What are you learning?
- Thread starter Anonymous
- Start date
http://www.youtube.com/watch?v=9qDQ1sT6Pic (1-4)
http://www.youtube.com/watch?v=s5LFzoJmkVw (5-8)
http://www.youtube.com/watch?v=yLM_SKZq0q4 (9-11)
http://www.youtube.com/watch?v=WswDOP9H5J4 (12)
Those are the etudes I'm talking about (for those who aren't familar with them). I think 5 and 12 are my favorites, especially 12. Those are probably my favorite renditions of them too (I've listened to about 50 different ones over the past week or two).
On a side note, I just learned the words (in japanese) to Sakura. I've been playing the classical guitr arrangement for a while now and it's one of my favorite pieces for classical guitar. Learning the words (and their english translation) have added a whole new depth to my interpretation of it.
http://www.youtube.com/watch?v=s5LFzoJmkVw (5-8)
http://www.youtube.com/watch?v=yLM_SKZq0q4 (9-11)
http://www.youtube.com/watch?v=WswDOP9H5J4 (12)
Those are the etudes I'm talking about (for those who aren't familar with them). I think 5 and 12 are my favorites, especially 12. Those are probably my favorite renditions of them too (I've listened to about 50 different ones over the past week or two).
On a side note, I just learned the words (in japanese) to Sakura. I've been playing the classical guitr arrangement for a while now and it's one of my favorite pieces for classical guitar. Learning the words (and their english translation) have added a whole new depth to my interpretation of it.
Earth Breather
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- Dec 8, 2005
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progmetaldan
Member
I know what you mean dude. I run into way more ruts with my classical playing than electric. My trem is totally in no man's land right now. It's in that sorta 100-120bpm range where it's just a tad too fast to play as individual string attacks but too slow to do the wave motion with it. It's the source of MUCH frustration right now.
progmetaldan
Member
I get frustrated cos I finally learn a piece with much difficulty, and my fingers are struggling to keep up with semi-quavers at only about 80bpm, then I look at the music and realize that to perform it it would have to be about 120bpm... it just seems physically too fast... 
lol I know exactly what you mean dude. When my teacher gave me the first Villa Lobos etude I asked him for a ballpark performance tempo and he told me not to worry about that at the time and just work out the right hand pattern. I practiced it for a few days before finally listening to a recording. Talk about a kick in the balls!
Earth Breather
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- Dec 8, 2005
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Yeah, a lot a lot of discipline goes into Classical, that is why I am sticking to studying Prog! 
The main reason I don't like classical guitar as much is that I have to grow my nails, which is a real pain. Otherwise I love watching people play and listening to it.
Eternal Dragon
1337AD
I have to keep mine short because sometimes they get stuck inbetween the white & black keys on the piano.... and when i'm going fast it can be really painful. Despite that its still a little funny when it happens .
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I've just started practicing some songs, cause me and my band (Northern Crown) have to get a set list ready withing three months. I play drums and right now I'm trying to learn Dream Theater's Pull me under. It's getting better now. I'll also have to start practicing some of our own songs soon. Our synthist is writing a new song right now (He's actually very talented songwriter imo).
So yeah, I have a lot of songs to practice really.
So yeah, I have a lot of songs to practice really.
progmetaldan
Member
Although prog is definately what I want to do in the long term, learning classical has helped my technique in ways I never could have imagined! Although classical is frustrating, my electric playing has improved heaps without me really realizing... I really wanna learn some jazz as well to help with the theory/ compositional angle...
ABQShredHead
©1970
What do you want to know about jazz? I-vi-ii-V or ii-V-I, chord substitutions, scale pairings? It's pretty much the same stuff you already know, really. The chords may extend into different colors, but it's still similar enough. The hardest thing to learn, especially for those with rock backgrounds, is how to stir the soup.
Eternal Dragon
1337AD
I find jazz a little confusing. I learnt the melody lines from chick corea's Spain, and without going back and analysing the song i wasnt able to find one single jazz chord that would fit well with the melody. Obviously octaves would work but thats not really jazz, and it'd presume it would be some sort of 7.
progmetaldan
Member
I mainly just want to add colour to my solos, and be able to play modaly as opposed to just sticking in the 1 scale the whole time... I basically know the theory of it, I just need to be able to put it into action...
