• From: N. Little Rock, AR.
  • Registered: 2007-03-02
  • Posts: 463

Topic: Technique/Theory Thread

Do any of you guys play music?

    I thought it might be fun, to share playing tips, etc. Let me know, if this sounds interesting.

    I'll start it off:

   For bending and vibrato, I always wrap my thumb over the top of the neck. And I pivot on the side of my hand, where the index finger meets my palm. It's a wrist and elbow motion. Not a finger motion. And I try to reinforce my bends/vibrato with as many fingers as possible. For vibrato, you may try bending the string down towards the ground first, then up. This is usually good to get you used to NOT using your fingers. It's kinda like shaking a locked doorknob.

For bending, it's the same motion. For accuracy, I often play a note, then try to match it with a lower, bent note. Try the Am Pentatonic scale, at the 5th. position. Play the G string, 8th. fret. Now bend the G string, 7th. fret to match it. (Use your ring finger, reinforced with your middle finger. Keep your thumb wrapped over the top of the neck, and your index finger on the B string, 5th. fret. This will help with your technique).

Next, play the G string 9th. fret. Bend the G string, 7th. fret to match it. Continue with higher frets on the G string. Each time, bending the G string 7th. fret to match it. I can usually get 2 1/2 to 3 whole steps (5 to 6 frets), higher. Then I run out of fretboard, as the G string will get pushed off of the top of the neck.

The whole thing is accuracy, and control. Let me know, if this helps.

P.S.
If I'm doing a 1st. finger vibrato, I throw my elbow way out, to get that knuckle/fulcrum working.

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
  • From: Detroit
  • Registered: 2006-06-02
  • Posts: 5,807

Re: Technique/Theory Thread

My favorite is the old "Ace Frehley"

On your Les Paul, turn the rythm volume all the way down and have the treble volume all the way up. Play on your lead pickup.  When soloing/sustaining notes - flick your toggle switch up and down (like a 4 year old playing with the light switch) to get the notes to "stutter" or cut in and out...  Pretty fun if you have a guitar with good sustain.

thats my .02 cent trick.

- 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
  • From: Boston
  • Registered: 2006-11-25
  • Posts: 133

Re: Technique/Theory Thread

Hi all,
I am a guitar player.  My practice routine usually starts off with some warm ups/techinical drills.  One of the drills I do is the spider drill, which is just playing the first 4 frets on every string, then moving the box up a fret and play is descending.  really good to get your picking going as well as getting your hands warmed up.  Then I usually go through all my pentatonic positions in a key(usually a different one every day)  This a great excercise cuz it helps you see the scale all over the neck, and really helps you transition from position to position much easier, it also opens up new ideas and different places to go.  Important: I always practice these with a metronome,  in  fact I never practice anything without a metronome(to clean and speed up your technique, a metronome is manditory, dont speed the metronome up until you have one exercise PERFECT, this can be frustrating, but it greatly improves your technique if you put the time in).  The Next thing I'll do is run through my scales(I go to Berklee College of Music and guitar principles have required scales, arpeggios, chord forms, and triads that we need to have mastered by the end of the semester, this proficienncy is much like jurys at a conservatory) The scales this semester are The Harmonic Major and all thier modes in 7 keys, C and then the first 3 flat keys and then the first 3 sharp as well.  The struggle I always come across is how to use this proficienccy material, all the scales have very unique and cool sounds to them,  but how to use them is the question.  After ive dont all the technicall Bull, i put the metronome on 2 and 4  and just play to a shuffle groove.  When I do this its important to really lock in with the metronome, if you dont practice with a metronome, try it and see how much it helps keeping you in time.  Then I usually sit down and learn solos(a lot of the time its Joe's stuff, lol) or steal licks. 
Recently my teacher has been giving a lot of jazz stuff, like outlining changes.  I dont play jazz but learning this stuff will add tons of depth to your playing,  i encourage everyone to learn some jazz, becuase you can always use the tools that jazz gives you even if you dont play jazz.
Hope you guys gain something from this!
Peace,
Conner

Fender '62 reissue Stratocaster, 2001 Gibson Les Paul Studio(Stock), Marshall JCM900 100W Head, Original 1972 Carvin 4/12 Cabinet,Ibanez Ts9 Reissue, Keeley Compressor, Boss DD-3 Delay, Vox Wah
  • From: N. Little Rock, AR.
  • Registered: 2007-03-02
  • Posts: 463

Re: Technique/Theory Thread

That's great stuff, guys!

    I like that stuttering trick, too. Randy Rhoads did that. I think that's where I first heard it.

    Keep 'em coming!

    I figure, we can all learn more from each other. So, this could be a place to ask questions, and get some answers from others here. I'd love to hear what you guys have to say about playing. And of course, any tips on playing JB's songs would be great!

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

5 Reply by NPB_EST.1979 (edited by NPB_EST.1979 2007-03-08 12:43:52)

  • From: Detroit
  • Registered: 2006-06-02
  • Posts: 5,807

Re: Technique/Theory Thread

cj19m wrote:

Hi all,
I am a guitar player.  (I go to Berklee College of Music and guitar principles have required scales, arpeggios, chord forms, and triads that we need to have mastered by the end of the semester, this proficienncy is much like jurys at a conservatory)Hope you guys gain something from this!
Peace,
Conner

what credentials did you need to get into that college? grades, talent, or both?
I think they have an online program as well...

