Death awaits me...
Originally Posted by T0ribush
Anyways point being. Is that you learn the theory yourself to become more of a unique player. And not all songs and solos are played in the same key like you can play basically the pentatonic in E under the harmonic minor in A. I know Theory doesn't apply to only Major scales I just don't like the sound of them at all. I like the minor and diminished sound a lot more. Theory isn't that hard to learn anyways. Basically pick a song then learn it then figure out the octaves then find the root note then find what sounds good with the root note also known as harmonizing.
You are vastly underestimating the size of music theory. People study it for years. You can major in music theory at most colleges.
I prefer minor to major as well. It tends gives the music more depth, not always though.
i have a totally post modern tattoo of a scalene triangle.
<DeadorK> fair maiden<DeadorK> if the cum is going to be in your mouth
<DeadorK> it shall be in mine as well
It's very helpful indeed to have a good understanding of theory. Especially one that goes beyond simply understanding diatonic scales. Discord and resolution, modes, chromatic scales.. in fact pretty much all the weird crap you can do on an instrument is covered by a solid explanation (that would be music theory, by the way).
"Not liking" something like the major scale is what will make you an uninteresting musician. Maybe you don't like the sound of a straight major scale or major chord, but the importance of the concept of "major" is just such a big part of musical composition that you can't just not use it and still be a good musician.
People often forget that theory is simply a way of *understanding* music. When you're actually writing something, it's much smarter to just play the sounds you want to make without thinking too hard if the next note is part of a particular scale or not.
That's kinda a mixed message, but the tl;dr beating version would be: learn musical theory, as completely as possible, and then ignore it when you're actually writing.
"Not liking" something like the major scale is what will make you an uninteresting musician. Maybe you don't like the sound of a straight major scale or major chord, but the importance of the concept of "major" is just such a big part of musical composition that you can't just not use it and still be a good musician.
People often forget that theory is simply a way of *understanding* music. When you're actually writing something, it's much smarter to just play the sounds you want to make without thinking too hard if the next note is part of a particular scale or not.
That's kinda a mixed message, but the tl;dr beating version would be: learn musical theory, as completely as possible, and then ignore it when you're actually writing.
NON-EXISTING!
Originally Posted by H4rl3quin
It's very helpful indeed to have a good understanding of theory. Especially one that goes beyond simply understanding diatonic scales. Discord and resolution, modes, chromatic scales.. in fact pretty much all the weird crap you can do on an instrument is covered by a solid explanation (that would be music theory, by the way).
"Not liking" something like the major scale is what will make you an uninteresting musician. Maybe you don't like the sound of a straight major scale or major chord, but the importance of the concept of "major" is just such a big part of musical composition that you can't just not use it and still be a good musician.
People often forget that theory is simply a way of *understanding* music. When you're actually writing something, it's much smarter to just play the sounds you want to make without thinking too hard if the next note is part of a particular scale or not.
That's kinda a mixed message, but the tl;dr beating version would be: learn musical theory, as completely as possible, and then ignore it when you're actually writing.
This. When writing don't base your songs off theory, then they don't have a feel to them and seem way too average. Your knowledge of theory will help you write whether you like it or not.
lol just looked this thread back
ive uploaded a little improvisation of my own (was kinda in a hurry and dindt play really serious) but it could show u that theory isn't necesairy if u practice enough and have a decent set of ears. true understanding the theory will help but its not a nececairy thing u need if u ever wana play guitar in a decent way
http://www.vimeo.com/7397682
so anyhow comments are allways welcome and maybe this gives a idea what u can achieve without lessons (no books eighter) and without theory. (note i started playing a little over a year ago)
ive uploaded a little improvisation of my own (was kinda in a hurry and dindt play really serious) but it could show u that theory isn't necesairy if u practice enough and have a decent set of ears. true understanding the theory will help but its not a nececairy thing u need if u ever wana play guitar in a decent way
http://www.vimeo.com/7397682
so anyhow comments are allways welcome and maybe this gives a idea what u can achieve without lessons (no books eighter) and without theory. (note i started playing a little over a year ago)
And as allways,
have fun
have fun
Pretty good. You just have to work on your accuracy a little more with both fretting and picking hands. I also made this on my third year of playing.
http://www.youtube.com/watch?v=rKmwBszwJz4
With the scale I used in that song was self taught. Teaching yourself a scale will greatly help you in understanding the fretboard and getting around more efficiently. You can also combine scales that have a close relation with the root note or your preferred root note on the scale. Learning how to sweep pick is pointless, but fun to do none the less. Finger picking isn't that important unless you have a nylon string guitar. Tapping wouldn't hurt to learn, it sounds cool and many artists use it like Chuck Shuldiner for the intro to The Philosopher. I have a few things to help you improve slightly on improvising a solo or something. Fuck with the tuning of one string for a bit to tune your ears.
Tuning is fairly obvious. All you are doing is using octaves
or you can use natural harmonics
remember to let both the 5 and 7
ring into each other.
