimens and well established progressive lessons through the conservatory. Because they learned like this – they one day teach like this. The cycle continues in both worlds.
How did these "self-taught" learn?
Well, I learned by lifting the needle on Black Sabbath's "Paranoid" album and picking out songs like "Iron Man" one note at a time. This is a pain staking, yet pretty common story among us self-taught types. The process of getting to where I am today as a player is a disaster really! Filled with my particular personality quirks and bizarre-o experiences. So whenever a player who learned like I did, has a student look to them and ask "how did you learn to play?" It's kind of hard to answer! Luckily, I am a pretty organized guy with my thoughts and can put my process to words fairly well. But not all are like this. Some think "well it worked for me" and try to force it on their students. Maybe the right call… Maybe not.
"My teacher sucked…"
I dislike this comment - and I hear it a lot. Personally, I think every proficient player has SOMETHING they can teach you. As a student my goal, would be to extract those elements and move on if there is nothing more to be learned from that teacher. I hear people complain all the time about "bad teacher this" and "bad teacher that"! Personally, I think it is all excuses and BS. The student plays a significant role in the process, so if you are unwilling to dig for gold, you will likely never find any. Unless you stumble across it or someone points you to where it is.
As a student your role is equal if not much more than the guy being paid. Sounds unfair I know, but if you truly want to learn you MUST accept your role in this. Because it is massive! Know what you want and ask for it. Make sure week to week the teacher follows the path. Because remember this person has been seeing one student after another all day. Remembering all your personal goals is not always on the top of their mind - even though it should be. The best teachers I have had, keep a journal with notes about each student - what was covered, goals etc and move week to week.
So, how do I get the most from my lesson?
As a student, the fist thing I'd do (if I was unfamiliar with the teacher) is to ask them to simply play something for me. From that performance I would listen for something in it that moved me. What did he/she do well? Perhaps they have great vibrato, or some cool soloing lines etc. Whatever that element is, I would then ask to focus on extracting precisely that. You may still end up moving on after one or two lessons, but that is no reason to not get something from the time and money. You can usually tell within the first 10 minutes if the teachers approach is clicking with you. Chemistry works like that - it's obvious.
All this of course, once I determined if this teacher is or is not able to get me to my pre-defined goals (which frankly EVERY would be student should have). Because those should be Plan A. There are many reasons why a teacher may not be able to move you forward: Poor theoretical knowledge, bad chemistry between you, plain old weak teaching skills. But Plan B isn't always a bad thing! In fact it may show you a direction that may entice you even more! Keep that mind open.. art right? Plan B can be just as viable as Plan A.
As a teacher, the first thing I'd do is to have a discussion and see why the student came to you. Find out what excites them. What are their plans and goals? Write them down. If any of those goals lie beyond your skill set, don't lie about it or be embarrassed. Tell them your limitations so that when you cover these dodgy areas you can work through it together. If they need more, never be afraid or too prod to send them to another teacher you know that is more suited to their needs. Sometimes the best lessons I ever gave were minutes long and involved sending someone to a different teacher. The student/parents and the new teacher appreciated it too!
So what is a good teacher?
A good teacher is one who inspires, challenges, supports, informs and inspires some more. Every student is different, so the teaching approach must be altered to bring out the best in the student and keep them moving towards their goals. Sometimes that approach is rigid: step A, then B, then C, type path. Other times a "Hey! Check out this lick I learned" type lesson, can be exactly what the student needs. Each can be equally effective OR destructive. There are no established paths so a stubborn reliance using on what worked for you or even many others, may be a dis-service to all. Remember, this is art with a boatload of psychology mixed in.
What is a good student?
A good student is one who comes with enthusiasm. One who asks for and provides a direction. One who is vocal about what they like and dislike about a lesson. One who comes prepared and is willing to sometimes follow the teachers lead when he/she gets excited about a new idea they learned (think of it as a field trip). Mostly, one who does what is asked each week as many times teachers need you to do something before they can show you something else. Everyone wants "progressive" until it means that they have to do the work that allows such a progression to happen. MOST of the time lessons plans get derailed in lessons I have given were simply because the student didn't do the homework. You need to prioritize this… or why do it at all.
Just as there is an exception to every rule, there are also people who will disagree with all or parts of this. That's cool too. Remember, these are simply my experiences and feeling on this topic. In giving and receiving lessons there are no set paths. Be prepared for the possibility that you may not in fact respond best to the type of lessons you are asking for. So be prepared for honesty, this is one of the beautiful things about the arts. You give passion and you shall receive in kind. You give a lump of dung and well…. you get the picture! Good luck!
Sunday, December 15, 2013
Today I would like to take a look at a classic Randy Rhoads lick pulled from the song "Revelation (Mother Earth)". This song on Ozzy's first solo album "Blizzard of Ozz".
