Last Blizzard of 2010: A Guitar Lesson

Blizzards mean a lot of shoveling, snow-blowing, picture-taking, and--for me--a great opportunity to put up a new post. Last post I talked about the importance of entering a guitar contest. At the time of this writing there are at least three I know about; names and links are below:

• Play That Riff by Shredknowledge (ending ---?)
• Guitar Addiction by Guitareuroshop (ending 1/1/11)
• Bernie Rico, Jr. Guitar Giveaway (also ending 1/1/11)

...As you can see, two of them end real soon, so get those picks a-flutterin' and those fret-hands a-flyin'!

Well, it's about time for a guitar lesson here at Enjoying Guitar. My first lesson--Be Yourself on the Guitar--was hands-off (literally) and dealt with establishing one's identity on the instrument--very important indeed. However the time is nigh to get hands on, so get out your guitar and let's go...

This lesson is for beginner to intermediate players. However, advanced players may take a look as well...you might find something you can use, either for yourself or a student. So without further pickrastination I'm going to talk a little about Melodic Sequences and then go into this post's lesson.

I first heard about melodic sequences from rock virtuoso/guitar hero Paul Gilbert (can't remember if on video or an article). The concept has been around since classical music. I'll briefly explain it: a melody is an arrangement of notes that usually reappears (but doesn't have to). Improvised solos, by the way, are spontaneous melodies. A melodic sequence is a *numeric formula that has been applied repetitively to one or more scales or arpeggios. *This gets into scale degrees, a topic which I won't cover here since it can easily occupy a post, or series, by itself.

Melodic sequences can be as little as two notes. Beethoven's famous 5th Symphony, for example, begins with a simple four-note melody, or motif: G-G-G-Eb. This is followed by F-F-F-D. These are melodic sequences. How to tell? Both phrases have the same number of notes--a requirement for melodic sequences--and make use of the same interval(s), in this case the interval of a third (again, as intervals and scale degrees are related, more on both in the future): G to Eb is a Major third, and F to D is a minor third.

Another feature of melodic sequences is that they are organized in the same way. For example, G-G-G-Eb and F-G-F-D are not melodic sequences although they are closely related.

The great thing about sequences is that they tend to make for excellent fret-hand exercises AND action-ready phrases (or 'licks') at the same time. So you can get a good warm up or work out with them, then use them while composing or improvising!

Ok let's get playing. Here's melodic sequence #1:

This is really a group of two-note sequences. The first four are circled in the TAB portion. The BPM (beats per min.) I suggest for this exercise is eighth notes @ 120 (click per note).

The two things to concentrate on are correct fret-hand positioning--or 'posture', and note-clarity. Of course, keeping a steady rhythm is also very important: try your best to match the clicks on every note.

Next is melodic sequence #2: 

This is a group of four-note sequences. The first two are circled in the TAB portion. Again, the BPM (beats per min.) I suggest for this exercise is eighth notes @ 120 (click per note). As with all of the exercises in this lesson, concentrate on correct fret-hand posture, note-clarity, and rhythm.
 

Next is melodic sequence #3:

This is a group of two (alternating) four-note sequences, making this a group of compound sequences. BPM: eighth notes @ 120.

 Next is melodic sequence #4:

This is a group triplet (3-note) sequences. These are 8th note triplets: three notes in the space of two (twelve notes in the space of eight per measure in this case).

Some metronomes can be set to triplets. This will alter the speed of the notes while the BPM stays the same. Just think: simple math. Remember, triplets are always three for two.

If you can't set your metronome to triplets, alter the BPM to 2/3 of the original tempo--so in this case--eighth notes @ 80. Playing triplets at this tempo will be just as fast as playing 'regular' 8th notes @ 120.

The last melodic sequence for this lesson is below...

Melodic sequence #5:

This is a group of triplet arpeggios. Play note-per-click @ 80 BPM.

