Re: Technique/Theory Thread

Fretwork wrote:
Budda wrote:

I haven't seen that one. Have you received an issue yet? Is it pretty good?

    Please let us know what you think of it.

    Thanks.

Budda,
I haven't gotten it yet, but when I do I'll be sure to let you know what I think.  You teach too, right?

Yeah, I teach full-time in Little Rock, Arkansas.

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: Technique/Theory Thread

Here's a cool way to work on your playing:

    Play a 12 Bar Blues with steady 1/8th. notes. No rhythmic variations, slides, slurs, bends, etc. Just a steady jazz-like stream of 1/8th. notes.

   And, it must be musical. Not just a scale, or exercise like approach.

    It's a lot harder than it sounds. I'm still working on this, after about 10 years!

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: Technique/Theory Thread

This is really funny...well the end is....the rest is really useful:
http://www.youtube.com/watch?v=CKhSzbhn_oo

Mary

LOL-ler-tastic.

Re: Technique/Theory Thread

Yeah, that is a great video. I just got both of his old videos on a single DVD. I HIGHLY recommend it. Very good stuff, from basic phrasing ideas, to advanced harmonic concepts. Not for beginners, though!

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: Technique/Theory Thread

Here's a pretty good book, for those of you who want to try your hand at some other instruments:

    http://www.guitarworkshop.com/books/oth … nstrument/

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

60 (edited by MontiusWinston 2007-10-17 11:53:20)

Re: Technique/Theory Thread

Very informative thread!

Sometimes I find myself getting stuck in a rut while practicing.  Some of the stuff in this thread will probably help with that. 

Right now, I am really interested in developing my rhythmic chops.  Like someone mentioned earlier, I too am trying to gain freedom with my picking hand.  I've recently started doing a sort of hybrid picking thing with my middle finger along with a pick (ala SRV) and it has led to some interesting new nuances in my playing.

Any practice tips to help my picking hand become "free to do what it wants" (lame Rolling Stones reference, I know tongue) would be greatly appreciated.

Thanks,
Seth

Well, the night I was born
Lord I swear the moon turned a fire red

Re: Technique/Theory Thread

Building speed and clarity is such a challenge. when looking for lessons on this, they appear to be too simple or too advanced. there a big jump there...

- Nic from Detroit... posting on JB's Forum since 6-2-2006
Ask me about my handwound Great Lakes Guitar Pickups
Since 2010, Bonamassa fans have taken advantage of my JB friend discount = my cost + shipping. cool

Re: Technique/Theory Thread

Budda wrote:

Here's a pretty good book, for those of you who want to try your hand at some other instruments:

    http://www.guitarworkshop.com/books/oth … nstrument/

You know, I do have a 1951 (I think, but I'm having some trouble tracking the exact year)  National Grand Console Steel. It's has a dual eight string neck that I have no idea how to play.  It is the heaviest and most awkward thing I've ever seen, but it is fun to mess around with.  Maybe I'll have to look into this book.

"There is nothing to it.  You only have to hit the right notes at the right time and the instrument plays itself."---Johann Sebastian Bach

63 (edited by Budda 2007-10-20 14:08:52)

Re: Technique/Theory Thread

NPB_EST.1979 wrote:

Building speed and clarity is such a challenge. when looking for lessons on this, they appear to be too simple or too advanced. there a big jump there...

Well, usually the way to get better is very simple. The esoteric, convoluted methods usually don't work as well.

    I'd suggest always working with a drum machine, or metronome.

    1.  Try these patterns. Then, try playing through them in 3rds. Then 4ths., 5ths., 6ths., 7ths., and finally, in octaves.

    2. Try playing one pattern ascending, and another while descending. Every combination. Then, do all of these combinations as you work through step #1 (again).

    3. Make sure you play each exercise with all downstrokes. Then, all upstrokes, then strict alternating picking, then economy picking, then no picking (all hammer-ons and pull-offs).

    4. Each exercise should be started at about 40 bpm. When you can do a single exercise 10 times through with no errors at 40 bpm, then try 45 bpm.

    When you can do 45 bpm 10 times with no errors,  go back to 40 bpm before moving on to 50 bpm.

    Keep moving up, in 5 bpm increments. ALWAYS return to 40 bpm.

    If you ever have trouble with jumping up 5 bpm at a time, try 1 or 2 bpm increments.

    Returning to 40 bpm is harder than it would seem. Plus, it helps you to really have control over the time. This is a key ingredient in progress.

    Always tap your foot, too.

    Work for a goal of 1/16th. notes at 120 bpm. This is a good target. After this, go for 1/16ths. at 200 bpm! (In the same  bpm increments).