Octaves
E----------0-7
B--------0-5-0-8
G------0-4-----0-7
D----0-5---------0-7--
A--0-5----+--------0-7
E--5----------------.-0
Natural Harmonics
E-----------7
B----------5
G-------7-
D----7-5
A-7-5
E5
The 5th and 7th fret are the same pitches when playing in natural harmonics which is placing a finger over the fret wiring which is between the 5th and 6th fret for the natural harmonic for 5 and for 7 is placing your finger between 8 and 7. Don't press down to hard in fact just rest your finger above the fret wiring so your string basically has no tension on it. If you already didn't notice, but for the Natural Harmonics on the G String the 5th Note is missing because it is physically impossible for you to be able to get the natural harmonic sound on the 4th fret since the B string is tuned down half a step.
Playing this starting off slowly then building up speed will increase picking hand accuracy especially by adding a few notes in there. With a diminished run like this it's easy to finish because it goes up four frets at a time with the same formation of the run. This can be done with alternate picking, downstrokes, or Sweep Picking.
E-7-4---4-7/10-7---7-10/14-10
B----6-6--------9--9----------
G-----7----------10-----------
Tapping is easier than mostly anything done on the guitar it's just obtaining and sustaining the clarity of the tap without the other strings picking up much vibration. Easily achievable if you have a sound gate or you are playing with another person.
This may just look slightly hard just take your time and you'll get it. Also work out some of the notes of the tapping lick so you can form your own on a different place of the fret board. Can be done on the same string if you have 24 frets.
E-0h5h8t12-0h5h8t12-0h4h7t10-0h4h7t10-0h5h8t12p8p5p0
B--------------------------------------------------------
G--------------------------------------------------------
or You can also add a tap at the end followed by a slide and pull off.
E-12p8-----8h12t17/20/17p12p8/5p0
B-----10-10--------------------
G-------9----------------------
Chords isn't something that I know much about and I only know a few that I play around with. These also don't always have to be near the first frets get creative with them break them up add a few hammer ons and pull offs with added slides or something.
E-0--0------------
B-0--0--1--3--0--0
G-0--2--2--2--1--2
D-2--2--2--3--2--3
A-2--0--0--0--0--0
E-0--0-------------
A little long, but I hope this helps you.
http://www.youtube.com/watch?v=rKmwBszwJz4
With the scale I used in that song was self taught. Teaching yourself a scale will greatly help you in understanding the fretboard and getting around more efficiently. You can also combine scales that have a close relation with the root note or your preferred root note on the scale. Learning how to sweep pick is pointless, but fun to do none the less. Finger picking isn't that important unless you have a nylon string guitar. Tapping wouldn't hurt to learn, it sounds cool and many artists use it like Chuck Shuldiner for the intro to The Philosopher. I have a few things to help you improve slightly on improvising a solo or something. Fuck with the tuning of one string for a bit to tune your ears.
Tuning is fairly obvious. All you are doing is using octaves
or you can use natural harmonics
remember to let both the 5 and 7
ring into each other.
Octaves
E----------0-7
B--------0-5-0-8
G------0-4-----0-7
D----0-5---------0-7--
A--0-5----+--------0-7
E--5----------------.-0
Natural Harmonics
E-----------7
B----------5
G-------7-
D----7-5
A-7-5
E5
The 5th and 7th fret are the same pitches when playing in natural harmonics which is placing a finger over the fret wiring which is between the 5th and 6th fret for the natural harmonic for 5 and for 7 is placing your finger between 8 and 7. Don't press down to hard in fact just rest your finger above the fret wiring so your string basically has no tension on it. If you already didn't notice, but for the Natural Harmonics on the G String the 5th Note is missing because it is physically impossible for you to be able to get the natural harmonic sound on the 4th fret since the B string is tuned down half a step.
Playing this starting off slowly then building up speed will increase picking hand accuracy especially by adding a few notes in there. With a diminished run like this it's easy to finish because it goes up four frets at a time with the same formation of the run. This can be done with alternate picking, downstrokes, or Sweep Picking.
E-7-4---4-7/10-7---7-10/14-10
B----6-6--------9--9----------
G-----7----------10-----------
Tapping is easier than mostly anything done on the guitar it's just obtaining and sustaining the clarity of the tap without the other strings picking up much vibration. Easily achievable if you have a sound gate or you are playing with another person.
This may just look slightly hard just take your time and you'll get it. Also work out some of the notes of the tapping lick so you can form your own on a different place of the fret board. Can be done on the same string if you have 24 frets.
E-0h5h8t12-0h5h8t12-0h4h7t10-0h4h7t10-0h5h8t12p8p5p0
B--------------------------------------------------------
G--------------------------------------------------------
or You can also add a tap at the end followed by a slide and pull off.
E-12p8-----8h12t17/20/17p12p8/5p0
B-----10-10--------------------
G-------9----------------------
Chords isn't something that I know much about and I only know a few that I play around with. These also don't always have to be near the first frets get creative with them break them up add a few hammer ons and pull offs with added slides or something.
E-0--0------------
B-0--0--1--3--0--0
G-0--2--2--2--1--2
D-2--2--2--3--2--3
A-2--0--0--0--0--0
E-0--0-------------
A little long, but I hope this helps you.
Last edited by T0ribush; Nov 5, 2009 at 01:08 PM.