I have always been a large fan of Randy and his work, especially his compositions on this album and the equally stunning "Diary of a Madman". The thing about Randy's writing style that seems to grab most of his fans; is that his ideas are all so very melodic. Much of his work is solidly grounded in the principles of his classical theory upbringing and training. So by examining where he draws his note choices, this can shed considerable light on how you can compose your own ideas following Randy's lead.
Let's get into it
The lick we are looking at today happens at around the 3 minute mark of the track. (Here is a link to the tune). Below is the tabbed out riff.
This song is predominately in the key of E minor and this riff sets the tone immediately with the sliding E power chord. It gets interesting fast though as he hits a Bb chord, followed by an F# (by way of the passing tone F). At first these may seem like odd choices (and they are certainly clever) but they are based in some fairly common theory. If I stack those main notes here's what we see:
The result forms a simple F#7 chord. The common strongest resolution in all classical western music is the famous V - I (five chord of the key, resolving to the tonic or home key). In E minor this chord would be B7. The above F#7 is actually the V chord to that B7 chord. This is referred to as the V of V (five of five). In other words, the strongest resolution, to the strongest resolution to the home. Sounds complex, but give it a try. Play around with this concept. Composers have been employing it for years.
Which brings us to the run at the end. Again, if we take these notes and stack them up, here is the resulting chord:
Is this a surprise to anyone now? Seems so logical doesn't it? The riff draws the ear back to the principal tonality of the piece. He strengthens that resolution by ending on the minor 3rd. This minor 3rd - tonic move is one of the most common in rock and most forms of music.
So this lick could be summed up simply by thinking of it as an F#7 to Emin move. Thinking of it this way will help you remember it for future too. It certainly helps me.
Stripping music back to its theoretical explanation can be incredibly enlightening for any musician. I highly recommend you make this concept part of your regular playbook.
Saturday, December 7, 2013
Monday, December 2, 2013
Here is a very cool, very Richie Blackmore solo from the Deep Purple classic "Lazy". The song from the entirely legendary 1972 album 'Machine Head'. Always one of my favourite players with a very signature sound and feel. (Interestingly enough, the man they hired to fill Richie's shoes is very likely the one man on the planet with enough creed in the guitar community to pull it off. The legendary Mr. Steve Morse. A gentleman and a monster player himself! But also a HUGE influence of mine). But I digress.
Notated here, is the first solo after the keyboard intro (seriously how good was John Lord! May he rest in peace).
The note choices in this solo come predominately from the F minor Pentatonic scale. With occasional use of the "Blues scale" version (which adds the b5 note to the standard pentatonic box). Richie frequently slides in and out of this note to up the blues quotient - a pretty common Blackmore-ism.
In the second half he adds notes from the F natural minor scale (also known as F Aeolian). The shape of the scale, with its open strings nicely allow for fast pull-off riffage. The hardest part of this solo lives in bar 33. It was tricky (for me) to cleanly execute the pull-off from the 2nd to 1st fret. So start slow with this and keep looping these trouble spots in isolation. Slowly building up the speed until you have it down at tempo.
Getting the sound
This is really pretty basic signal chain. Strat > distortion pedal (I used a Wampler Pinnacle) > Some plate reverb > amp. Richie Blackmore used a pretty bass heavy EQ setting but aside from that the tone lives in how he plays. You pick closer to the neck joint than the bridge to achieve a darker note.
Here is the TAB sheet for your downloading pleasure.
Wednesday, November 20, 2013
Well, well, well, what a busy summer/fall it has been. It has also been a long time since I have paid any attention to these pages ... Maybe it is time for me to get back to work.
While we are on this topic, It is interesting through this blog however, to watch the ebb and flow of my productivity.
It doesn't seem to matter how many years go by, the truth of this process is that sometimes you feel creative and sometimes you don't. And sometimes, while you may even feel musically creative, you still may not manage to get a lot of work done.
During these intermittent stretches when I don't feel like playing or doing anything guitar related at all. I may read a few novels. Or even heaven forbid get drawn into a TV series or two with the wife.
I am posting this to let you know that no matter your level or experience, if you feel this way it is perfectly natural. Forcing yourself through these stretches and making yourself practice can often be the worst thing you can do for your playing. I used to get stressed out about these periods. Or even feel some levels of guilt about them. But now after all these years I see them as a vital part of the learning process. When they are over, I always come back with a vengeance taking it to even higher levels than before.
I have already begun work on a new video for the YouTube channel so watch for that. I am also keeping my ears open for a good lesson topic for these pages. If you have any suggestions of a lesson that you would like me to cover, please don't hesitate to hit the reply box down below and submit something for me to consider.
All the best
Tuesday, October 1, 2013
Thursday, August 8, 2013
The first time I heard the song "Story of a Quarryman" it jumped right off the record with its crunchy groovy riff. The track comes from his 2009 release "The Ballad of John Henry" which in my opinion, is one of Joe's best. Rather than your typical power chord style riff, Joe thickens it right up by employing the 3rd and the 6th to thicken the root. Super cool.
