At the heart of it, music is a language. If you can speak, read and write it then you have so many more options available to you. Sightreading has nothing to do with picking styles or genre or even a set instrument. It is actually pretty universal, learn that and the world is your oyster.
Seriously, though. it's just an opinion. I'm good, I can already play... lol I will leave you guys to it...
Here is a question that perhaps might put things into perspective.
How many friends do you have? More than 12? How many people do you know in total besides your friends? Do you know their names? Where they live? Can you recognize them when you see pictures of them? Can you recognize them when they are in different places?
Maybe the same consideration should be taken with your 12 new friends/aquaintences? Notes are your friends...
I am not a PB student. Lol I do not follow the modules, Although I dabbled briefly to see what was what. I am here to see what, if anything, anybody has learned or can play that is of interest. Y'know, guitar and music enthusiast. Pebber has some neat ideas and a scientific mind hard-wired for complexity. It blows me away how obsessed with speed and picking people are when there is so much more to it...
Anyways, I am not a byproduct of Pebber's method. Just thought I'd clear that up.
Well, that series of books is used as a textbook for guitarists at music schools all over the world, Berklee in particular. So if you want to really hone some actual musical skills like reading music, chords and chord construction, position playing, chord progression, voice leading, chord to scale theory, interval studies, positional scale studies, triads, 7th chords, major scale, melodic minor, harmonic minor, wholetone and diminished along with a bunch of other stuff, then it is a great resource to have at your disposal, and use in conjunction with what Pebber is presenting.
But, it will take some time away from the many variations of 1-2-3-4, trilling and all that stuff. And 1-2-3-4 and trills WILL get you the gig over someone who can do all that other useless crap. Lol.
You are correct, for what you want to achieve, resources like Will Leavitt's are absolutely useless. I would advise you to save your money, and maybe put it towards a metronome that does much higher speeds? lol You are gonna need it with how crazy fast your picking and legato is gonna be...
Keep doing what you are doing, looks like you are making awesome progress.
Well, for guitar I am pretty obsessed with sightreading. I probably spend about 2-3 hours a day lately practicing, but really only an hour of that is spent on guitar. I currently spend the majority of my time working on Chapman stick, and 2 hand independence.
you know, Will Leavitt's Modern Method for guitar books really cover a lot of ground, and I bet would compliment a lot of what Pebber is teaching, you know it would help y'all kill many birds with one stone kind of thing...
Wizard of shred doesn't suck at playing guitar, neither does Tom Hess. Just totally different approaches to how they execute. Next thing you know, y'all are gonna start trashing Frank Gambale and Will Leavitt... lol Not very Christmasy, guys!
Players like Allan and Shawn (And so many others...) have something that transcend mere technical ability.
Less trash talk and maybe more time practicing, perhaps...?
No offense taken Damon. All good. just an observation, really. In all honesty, my stuff getting listened to, or commented on here is not an issue; (there are other forums for that) I really can't take too many people here very seriously anyways;hahaha There are a couple of exceptions of course!
There is a lot of talking about playing and practicing, and not a lot of evidence of practice and playing, so it is what it is. Personally, I'm just really into music and getting better at playing, so meh whatever. I like sharing music, checking out other people's music and talking about what I liked and didn't like about it, even if a few feathers might get ruffled along the way.
I love the resources that Pebber has put out there, it's great stuff and really thorough! It's too bad so few have the initiative to show what they've learned in a musical context so that others might glean an idea or two.
I get it, not what the forum is about. At any rate, try to have a great weekend guys! I know I will! -S
It's all about the sound you want to create. The technique is just a means to an end. Although I dont do Sarod, a good example of it would be Mr EVH playing the tremolo picking part of Éruption. Actually, anytime Ed tremolo picks He seems to do a motion that is real close to what Pebber describes.
If it is picking speed you are concerned with, There are a few guys you should check out... Rusty Cooley
Michaelangelo Batio Mike Stern Eric Johnson Joe Bonnamassa George Bellas Shawn L'âne Paul Gilbert Tony MacAlpine Jason Becker Marty Friedman Marshall Harrison Terry Syrek Ron Thal Jimi Bruno Django Reindhardt Chris Impelliteri John Finn Nuno Bettencourt
Some better than others, but all of them good enough to release a record or two...
Of course, guys like Vai, Malmsteen, Satriani, Steve Morse, John McLaughlin need not be mentioned, eh?
I love how a thread with négative energy gets all kinds of reads, replies and analysis but a post containing actual music in it, the results of hard practice and créative useage of the techniques learned and explored can't get spit on. Back to practice... Have a good weekend.
Hey Guitarplayer, maybe it would be worthwhile to spend some time with a Method book for a bit? Will Leavitt's are really good and cover all of the basics. Modern Method Of Guitar vol 1,2,3. (my friends are so tired of me harping about 'em...) Also some lessons with someone? even if they aren't teaching "superduper fireball technique" I bet you learn some important basics.
Also just a bit of a terminology thing here; a Csus2 would be CDG R25 And Csus4 would be CFG R45, and Cadd9 would be CEGD R359 A suspension happens when the 3rd is replaced with a 2nd or a 4th. An "add" happens when the tension/interval is added to the chord, and the 3rd is left.