I know the pentatonic scales and and working on diatonic & 3 notes per string stuff.  There are just some positions in the pentatonic positions where i say to myself "I got nothing" and you quickly go to a position thats comfortable.  I HATE THAT.

I am treating the problem to Joe's piece of advise on his instructional dvd. He said to play a lick in every position on the neck. Play a note or lick and play the same thing only higher or lower on the neck.

It makes it kind of like a game, although when I solo live I still have a hard time running them all together seamlessly.

- 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

6 Reply by cj19m (edited by cj19m 2007-03-08 14:50:29)

  • From: Boston
  • Registered: 2006-11-25
  • Posts: 133

Re: Technique/Theory Thread

Berklee is suprisingly not what it seems.  I graduated High school with a 2.7 GPA and got right in to Berklee.  The funny thing about it is,  if you were extremely talented and great player, you wouldnt need berklee, unless you want to major in Production/Engineering, or music business, ECT.  What they really look for is drive, they want you to want nothing more than to learn as much as possible.  Becuase berklee offers so many different majors other than Performance, not evenyone is a class  A player, some people want to be a recordign engineer,  if thats thier passion then they wont have enough time to practice as  much as it takes to be a killer player, same goes with any other major other than performance.  I am a music Education major and plan to teach in public schools after graduating, I still practice at least 2 or 3 hours per day, Playing is very important to me, and will always be infront of everything else.  Teaching will bring home the dough, And gigs will be why im really into music.  Dont get me wrong, everyone at berklee has the chance to become something, they have amazing faculty, and great courses, its all up to you though, just like in the real world.  so my point.  Most of the great players are at a conservatory studying Jazz, are performance majors elsewhere, or sit in there room and practice all day long(like Joe). There are some icredible players at Berklee as well, dont get me wrong, my roomate is one of the best ive ever heard.  Berklee doesnt automatically mean your amazing.   Hope this makes sense haha.  Bottom line, I love playing and would be playing all the time even if i wasnt at Berklee, im here to get an Education degree so i have a solid job after i leave.  What a life huh?  haha im very blessed.
Peace all,
Conner

Fender '62 reissue Stratocaster, 2001 Gibson Les Paul Studio(Stock), Marshall JCM900 100W Head, Original 1972 Carvin 4/12 Cabinet,Ibanez Ts9 Reissue, Keeley Compressor, Boss DD-3 Delay, Vox Wah
  • From: N. Little Rock, AR.
  • Registered: 2007-03-02
  • Posts: 463

Re: Technique/Theory Thread

Here's a good technique:

    Play the same phrase form the same note. But, try to find as many different ways to play it, as you can.

   If you go from the A string, to the D string, try doing it ALL on the A string, instead. Or, go from the A string, to the low E string. That type of thing.

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
  • From: N. Little Rock, AR.
  • Registered: 2007-03-02
  • Posts: 463

Re: Technique/Theory Thread

Ear Training


     Here's some tips, for getting your ears "In Tune". Try these tips, and see if they help you!



  1.  Try tuning your fat E string, with an electronic  tuner. Then, try tuning the rest of the strings, by ear. When you're done, check your work with the electronic tuner. If you don't know how to do this, go to your local music store, and bug the guys in the guitar department, until they show you how. Or, take a private lesson with an instructor. Learning to match the open strings to the 5th. fret notes, is an essential skill. This is the best thing you can do, to kick-start your ear.

    2. Pick up any telephone. The dial tone is an A note. Hum it. Get to the point, where you can hum that A note, all the time. Whenever you walk past a phone, hum the note. Then pick up the phone, and see if you were correct. If not, try humming the dial tone A, while listening to it. Then, keep practicing.

   
    3.  Also, play any scale you know. You should hum those notes, as you play them. 
    At first, you play a note, then hum it. After awhile, you can play the scale note, and hum it at the same time. Eventually, you should work towards humming the note, then playing it.


    4.  Try picking out simple melodies, like nursery rhymes. When you get one picked out, find another and do it again. Forever. You should be learning something by ear, at all times. Even if it's just a riff. phrase, or T.V. Theme song.




    5.  Work on Chord Construction. Learn how to make the four most important triads, starting from any root note.

    These 4 triads are:

Major

Minor

Augmented

Diminished



    Practice building these 4 triads on a different root, each day. Hum all of the triads' notes, as you play them. Do this for at least 15 minutes, each day. Also, try playing the first note of the triad, and humming the next note, from memory. Then, check to see if you hit the right note. If not, play that note and hum it, over and over. Then, try the exercise, again.

    Eventually, you will start to hear and "feel" the notes. Humming them, will help immensely.

    Let me know, if this helps.

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
  • Jess
  • Platinum
  • Offline
  • Registered: 2006-04-21
  • Posts: 312

Re: Technique/Theory Thread

Yeah good tips on ear training. Singing scales, intervals and arpeggios as well as solos either without the guitar or while you are playinbg really helps your ear and your connection to the music.

