Discussion in 'Playing and Technique' started by squeally dan, Jun 6, 2016.
Learn to play the changes.
I thoroughly agree with most of the things mentioned here, but I just thought that I'd like to add my two cents to this thread.
Not engaging in pentatonic wanking in the first place
But seriously: chords and counterpoint were always WAY more interesting to me than lots of those rock soloing techniques. Still are.
So that would be my real, practical advice: spend more time with chords and counterpoint and give the wanking a rest for a while
Lots of good advice and KRosser tapped it on the shoulder ^^^...
I'd add... explore ( not only learn... know other scales.. modes etc ) .. The olde "use it or lose it" thing... Become very familiar with application/playing.. execution... consider the "Touch". Playing straight and also dynamics.. slurs/nuances.. inflections... THINK melodic and Listen. More to play than mere notes or chromatic or "established" intervals. The flat or sharp ( micro tones ) of a note or interval can add "sweetness" or character to sound and digging in and listening for expression is something beautiful. Requires patience. Jerry Garcia was a Master at this... In my book he was amazing in how he thought... and tried things "Musically"..
Learn the fretboard by heart... like the back of our hands. We don't want to get lost.
Venture through noodlin' ( using everything you know and learn.. application ) and maybe most crucial... Learn to turn on a dime!
I don't really KNOW man lol.... It comes down to will... to daring to venture forth... all the maps we can put on a table are one thing, yet taking the steps down the road and back again is another. We may have charts to guide... but what's out there is never on a map.
You should turn this into a short essay on Wankery! It all rings so true...
Wanking isn't limited to pentatonic scales. There is a live recording of the Pat, Jaco, and Bob Moses that is so full of wanking I find it hard to listen to. It makes you appreciate the production vision and brilliance of Manfred Eicher who reigned all that in for the Bright Size Life album.
Thanks. Enjoyed that.
I think wanking gets a bad rap. Wanking is a way to express what you wish you were good at.
Also I think the pent gets a real bad rap. So many people view if as a dead end road, you play with it and it's so predictable.
That is total bs. To really answer the question of pents you not only ask "what is the pent", but also "what can pents BE".
That could suggest there are more pents that can work instead of the same old boring five note pent.
Pents are a great way to play all 12 tones, if you want that effect, but just because you can do something doesn't mean you should.
6/9 chords='frozen' pentatonics.
Why I like Pents - by Clifford-D
I do like me a C pent
pents are very good.
when I have me C pent,
I'll look under the hood
inside the pent's a triad
with two notes added on
a C triad to be exact
and D and A go long
play off of the triad
be it maj or min
step into the space time
and can you spare a dime
pents have one foot in the small
the other foot in the big
the pent is in the middle
Yea the middle can you dig
I like me C pents I do like these
Michael said "If you love these blues
play 'em as you please"
I just decided to only play the best notes.
Yup...to quote either Torn or Kimock, forgot which one said it...
" three choices... Play the part, make a spectacle of yourself or sit on your hands!"
Is that like only turning on the shiniest dime? Like... I MEANT to do that! Really!... the whole time!
I love that feeling, which usually comes with... Hey! I couldn't have done THAT if I tried!
The video for this tune is great.... Ol Black & White film lookin', as a beauty gets complimented on her dress - wolf whistles and all as the boys stare. "What?" ... "This ol thing?... This is what I wear when I don't care how I look!"
... Cut ! .... Wrap!
For me, it was learning fingerings for the minor scale in a few positions ... from there, I noodled around going back and forth between the minor pentatonic and the natural minor up and down the neck
Learning enough theory to apply minors to their relative major was the next step to being able to play more than just minor. So A minor fingerings got me C major fingerings.
Then I learned about modes and how to 'slide-rule' what I knew about the natural minor (aeolian) to other modes ... so, for example, I knew D dorian fingerings by playing my A minor fingerings. I still have to use my ears to make it musical, but at least I know the right neighborhood .
And C Ionian fingerings and E Phyrgian fingerings and F Lydian fingerings and G Mixolydian fingerings and so on...........
I remember reading the liner notes of a Django album and there was a quote from a contemporary of his (or critic, or someone who was very familiar) and said something like "The thing about Django was that he always picked the most audacious note." I thought that was cool... and kind of apt.
falling in love with jazz helped me the most. i had a pretty good handle on the sound of pentatonics. all of sudden it was "wait a minute, what are all these awesome sounding notes I don't recognize?" Wes is a prefect gateway, because he is bluesy buts adds in all those extra juicy notes.
The vid with Govan is where you want to start.
If pentatonic patterns have you stifled, learn to use the other notes.
Learn the Major scale.
To me to most important thing, even more than knowing many scales and all that is phrasing. If you are a master at that you can be a amazing player with very little understanding of theory and such. SRV was like that. Thats what makes what you play become music instead of sports. When i'm in the zone and i'm playing effortlessly at my best it's because i'm connected to the music in the way i'm phrasing. Not sure how to work on that tho. I'm fully aware of it but i can't seem to call it up any time, it's more of something that gets better when i feel inspired. But i feel it's the most important thing in being a musical player and not wanking.
I learned to wank over changes.