C9 is a dominant 7th with an added 9th. (a 9th is the same as a maj2nd, just an octave higher. understanding tensions can be tricky. so C9 is CEGBb and D. R35b79 - not the same as a Cadd9. C7add9 maybe... but C9 is a much more common way to label that one...
Anytime you see a chord with just a number, G7 E13 B9 It is dominant. if the tension is altered, you will see it as G7b9 or B7#11.
if a chord is major, it will tell you. Cmaj7. if it is minor, it will tell you. Dmin7. Altered tensions, same deal. Dmaj7#11. etc etc.
Hmmmn, I'm not so sure that's what I envisioned "Troll sandwich" videos, but if that's what you're into, great. I was really hoping people would maybe try and get creative and post some music.
Here is a cover/rearrangement I did of "Let It Go". You know, the one off of Frozen? There's oodles of guitar, some pedal steel, and Chapman Stick. I decided to not do a guitar solo, well... because there's just a whole boatload of crazy guitar as it is. Not necessary. I hope y'all enjoy! Just an example of the pick hand relaxing a lot more. okay, back to practice... Enjoy...
As for the gear I used, Logic ProX and an Apogee Quartet interface into my mac... Drums are Toontrack EZdrummer DFH plugin. Although I can play drums well, I just created a mashup of various midis until I was happy with a groove to jam on. A few microphones (Sure57 and a Senheisser E906) on a Hughes and Kettner Statesman 6L6 Combo and A Marshall JCM2000 DS401 combo. What else... ummm, Native Instruments Komplete used throughout, and of course, Izotope Ozone on the final mix. Oh yeah, I used my Malmsteen strat for the lead work. Nothing fancy; guitar>amp>DAW
...And, a Chapman Stick happens throughout. I'm not that good at it yet, but I love the thing. Cool instrument.
I gotta say, I really hate the stock pickups in Ibanez RG guitars. I have some Duncans on order for the 9 string STAT! hahaha
Anyways, I'd love to see more tracks posted by everyone! Better yet, a kind of collaboration by the forum guys would be really cool! Anyways, this one was a break from a fairly intense sight-reading regimen I've imposed on myself. lol I'll post another track in a year or two hahaha
Make a tune. Post it. It'll be fun. I shall start...
Okay, there is a lot... I do mean a LOT of guitar on this... But, there is a lot of stick in there too. I even made a devoted stick section where I tried to do a dedicated stick solo (ughh it kinda blows... But I'm proud of it anyways) So yeah, 6 str guitar, keys, stick, 9 str guitar, loud and angry drums. It's the sort of thing you listen to while doing the dishes, but then you realize there's an apocalypse happening. There's some spots where you could sing along...?
*Warning, there is a disgusting amount of low notes horribly abused in this track... **Warning, there are high notes flying around like Ninja Shuriken, don't get cut... ***Warning, this is a theme song to a deranged puppet show I'm hoping to make millions on... ****This track will help you get your housework done in a timely manner, just be aware of your ever changing environment... (Apocalypse, remember)
(sigh) I might be too old to do metal... Enjoy, guys.
I look at it like this. C is Major the One Tone, Am is the Sixth tone with a flat Third, Dm is the Second tone with a flat third. G is the 5th Tone.
Am Chord Scale will have three swaps and variations. Melodic Chord Scales, Harmonic Minor Chord Scales and Natural minor Chord Scales.
Asides from that C M can be replaced with CMaj7 or CMaj6 or CMaj9 or CAug amougst other. The next to both have to contain minor thirds Am can be Adim or Am7 Amin9 Amin 11, or Am 13 like wise for Dmin, D min 9 or D min 7 or D dim or even Dm7b5 or D min 11 as for the G G7, G9,G5th G13,G Aug or any G thing thats not minor or containg a flat third notr
However C is the sane notes as Am. Swap some Am Chord Scales into the mix nore it gets more interesting
Replacing the I chord with an augmented triad is, ummm a bit gross. That G# leads you down a different path functionally (A Harmonic minor as it's 3 chord Cmaj7#5, but then all of your other chords sort of need to change also, Amin/maj7 Dmin7 and a G# dim7...) Gotta be careful with modal interchange, it has a pretty big impact on what else happens in the progression, available tensions, etc
Dmin7b5 isn't a bad substitution, but as a ii chord, it likes to go to the G7 (a G7b9 is very cool) and finally resolve to Cminor. The Cmaj7 resolution is fine, but if you are playing over that, gotta be aware of the changes. Just blowing a Cmajor/Aminor scale over the whole thing will not work. Not really. Plus, you sort of lose sight of the original I vi ii V concept.
You know you could substitute an Emin for Cmaj7, Fmaj7 for the Dmin and an Cmaj7 for Amin, and a Bmin7b5 for G7; and if you played those chords over your C Amin Dmin G7 bassline, it's another way of re-iterating the 1625 harmony...
|Emin Cmaj7|Fmaj7 Bmin7b5|
And for context; lol here is the progression with slashchords...
|Emin/C Cmaj7/A|Fmaj7/D Bmin7b5/G|
1)Know the notes in each chord 2)Know the key signature from which the progression is derived (Tonal center) 3)Know the available tensions for each chord based on function 4)The Real book has oodles of progressions to see, hear and analyze...
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