The Musical Instrument Thread

I just found out there's a "Blue Ridge Blues Society" that meets monthly and jams! I signed up for their group on Facebook! Now we're getting somewhere. :cool:

I was sick of the blues a while back, but now I'm finding I really like blues-influenced rock.
 
Sounds like it should be fun. You'll be able to find other guys that want to play more rock stuff. It'll be great practice too.
 
Unless it's Depression-era fingerstyle acoustic guitar blues. I'd prefer John Mayall and Clapton. I've taught myself a little of the former and it's fun in a campfire kind of way, but nothing that gets the blood pumping.

But hell, I'll give it a whirl. Who knows?
 
The deal is, there's a host band and anybody who wants to get up and play with them can do so. So I'll bring my tele and see what happens.
 
I'm mainly doing finger exercises and working on scales. Also not really learning any new songs until I can get the chord changes on Highway to Hell down (trickier than I expected).


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Casual Fan said:
Unless it's Depression-era fingerstyle acoustic guitar blues. I'd prefer John Mayall and Clapton. I've taught myself a little of the former and it's fun in a campfire kind of way, but nothing that gets the blood pumping.

But hell, I'll give it a whirl. Who knows?
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I've got some John Mayall's Blues Breakers on cassette. Good stuff.
 
Casual Fan said:
You aren't playing it that goofy way that Justin Sandercoe demonstrates, are you?
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Kind of a variation of that but not exactly. I'm trying to get a little less advanced version of his way that sounds just as good.


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Jon said:
Kind of a variation of that but not exactly. I'm trying to get a little less advanced version of his way that sounds just as good.
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Just play the standard open A, D, G and D/F# chords. I see no reason for Justin to complicate things; it doesn't matter how the guitarist from AC/DC plays it because, as Justin says, "It's the same dots." Justin (and Malcolm) aren't playing different chords (like, for example, an E-shaped barre chord with the root on the fifth fret, sixth string for the A rather than play it open); they're playing the exact same chords with different fingers. That may be fine for Malcolm, which is probably just his own bad habits, or Justin, who has been playing all his life, but for me and you, why make things hard just to learn one riff?
 
Casual Fan said:
Just play the standard open A, D, G and D/F# chords. I see no reason for Justin to complicate things; it doesn't matter how the guitarist from AC/DC plays it because, as Justin says, "It's the same dots." Justin (and Malcolm) aren't playing different chords (like, for example, an E-shaped barre chord with the root on the fifth fret, sixth string for the A rather than play it open); they're playing the exact same chords with different fingers. That may be fine for Malcolm, which is probably just his own bad habits, or Justin, who has been playing all his life, but for me and you, why make things hard just to learn one riff?
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Yeah, the F# chord is just the F barre chord moved up to the 2nd fret. That's the way I figured to do it. And just play the G as a barre on the third fret.


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There's no F# chord in the song. It's a D/F# (open D chord with your thumb on the F# on the second fret sixth string as the bass note). And play the G open.

This guy explains it a little better than Justin:

 
Casual Fan said:
There's no F# chord in the song. It's a D/F# (open D chord with your thumb on the F# on the second fret sixth string as the bass note). And play the G open.

This guy explains it a little better than Justin:

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Is that a Pat Benatar shirt he's wearing?


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I've been trying to focus on the minor pentatonic scale as not so much patterns but patterns based around a root. That way, if a song is in A for example, I know where my roots are and what scale patterns I can play. If I wanted to start on the A on the fifth fret of the sixth string, I can play up the neck in pattern 1 or down the neck in pattern 5. So it's a matter of really knowing the fretboard and knowing (without thinking too much) that if my root is here, I have these patterns available to me. And of course you can slip up and down patterns as long as you know where the root falls in the adjacent patterns and how they overlap.

It just takes time, and it's very easy to overload the brain. It has to become instinctive, because like Keef said, if you're thinkin', you're stinkin'. He also said, "I'd like to snort cocaine out of the crack of that girl's ass," but that didn't do much for his music. :oops:

If you're really, really good, you don't even think of a scale as patterns--you know that (take the major scale for example) the second step in the scale is a full tone higher than the root, and the third is a full tone higher than the second, the fourth a semitone higher than the third, etc. You think of chords the same way--to create a basic triad, I need the root in the bass, and then a third and a fifth. There's a jazz guy on the acoustic guitar forum who "realizes" his chords that way in his mind as he plays them. So if he needs to drop in a 7th or something, it's not matter of having memorized the chord form...it's a matter of knowing which note to add in and where it is.

You know, they really should teach guitar that way. Learn the notes on the fretboard. Learn the scales not by pattern but by knowing which notes come next. Then learn chords by assembling them out of the correct notes in the scales. But no one would ever stick with it...you kind of want to be playing a song on day one, even if it's a nursery rhyme.

The only thing that the student would have to accept without question is the intervals in the scales. Why is the fifth a full tone higher than the fourth? Because that's how Western music evolved and it's what sounds right to your Western ears. If you don't want to buy into that scheme, that paradigm, then there are all kinds of conceptualizations of music other than what the Europeans concocted. You commie.
 
And Ringo wrote a song about an octopus.




I got together and jammed for a while with my bass player today. We were farting around with the recording software and writing some stuff. The process is pretty interesting. You spend a lot of time screwing around with settings, organizing, and arranging, and less playin than you would think. He cool thing is that if you repeat a part 8 times (for instance) and only one of the repeats is good, you can just use the one that's good and cot and paste it wherever it's needed. It's super easy to just punch in and fix little flubs too. The tough thing is coming up with stuff interesting enough to want to keep.
 
I wish I had a bass player to jam with. OTHER THAN MYSELF.

I'm getting opportunities.

The most famous example, of what you're talking about, Hec, is "Strawberry Fields" by the Beatles. The song is basically two takes, done at two different tempos, smashed together. It adds to the psychedelia of the song.

I recommend the book, "The Beatles: Recording Sessions," by Mark Lewisohn, for any fan of popular music of the last 60 years. It's amazing they way they came up with their music.
 
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