    I'm still going through this process, myself. Maybe another 20 years, and I'll have hit my goals! Anyway, it's a lot of work. But, there's no "magic bullet".

    I hope this doesn't sound "Preachy", or that it's the only way to work. It's just a method that has worked for me and a lot of my students, over the years.

    Good luck! I hope this helps.
   


--------------------------------------------2--3--|---------------------------
-------------------------------------3--5---------|---------------------------
---------------------------2--4--5----------------|---------------------------
-----------------2--4--5--------------------------|---------------------------
--------2--3--5-----------------------------------|---------------------------
--3--5--------------------------------------------|---------------------------
Here's 3 different ways to play the G Major Scale   across all 6 strings.   

----------------------------------------------------5--7--8--|----------------
------------------------------------------5--7--8------------|----------------
--------------------------------4--5--7----------------------|----------------
----------------------4--5--7--------------------------------|----------------
------------3--5--7------------------------------------------|----------------
--3--5--7----------------------------------------------------|----------------
  I  M  P   I  M  P   I  M  P   I  M  P   I  R  P   I  R  P = FINGERING       

------------------------------------------------------7--8--10--12--14--15-|--
-----------------------------------------5--7--8/10------------------------|--
--------------------------------4--5--7------------------------------------|--
--------------------2--4--5/7----------------------------------------------|--
----------2--3--5----------------------------------------------------------|--
---3--5--------------------------------------------------------------------|--

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: Technique/Theory Thread

For speed and clarity,  First go for clarity.. Make sure your notes come out all the time.  Then you can slowly build up speed.  There is nothing worse than players playing far above their speed levell.  It just sounds sloppy.  Also just record yourself and be brutally honest with yourself. Listen by yourself and even if your embarrased its ok. It make you a better player.  Trust me it worked for me. I ve been horrified by somethings Ive played. 
Joe Bonamassa

Re: Technique/Theory Thread

Also I forgot to add.  different strokes for different folks.  BB aint a shredder...  But he is a world class guitar player.  If it aint in the cards to play fast..  Dont feel bad.. Just find a way to beat em.  Play uber soulful.. find a way to connect the guitar to your heart.  You ll kill the shredders everytime.  Another example .. Lesile West.. and Theme from Imaginary Western.. 
Joe Bonamassa

Re: Technique/Theory Thread

Joe Bonamassa wrote:

Also I forgot to add.  different strokes for different folks.  BB aint a shredder...  But he is a world class guitar player.  If it aint in the cards to play fast..  Dont feel bad.. Just find a way to beat em.  Play uber soulful.. find a way to connect the guitar to your heart.  You ll kill the shredders everytime.  Another example .. Lesile West.. and Theme from Imaginary Western.. 
Joe Bonamassa

joe, you are so right the guys that play real fast most of them sound like crap . as you said bb. king is such a smooth player and i love that you can here ever note he plays . if you listen to jerry garcia he was the same way didn't play real fast but ever note hit home and i would say he blew away alot of the speed guitarists ....i play the bass and i try to make every note count and i also did the same thing you did recorded myself and listened back to it and that helped out alot . do you still have any of the recordings of urself playing i would love to hear how you progressed in your playing ........joe

Re: Technique/Theory Thread

Bloodline... enough said. 
Joe Bonamassa

Re: Technique/Theory Thread

Joe Bonamassa wrote:

Bloodline... enough said. 
Joe Bonamassa

you said it i have about 6 or 7 shows from bloodline . i will bring you a soundboard from the wetlands i have . maybe you would like to hear that stuff again .........joe

Re: Technique/Theory Thread

Joe...I am sure you feel like you've come a long way since your playing in Bloodline, but I think it was great...I just listened to it today and your leads on "Stone Cold Hearted" still give me chills....and considering your age....very tasteful playing IMHO.  I'm sure a bunch of wish we could play guitar "that badly".

Rockville was great....can't wait til the next show.

CarljMD

Takers get the honey, givers sing the blues

Re: Technique/Theory Thread

Budda wrote:
NPB_EST.1979 wrote:

Building speed and clarity is such a challenge. when looking for lessons on this, they appear to be too simple or too advanced. there a big jump there...

Well, usually the way to get better is very simple. The esoteric, convoluted methods usually don't work as well.

    I'd suggest always working with a drum machine, or metronome.

    1.  Try these patterns. Then, try playing through them in 3rds. Then 4ths., 5ths., 6ths., 7ths., and finally, in octaves.

    2. Try playing one pattern ascending, and another while descending. Every combination. Then, do all of these combinations as you work through step #1 (again).

    3. Make sure you play each exercise with all downstrokes. Then, all upstrokes, then strict alternating picking, then economy picking, then no picking (all hammer-ons and pull-offs).