This will probably sound like a broken record (because I'm hoping someone else has said this to you before). The best way to learn the style is to listen to it A LOT. The theory will only get you as far as analyzing something on paper and being able to hypothesize what will sound good. Don't get me wrong, it helps and it's important to know the theory, but it definitely takes backseat to actually being familiar with the sound. TRANSCRIBE TRANSCRIBE TRANSCRIBE. That's the best advice as far as soloing goes. There are at least thousands of different melodic devices you can learn to use (and you should), but the best way to learn to hear these things and to successfully apply them is to learn from the greats. Seriously.....take 8 bars of a Wes Montgomery solo, learn it, committ it to your brain/ears until it's second nature and you'll have material that you can apply to thousands of jazz tunes, and then go on to decide what it is about that lick that sounds hip to your ears and apply it to your rock/metal playing or whatever else.
Generally speaking there's 2 big mistakes i see people make when they first get into jazz. The first is that they try to mystify the genre and think that these mystical "jazz chords", "jazz scales", "jazz arpeggios", etc. are some cryptic things that require blood covenents and pacts with satan to understand. The second is that people listen to poor advice from others(because they don't know any better) and go out and buy something like "giant steps" for their first jazz record. Trying to jump right into Coltrane, Parker, Holdsworth, etc. is like walking into a college calculus class on your first day of grade school.
It's very beneficial and necessary IMO to learn the theory and practice chord/scale relationships, voice leading, various melodic devices, substitutions, superimpositions, etc. etc. etc. it's listening that will make the biggest difference. That's how most of the greats got where they are. Try asking Joe Pass or Allan Holdsworth to offer an in depth theory analysis of his soloing and see how far they get you. (in case you aren't familar with them and that joke fell on deaf ears.....neither of them are very strong at all with theory and yet they are some of the most revered players in the genre). Listening/transcribing are essential (I'm not being too vague about that am I )
I'd be happy to offer insight into jazz improv if you have specific stuff you want to know about. But you'd get just as much if not more if you just.......(betcha can't guess what I'm about to say)
Generally speaking there's 2 big mistakes i see people make when they first get into jazz. The first is that they try to mystify the genre and think that these mystical "jazz chords", "jazz scales", "jazz arpeggios", etc. are some cryptic things that require blood covenents and pacts with satan to understand. The second is that people listen to poor advice from others(because they don't know any better) and go out and buy something like "giant steps" for their first jazz record. Trying to jump right into Coltrane, Parker, Holdsworth, etc. is like walking into a college calculus class on your first day of grade school.
It's very beneficial and necessary IMO to learn the theory and practice chord/scale relationships, voice leading, various melodic devices, substitutions, superimpositions, etc. etc. etc. it's listening that will make the biggest difference. That's how most of the greats got where they are. Try asking Joe Pass or Allan Holdsworth to offer an in depth theory analysis of his soloing and see how far they get you. (in case you aren't familar with them and that joke fell on deaf ears.....neither of them are very strong at all with theory and yet they are some of the most revered players in the genre). Listening/transcribing are essential (I'm not being too vague about that am I
)I'd be happy to offer insight into jazz improv if you have specific stuff you want to know about. But you'd get just as much if not more if you just.......(betcha can't guess what I'm about to say)
progmetaldan
Member
Eternal Dragon
1337AD
Thanks meedley, thats probably exactly what I needed to hear . Do you know any jazz thats similar to chick corea's style?? I really like his stuff, moreso than a lot of other jazz ive heard.
. Do you know any jazz thats similar to chick corea's style?? I really like his stuff, moreso than a lot of other jazz ive heard.Thanks meedley, thats probably exactly what I needed to hear
Chick Corea acoustic band or electric band? Any particular time period of his stuff that you are leaning towards?
In the mean time I guess the more obvious answer would be to check out some more chick corea! He's got a lot of great stuff, and I'm a huge Gambale fan too so it's lie 2 for the price of one with a lot of his stuff (for me at least). If you haven't already seen it, check out the live at the Montreux dvd. It's agreat buy. Here's a clip:
http://www.youtube.com/watch?v=h3FKIrxZ07g
Eternal Dragon
1337AD
I love stuff from My Spanish Heart....like Spanish Fantasy, Love Castle. And of course Spain...... such a great song .
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