These five melodic sequences will be easy to memorize once you get used to the sound / fret-hand feel of them. Obviously, there are many other keys and scales to apply these sequences to, as well as tons of note-combinations yeilding endless sequence possibilities. But realize that just some done right will get you great results.



-6SV


[added 1/14 - I've just posted the VIDEO version of this lesson on YouTube. By the way, the 3rd sequence is different on the video--it is not a compound sequence like the one above. So the vid might be cooler but this is a better lesson!]

It's Time to Enter An Online Guitar Contest!

I'm going to digress a bit from my atypical, inspirational / educational-style posts and share the wonderful news that I've entered a guitar contest. For those of you who aren't familiar with the 'contest scene' there are numerous opportunities available for guitarists to strut their stuff AND gain valuable insight into their own playing (and did I mention have a Whole Lotta Fun in the process?).

YouTube has become a guitarist's heaven of sorts and the prime spot on the 'net to enter guitar competitions. Whatever your style there is a contest for you on the Tube: rock, blues, shred, jazz, acoustic...you name it, it's there. And if you don't have a preference then all the more fun for you!

The contest I entered was made possible by a gentleman named David Walliman, one of many talented guitar instructors/vloggers on the Tube. With 170 vids and counting, David offers solid advice on all things guitar. Need help learning the pentatonic minor scale? Or want to understand more about how to play "outside" in a fusion context? David covers these topics and many more in his videos. He is also one of the few guitarists I've encountered who stresses for fellow aspiring axe-slingers to "stay humble". Right on, DW.

Anyway, Mr. Walliman has started several contests since being on YouTube, and he is just one of many guitar cyber-competition creators. Laurie Monk of Truth in Shredding consistently hosts and judges guitar contests. In fact, his site is a great place to keep up with current competitions, as well as a place to find out about many new, talented players.

So, back to the contest I entered. Well, I entered late--due to certain mundane circumstances--so I might not be considered as a contestant but I had so much fun doing this it didn't matter!

...Here's my entry.

What I really liked about this contest is that David gave advice--both practice and performance--to all those interested in competing. And his advice was good. I am a veteran player, yet it was nice to get tips on what to do to make my video better.

[added Dec 19th: And here's another entry to another contest, this time hosted by Milan Polak, an astonishing guitarist and frequent creator of cyber-contests]

Well, enough about the contest I just entered, it's time you do the same...and ASAP. A list of why you should is below.

Why You Should Enter Guitar Competitions (and Frequently)

1. You are putting yourself on the spot. There is simply no better way to improve as a guitar player.
2. You will face-off with your own playing and directly encounter your own strengths and weaknesses.
3. You will--after it's said and done--have the opportunity to take actions to improve OR gripe about how others did--how the winner (if I wasn't you) shouldn't have won...this one stinks/that one's better, etc.
4. You will get better IF you're positive about the whole thing, eagerly looking fwd to the next contest, and taking steps to improve your playing based on your own--and possibly others'--observations.
5. You will undoubtably get POSITIVE FEEDBACK from the experience, even among the negative you might get. It's up to you to separate one from the other and tuck the positive away in your mind, using it for inspiration, confidence-building, and perhaps new things/ways to practice.
6. You will get to see raw, typically unsung TALENT wield its awesome Axe...be scared and go home or be inspired and come back for more next time!
7. You will have the chance to make friends with some of the other contestants. You will be surprised to see how humble some uber-talented axe-slingers can be. Maybe you're one of them.
8. You will get better if you're positive. Oh, already said that.

So...whudd r ya waitin for? Find a contest and enter it.

-6SV

The Good News Is: You Already Have Fans And They Are Waiting For You

In my Nov 3rd post I boldly stated that guitarists everywhere--regardless of skill level--have fans waiting for them. Is that BS? Happily, no. Will the majority of axe-slingers reach their fan-base? Unfortunately, no.

In his uber-popular post, Ignore Everybody, blogger and author Hugh Macleod said "Everybody has their own private Mount Everest they were put on this earth to climb." And he is exactly right. In fact, disturbingly so. Why disturbingly? Because most people are afraid to don't want to climb that mountain.