    4. Each exercise should be started at about 40 bpm. When you can do a single exercise 10 times through with no errors at 40 bpm, then try 45 bpm.

    When you can do 45 bpm 10 times with no errors,  go back to 40 bpm before moving on to 50 bpm.

    Keep moving up, in 5 bpm increments. ALWAYS return to 40 bpm.

    If you ever have trouble with jumping up 5 bpm at a time, try 1 or 2 bpm increments.

    Returning to 40 bpm is harder than it would seem. Plus, it helps you to really have control over the time. This is a key ingredient in progress.

    Always tap your foot, too.

    Work for a goal of 1/16th. notes at 120 bpm. This is a good target. After this, go for 1/16ths. at 200 bpm! (In the same  bpm increments).


    I'm still going through this process, myself. Maybe another 20 years, and I'll have hit my goals! Anyway, it's a lot of work. But, there's no "magic bullet".

    I hope this doesn't sound "Preachy", or that it's the only way to work. It's just a method that has worked for me and a lot of my students, over the years.

    Good luck! I hope this helps.
   


--------------------------------------------2--3--|---------------------------
-------------------------------------3--5---------|---------------------------
---------------------------2--4--5----------------|---------------------------
-----------------2--4--5--------------------------|---------------------------
--------2--3--5-----------------------------------|---------------------------
--3--5--------------------------------------------|---------------------------
Here's 3 different ways to play the G Major Scale   across all 6 strings.   

----------------------------------------------------5--7--8--|----------------
------------------------------------------5--7--8------------|----------------
--------------------------------4--5--7----------------------|----------------
----------------------4--5--7--------------------------------|----------------
------------3--5--7------------------------------------------|----------------
--3--5--7----------------------------------------------------|----------------
  I  M  P   I  M  P   I  M  P   I  M  P   I  R  P   I  R  P = FINGERING       

------------------------------------------------------7--8--10--12--14--15-|--
-----------------------------------------5--7--8/10------------------------|--
--------------------------------4--5--7------------------------------------|--
--------------------2--4--5/7----------------------------------------------|--
----------2--3--5----------------------------------------------------------|--
---3--5--------------------------------------------------------------------|--

Thanks.

Joe Bonamassa wrote:

For speed and clarity,  First go for clarity.. Make sure your notes come out all the time.  Then you can slowly build up speed.  There is nothing worse than players playing far above their speed levell.  It just sounds sloppy.  Also just record yourself and be brutally honest with yourself. Listen by yourself and even if your embarrased its ok. It make you a better player.  Trust me it worked for me. I ve been horrified by somethings Ive played. 
Joe Bonamassa

I've been horrified at everything I've ever heard you play, man.  Horrified at how awesomely great it is.

Hope to see you soon in Wichita, KS.

Well, the night I was born
Lord I swear the moon turned a fire red

Re: Technique/Theory Thread

No problem, Bro!

    I hope it helps. Feel free to exchange any tips, info, or questions. I'm always working on my playing, too.



    And to Mr. Bonamassa;

    Thanks for all of the great music. You are definately one of today's "Shining Lights" for me. I teach guitar full-time, and it can be hard these days, to find an example of great musicianship to show my students. Your CDs always catch their ears, and inspire many of them.

P.S.

    PLEASE come to Little Rock, Arkansas! We have a few great clubs: Juanita's, Revolution Room, Sticky Fingers, Wynsong Performing Arts Center, Robinson Performance Hall, Alltel Arena. Plus, Riverfest. It's a huge (biggest in the state) 3 day festival. They have had B.B. King, Hank Williams Jr., Black Crowes, Robert Randolph, and many more, play it.

    I know many of the booking agents and promoters here. If I can be of any help, please contact me. I think a couple of shows here, would build you a large fan base in this area.

    Okay, I'll stop my rant. But please, consider stopping by! (And let me know, if I can help).

Jeff

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: Technique/Theory Thread

very good advice.

I too listen to a live recording from my early 20's, and I used feedback and harmonics to soak up the time between jumping between the scale patterns (instead of flowing through them all)...I cringe.

Practicing using no effects whatsoever really helps you notice clarity as well.

Even though I don't consider myself a shredder, I'd like to be able to do it. I'd like to think if BB wanted to shred, he could do it- he just doesn't want to (or have to). It just bugs me there is something out there and I probably just haven't practiced enough to achieve it. I mean, I can fingertap the old VH Eruption...but when it comes to pulling off an improvised shredding solo, I just don't have it yet.

- Nic from Detroit... posting on JB's Forum since 6-2-2006
Ask me about my handwound Great Lakes Guitar Pickups
Since 2010, Bonamassa fans have taken advantage of my JB friend discount = my cost + shipping. cool