Separate names with a comma.
Discussion in 'Sidewinders Bar & Grille' started by DeadCircuits, Jan 10, 2017.
pick it up, plug it in, turn it up and see what happens.
I sneak up on mine so it doesn't run off
I pick it up and play whatever I need to play, it never takes more than a few days to turn out something which may sound half acceptable, to a lonely rock on the beach ...
My approach is:
you can learn much from lesser players, and not just guitar licks
vocals are more important
stage presence and showmanship is more important
most music and the music business has little or nothing to do with guitar or guitar skills
equipment means very little if you can actually play
music, guitar, is work, most people are lazy
there is no magic to thousands of hours of practice, stage time, and rehearsals
the music is a way of expressing how you feel
i despise the romanticizing and mysticizing of musicians, they are humans like everyone else
worse yet is the spirituality claims a bunch of rock n rollers pronounce, false spirituality
The only way you can possibly communicate anything meaningful with a musical instrument or composition is through mastery. That requires work and study. Implying that David Gilmour doesn't exhibit a very high level of technical ability...I'll just not comment.
Usually in a full-out sprint.
Good post. Never liked Pink Floyd, makes me wanna put a 12 gauge to my head, but to imply that Gilmour hasn't paid some serious dues shows me the person implying it hasn't paid his dues in full yet. Just sayin....
For me I have to work hard to get it to a place where it becomes spiritual....That's what its all about to me..
Ahhh.... but first the motor scooter helmet!
It sounds good to me, are my thoughts. I would like to say each time I pick it up I feel happy and great, not saying I have off days, or some frustration, I just take a breath and realize I have nobody to impress, it makes me happy.
That's just for bars with no chicken wire.
Like the old Longhorn Ballroom in Dallas!
i like this. i like how you said you can learn much from lesser players......i can learn alot from a beginner, and i do. i think when people believe they cannot learn from someone who hasnt played as long, they have a serious problem. i used to hate teaching because i had no patience when i was younger, but as i grow older im finding i have some now and i really enjoy paying it forward.
i dont know if i would call most people who pick up a guitar lazy though.....i think i would use the word unwilling. it takes a lot of sacrifice to get good. 99% of the people that started playing when i did are not playing now. they were simply unwilling to give that much of their lives up sitting in a room alone doing insane things. granted, i could be a hell of alot better, but i also like to enjoy other things in life, like fishing, riding bikes, etc etc.......at one time i did NOTHING but play, then for a long period i "enjoyed" life a little. now im back to being a recluse, all alone in a woodshed. for what i dont know. but its what i like. i dont care about all that other stuff anymore. im pretty sure im on a mission now.
I did learn a lot from lesser players. Often punk rockers who were my peers, though I am not a punk rock fan. An average punk rock guitarist has a superior downstroke to an average blues guitar player. Also, since they don't rely on flash for impressing audiences they often have a better stage act. It's easier to steal licks from guys who aren't that good than it is to steal licks from guys who are much better.
I don't call people who pick up their guitar regularly lazy. I call people who call themselves musicians and ride coattails while whining to other lazy musicians about a lack of interesting projects to participate in, lazy. Not on the whole, but it can often be a safe assumption, as in modern music there are mostly two kinds of musicians; bandleaders and sidemen. Sideman is generally the lazy gig. Show up, play, get paid. No risk, less hassle. Dealing with sidemen, booking, promotion, organization, scheduling is best left to non-lazy parties.
Yes, I knew many with great potential who let life's pleasures and other commitments that eventually soul sucked them get in the way and quit. They will look back with regret. Perhaps I will as well; on what I missed out on. I could've been a well to do doctor or lawyer by now. But then I would suck at guitar. Money cannot buy chops! Equally depressing as being poor.
You gotta enjoy life sometimes or your music will go sterile, your flame extinguished by the monotony of the woodshed. As for teaching, no more. I have given lessons here and there, the overwhelming majority made it through one lesson and never returned. The blues is a taskmaster for those seeking to master it. It's not a scale, nor a set of changes. It is a lifetime investment. There is only one SRV, one Albert King, one Freddie, one BB. There are too many things to sidetrack people from greatness, like assuming gear and other junk will help. It blows my mind, 25 years ago I had to painstakingly track down licks and pay big money for CD's and learning materials. Today it's basically free on youtube at one's fingertips and musicianship on the whole keeps sinking.
I wasn't saying that. I know Gilmour is a skilled player, but he puts something else into his playing something other than a demonstration of skill.
Comments in this topic caused me to change my view that fast technical playing lacks the feels, but for me personally David Gilmour reaches something in me that say Joe Satriani doesn't. I shouldn't say Satriani doesn't have the feels but it doesn't connect with me. Both are skilled players.
i think i understand where you're coming from @DeadCircuits.
when i think about it from a music listening point of view, the songs, solo's or even whole albums that have the biggest effect on me the most are the ones that convey emotion the best (to me). they take you on a mental rollercoaster ride, a story, a spiritual journey or whatever you want to call it. it depends on so many things like beliefs, stage of life, imagination etc. people have been making music this way for thousands of years. for me, it can be just guitars or any combination of instruments involved including vocals,which don't just help tell that story lyrically, but express the mood via tone and delivery. guitars (and other instruments) are the same, some guitar performances are so powerful that they are the vocals telling the story, and this can be many styles,speeds and levels of technical proficiency.
what the artists intended and what the listeners interpret in their head can be completely different.
some may experience a spiritual epiphany, some imagine a fantastical tale, and some just look at it from purely a musical theory POV.
but despite everything i just stated, some of my favourite music is down to just amazing musicianship and cohesion.
whatever the source of inspiration is, it doesn't really matter. it's your level of commitment and motivation that will determine what becomes of that inspiration. in my case very little, but i'm totally ok with living vicariously through others music.
Its hard to say what I mean without coming across as trying to be controversial.
If it sounded like I think technical ability isn't important, I think it is very important. However in my view it is a means, not an end.
If we take something extreme like Dragonforce, when I hear that I think of someone who spent 10 hours a day in their room developing virtuosity and using their music as a demonstration of this. I cannot claim that they do not feel some deep connection with what they play on an emotional level, or that other people don't also get that when they listen to it, but to me it sounds like virtuosity for the sake of it. Nothing in ridiculously fast technically perfect playing moves me.
If we go to the other end of the spectrum say Keith Richards solo on Sympathy for the Devil. Of course Richards is a great player on a technical level, but this solo isn't purely a demonstration of that. In fact its pretty simple. But the tone, the attack of the notes and the biting sort of pent up nature of the solo conveys something that just works brilliantly in the song. Not just because it is great playing, but because it has that something that I do not hear in Dragonforce.
This is all just my opinion but I just wanted to clarify that I don't think technical skill is irrelevant.
With emoiton everytime..
Approach from a musical point of view:
I tend to treat a I-IV-V as individual V chords, in a very simple Charlie Christian/ Brian Setzer way. If you know the patterns/scales/notes in each position/root pattern it's a fun way to jam on a blues and make it a bit different than say the Clapton/Allman approach (which I love too)
Can you elaborate a bit more on this?