Guess what?

Most people don't want to be successful.

Yes, fear of success is real for some. And there are many different reasons for this. According to an article posted about one year ago at livestrong.com, fear of success can be due to many things, including:

• Fear of accomplishment, recognition, or honor
• Fear of being eclipsed and eventually replaced by another who is more talented

While these points and others are true I believe that unwillingness, not fear, is the real bad guy in this scenario. The majority of folks don't want success, plain and simple. Success means change, harder work, and possible failure(s) along the way. These things are largely undesirable for many people.

SUCCESS DOESN'T PLAY FAVORITES

Think about the "ugly" kid that was somehow the center of a beautiful girl's attention. Most everyone has seen this type of thing before--either in youth or adulthood--and it never ceases to astound and amaze.

Popularity courts artists in much the same way. Sure, there was Elvis, Sinatra, Redding, and many other male vocalists with enviable voices and features. But then there was Dylan, unkempt both in appearance and in voice. Yet he is a top American icon. And when he came on the scene decades ago his fans were waiting for him. They didn't know his name, of course, but were waiting nonetheless...longing for someone to express how they were feeling.

And it's the same for every guitarist. You fulfill your fans' needs for self-expression. You are their voice and often, their image. You are their creative advocate. When they hear you play (and sing, if you do that) some--maybe many--are feeling / thinking / saying:

"Yeah! THAT's how I'm feeling!" or "THAT'S how I want to feel. He (or she) is relating to ME."

And most likely at the same time someone-- hopefully just one--is thinking how they wish you would just turn the volume down, wear the guitar lower, not sing, play shorter solos, or hold your bends longer or...whatever. Point being: you can't please everyone.

But if 15 out of 40 people at a dive / bar somewhere in your town miss you because you didn't show up that Saturday night for the 'open mic', you are famous. Yes, famous. Not in a big way, but that doesn't matter. Rome wasn't built in a day.

So the good news is that you already have fans waiting for you. The bad news is: they're not going to step up to the stage for you; you have to make the first move.

Everyone "wants" success. But are you willing to be successful? Or to slightly mis-quote another 60's icon, "Are you [willing to be] experienced?"

What do you think about success?

-6SV

Be Yourself on the Guitar

Well I think you are better acquainted with me now that I've chatted about myself a bit. But this site isn't about me. It's about how you can benefit from what's here. So with that said today's lesson begins.


Today's lesson doesn't involve playing anything on the guitar. No, today I'm going to talk about your identity on the instrument. Not long ago, educator Lila Swell said "Your identity and your success go hand in hand." How true this is, resonating in life's every nook and cranny! In relation to the guitar, having an "identity" means being yourself as you play rather than constantly thinking in terms of other players.


Don't be afraid to be yourself. Not Satch. Not Fisk. Not Cooder, Petrucci, Benson, Gilbert, Segovia, Vai, DeLucia, or Lane. But YOU. Does that mean adopt a false sense of ability or accomplishment? Not at all. Does it mean to ignore past and present masters and simply go one's solitary way in the quest for superior stringmanship? It might--for a while. Many accomplished guitar players have said that at one point in their musical sojurn they avoided other guitarists--out of nothing else but artistic necessity (John Scofield and Wayne Krantz, for two). You will have to decide if and when that time is right for you. In the meantime, be yourself.

But How Can I Be Myself When I Don't Think I'm As Good As The Other Guitar Players I Listen To?

The answer might seem bold, but you have to see yourself as equal with them. Yes, equal. Equal with Clapton? Yes. Beck? Yes. Gilmour? Yes! Barrueco? Maybe. Hendrix? Umm...well you get the point.

Now here's the fork in the road. If "equal" to you means technical ability, then you wont grasp my last paragraph. And if you don't get a hold on that paragraph you will probably go back to your guitar in the same state of mind you might have been in before you started reading this. If that was a "I'll-never-be-as-good-as-them" mind-state, keep reading.

