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Discussion in 'Tab & Music Forum' started by highway-one, Sep 27, 2009.
when playing with the band and its your turn to buy beer. always buy something everyone will enjoy
That I don't know a dam thing about constructing a great lead. Playing music should be a extenstion of yourself thru musical expression. I have always wanted to be able to hear something in my mind and be about to play that on the guitar. If I ever unlock that key, then I will be on the right path for me.
The single most important thing to know about lead ...? Great vibrato.
Every great player has it. And nobody is a great player without it.
Shred (Yngwie) or not (Gilmour). Loud and distorted (Trower) or quiet and clean (Knopfler). All know how to wrench emotion out of a single note with great vibrato.
At the end of "All Along the Watchtower" Hendrix plays one note over and over again. And it's a great lead moment. But listen to the expression from his vibrato.
Got to have it.
Play half as many notes and make them mean twice as much.
amen thats a sad situation. only BB can get away with no rhythm
One word: Phrasing.
Someone already said it, but for me it was learning scale patterns one at a time until I had the entire fretboard covered, then learning how to shift them to different keys. For the 99.999% of us who do not have the "gift", it's like learning the vocabulary of the language of music. The rest (and for me the hardest part) will be a lifelong journey of trial in error, learning by copying/modifying the works of others and trying to get my phrasing to flow naturally without really thinking about it... as one would do in spoken coversation.
Practice slowly before adding speed.
Maintain proper left hand form.
have some fast parts. have some slow parts. make it sing like you would the vocals.
I need to get off this pc and practice.
Learning lead in the first place, and I'm not finished yet.
Mimicking the texture of a voice and not just the pitch, i.e. chord melody. An example: when Johnny Smith played "What's New," you could hear the words in his chords. Another example: when Olivier Messiaen would echo a clarinet motive with a piano he would use tone clusters instead of single notes.