It has been fun watching Joe Bonamassa rise to the status of a 'known player'. When I first started listening to him, over a decade ago on his first release "A New Day Yesterday", he was a relative unknown. Fast forward 13 years, and I now hear his name regularly among non-guitar geeks. Which is very cool and well-deserved. Happy for him and a testament to all his years of VERY hard work.
The solo begins over an Amin to A#Maj (one bar each) vamp. Over the Amin part his note choices come mostly from A Dorian. Over the A# his note choices come from A# Lydian (Same notes as F Major). The cool part is how he ends the phrases over the A#. The first time he ends the phrase on the Major 3rd. The second time on the 6th.
As the progression moves along it changes to a G tonality (walking down). Over this section he again goes for the Dorian sound - this time G Dorian. Pretty much all of the notes are within the G Dorian (again, same notes as F Major) scale. There is some very tricky bending in this. So it is a real ear stretcher in spots.
Getting the sound
When I recorded this I was sleeping at the wheel and used my Strat... But to nail Joe's tone use a Les Paul or another solid body guitar with humbuckers. Set it to the neck position and add some Marshall style woof to the cabinet. Joe's tone is VERY full-bodied. Lots of lower end frequencies (that engineers hate!). But Joe's tone lives mostly in his hands and vibrato. If you can nail that, then what type of setup you use is less important. My Strat sounds very close in this recording. When in reality, a Strat couldn't be much more sonically different than a Les Paul. Tone is in your hands folks - always remember that.
Here is the TAB sheet for your downloading pleasure.
Wednesday, August 7, 2013
Friday, August 2, 2013
Wednesday, July 31, 2013
In this wonderful interview with physicist R.P. Feynman, he discusses the difference between thinking you know something, and actually KNOWING it. This discussion very much applies to almost any field of learning.
This post was inspired by a series of forum discussions I have recently been involved in. I am a firm believer that it is better to know less things well, than many things less deeply. Far too often students move on before truly getting the most out of a lesson.
Truly great players have learned to dig deeper into concepts. We should all follow that lead.
Wednesday, July 17, 2013
The song "Ear to the Ground" comes off Matt Schofield's 2007 release of the same name. Its crunching rhythm and serious groove, make it one of my favourites of all his music. Of course it features Matt doing what he does the best - laying down some seriously cool blues phrases. Ya gotta get some of these lines.
This solo happens over the "A section" of the tune. The chords go back an forth between 2 bars of Emin, then 2 bars of D Maj. If you take a look at the strong notes of each resolve, you will see Matt nailing the changes with chord tones. First phrase: Bend up to E, E slide through the blues b5 down to an E and end the phrase on the 3rd (G). So it goes for the rest of the solo. Very in, chord tone soloing all the way. He even goes straight up the D triad before wrapping up the solo by landing on the "A" then the 3rd (C) of the first chord of the "B section" (A7). VERY logical and musical.
Getting the sound
Matt's sound is easy to get equipment-wise. Strat - set to neck position pick-up, tube amp, Tube Screamer (Klon Centaur pedal if you's got the cake!). But the tone doesn't happen here. It happens in his hands. Very expressive player so work to nail the vibrato and all the subtle bends and dynamics.
Here is the TAB sheet for your downloading pleasure.
Thursday, June 20, 2013
There are many stages to mastery on an instrument. But if we divide it into 2 (for the sake of argument) they would be:
- the years spent acquiring and internalizing the scales and chord shapes, intervals, sounds, progressions and all the technical side of it. The VAST majority of players never get near or beyond this.
- mastery - when all this leg work is owned and like second nature. These cats don't need to think like this any more (unless adding new pieces). they use their ears and simply play.
There is a window into this in one of Scott Henderson's videos, where he says "you gotta KNOW this stuff down. If you have to stop and think for even a second about where the notes are, you are not ready to tackle changes like this" (paraphrasing). He and other players like him, OWN this stuff. No thought, no theory, just expression, a use of all these tools.
I think most discussions of the different modal or key based (more theory driven) approaches to improvising over chords apply to the first phase (obviously). Where I get lost in these types of discussions, is when people start dissecting and analyzing what the masters do. What they do when they play I don't think applies. What they DID as they were approaching mastery during their endless practice hours is more what maters.
I think the time you spend really thinking about and using theory and all that, is the phase where these sounds get embedded in your ears. During the practicing of these approaches, where it feels very difficult and unnatural for a long while, leads eventually to hearing these sounds more clearly. The 'thinking' part fades away - THEN you can truly begin to express yourself.
Learning can lead to KNOWING...
Which is a lot better than GUESSING and HOPING!
Friday, May 31, 2013
By Ira Glass:
“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.”