By equal I mean to say that YOU have the same capacity to make your fans feel good as anyone. That's because your fans are waiting for you to be yourself so that they can tell you how much they appreciate you for YOU. Not you for Clapton, Van Halen, Slash, or Cash. But you for yourself. Why? Because YOU have something unique to offer that these mega-stars don't have: your unique personality (and, yes, you do have fans already [check my Nov 21 post. -DF]).

We've come to the golden mirror of identity:

Just as you shouldn't strive to be someone else on the guitar, they can't be you, either.
It's so fair I want to cry (but I won't).

Now moving from quasi-philosophical to musical, from semi-abstract to tangible, no one can:

• Bend strings exactly like you.
• Play a scale or arpeggio exactly like you.
• Write a song exactly like you.
• Interpret a song exactly like you.
• Use wah-wah or some other effect pedal like you.
• make the faces you make when you play (hopefully not. But then, look at Vai)

So, you might agree with me that there is a future you waiting for the present you to inherit him or her. How do you go about acquiring that inheritance? You do that by attending to the 'abstract' task first, then the tangible: envision the future you (abstract), then work to carve that image out of the future (tangible).

Are you a song-writer who wants to play more lead guitar? Then learn how to play lead guitar--you won't be yourself until you do. Are you in a metal-shred band and really want to sing and play acoustic music? The transition might be difficult but that's the road to the real you. Obviously there are countless other examples. Some practical and very effective ways of bringing out the real YOU as a guitar player are below:

1. Record yourself playing into a hand-held recorder (like this, for example), NOT digital equipment that allows you to edit. You have to face your own playing so you can honestly evaluate yourself.
2. Play rhythm or improvise to a metronome (even better, record yourself doing this). Can you keep the beat and play comfortably? Good. No? You'll need to work on that then. Can you play that classical piece you've been working on for months to the metronome?
3. Write your own songs and *compose your own solos. *Do this especially if you are in a strong habit of playing like someone else.
4. Do your own unique versions of the songs of others. That's what Carl Verheyen and Davide Pannozzo each did with Little Wing, the Hendrix classic.
5. Don't look to the guitar magazines to stimulate creativity within you. Often they are too busy (re)re-recounting the past merits of past masters. Nothing against that generation, but this generation has a whole lotta talent to be inspired by.
6. Stop bemoaning the fact that you often can't sound like someone else: ultimately you're not supposed to.
7. Revisit this blog (frequently). I'll remind you to be yourself, I promise. I wouldn't be myself if I didn't.

-6SV

Welcome to Enjoying Guitar!

Alright, here we are...my first post on Enjoying Guitar. This is going to be quite a journey for you and I. And yes, the little guy here is my son by the way. Before talking a little about who i am and why this blog is here, I'd like to introduce myself by way of some of my music. It's only right, you know. Feigned disinterest aside, guitarists want to know what other guitarists sound like. 'Play first, talk later' you could say. So below is a recent project I did. The drums were done using a free program called Hotstepper.

Dont' be confused by the screen shot...that's just the intro to the video. It's a cover song by the way. Here's the original.

Did I do a good version?

Which do you like best?

Let me know your thoughts on the tune and be sure to check out About Me, Completely... for more info about yours truly.

Why Enjoying Guitar?

Because that's what it's all about: collective enjoyment. Guitarists love to play and be heard, and our audiences love to listen, debate, and emulate. But without enjoyment all this activity would be meaningless, sort of like sects--
I mean...oh, you know.

The second part of the answer is that enjoyment, for all its positives, is meaningless without learning. So expect to learn here at Enjoying Guitar, and in unique ways. In out-of-the-box ways. And some tried-and-true ways as well.

Expect to make friendships here, as well as meet beginners, pros, virtuosos and laymen guitarists. I'm certainly looking forward to meeting you along with them.

-6SV