-Jess
Check out my band Beth and The Black Cat Bones http://www.myspace.com/bethandtheblackcatbones
Also my own page for my guitar playing http://www.myspace.com/jesszub
  • From: Detroit
  • Registered: 2006-06-02
  • Posts: 5,807

Re: Technique/Theory Thread

soloing to the weather channel is a good one...

- 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
  • From: Tampa, Fl.
  • Registered: 2006-04-22
  • Posts: 870

Re: Technique/Theory Thread

NPB_EST.1979 wrote:

soloing to the weather channel is a good one...

nice!!  Never would have thought of that one!

"Interestingly, according to modern astronomers, space is finite. This is a very comforting thought-- particularly for people who can never remember where they have left things." - Woody Allen

http://www.last.fm/user/skynyrd128
  • From: Boston
  • Registered: 2006-11-25
  • Posts: 133

Re: Technique/Theory Thread

haha yeah!  the weather channel has a lot of harmonic movement, never thought of that though! good idea!
Peace,
Conner

Fender '62 reissue Stratocaster, 2001 Gibson Les Paul Studio(Stock), Marshall JCM900 100W Head, Original 1972 Carvin 4/12 Cabinet,Ibanez Ts9 Reissue, Keeley Compressor, Boss DD-3 Delay, Vox Wah
  • From: N. Little Rock, AR.
  • Registered: 2007-03-02
  • Posts: 463

Re: Technique/Theory Thread

Anyone got something new to share?

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

14 Reply by gsj

  • gsj
  • gsj
  • BONAMETAL
  • Offline
  • From: North Essex, England
  • Registered: 2006-09-21
  • Posts: 2,149

Re: Technique/Theory Thread

I practice by drinkng as much beer as I can. I'm getting pretty good now wink

never give up, never slow down
never grow old, never ever die young
  • Registered: 2006-09-13
  • Posts: 441

Re: Technique/Theory Thread

This isn't really techniqe/theory info., but here is a quote from Joe himself taken from a November 2002 Guitar One interview.  It's in regard to getting your act together as a professional musician.

"I firmly believe in playing gigs.  That's where my meat-and-potatoes instruction came from.  It doesn't matter where you play; whether it's an open-mike night or whatever, it has to be in front of people.  Go up there and embarrass yourself, and then correct it."

I love this quote.  It requires a person to be humble.  Even if your not a professional musician, I think anyone can benefit from this.

"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
  • From: Detroit
  • Registered: 2006-06-02
  • Posts: 5,807

Re: Technique/Theory Thread

Fretwork wrote:

This isn't really techniqe/theory info., but here is a quote from Joe himself taken from a November 2002 Guitar One interview.  It's in regard to getting your act together as a professional musician.

"I firmly believe in playing gigs.  That's where my meat-and-potatoes instruction came from.  It doesn't matter where you play; whether it's an open-mike night or whatever, it has to be in front of people.  Go up there and embarrass yourself, and then correct it."

I love this quote.  It requires a person to be humble.  Even if your not a professional musician, I think anyone can benefit from this.

excellent point.

I played open jams the last two years. theres no "band practice" and it is so much fun.  you end up learning a lot, and how to direct traffic (solos) on stage...

- 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
  • From: N. Little Rock, AR.
  • Registered: 2007-03-02
  • Posts: 463

Re: Technique/Theory Thread

Here's a cool way to generate some runs:

    String Skipping Arpeggios.

    Here's a cool Am7 idea:

    Low E string: 5th. fret  8th. fret    (Root, m3rd.)

    D string: Frets 5 and 7    (b7th., Root)

    B string: Frets 5 and 8    (5th., b7th.)



    Here's a cool D7 idea:

    A string: Frets 5 and 9    (Root, M3rd.)

    G string: Frets 5 and 7    (b7th., Root)

    High E string: Frets 5 and 8    (5th., b7th.)



    For a cool, Blusey sounding move on the D7:

     Slide into the M3rd. from the m3rd. (A string, 8th. fret into 9th. fret)

     Working these out through all the 7th. chord arpeggios in a key, is a nice way to get comfortable with the moves. They also work especially well with fingerpicking, or hybrid picking!

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
  • From: N. Little Rock, AR.
  • Registered: 2007-03-02
  • Posts: 463

Re: Technique/Theory Thread

Anyone got some new tips, or tricks?

    Here's a good one: Cheap, in-ear wireless monitor system.

    You can get an AKG "guitar Bug" wireless unit. The one that also has the small (cigarette pack sized) receiver.

    Plug your ear pieces  into the battery powered RECIEVER. You can fit these small receivers into a standard wireless fanny-pack case.

    Next, plug the Guitar Bug into a send, from the mixing board.

    You will actually be using the system in reverse. The Guitar Bug, will send a signal from your monitor mix. The receiver will pick up this "monitor mix", and you'll hear it throufgh the ear-pieces.

    This works surprisingly well. Plus, it cost about 1/2 of what an actual in-ear system does.

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