Practicing In The Context |
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Practicing In The Context |
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Aug 30 2013, 09:53 AM |
When we practice, we often do it alone in our room. We practice a certain technique, learn a new song or anything really.
What I have noticed some guitar players I know is that there might be a lack of practice "in the context" included as when things start to pile up during recording/improvisation, they might be out of comfort zone. Let me try to explain : what we usually do is play a single thing, for example practice some funky rhythm guitar or some leads. We usually focus on the "main" stuff we'd play on the guitar, which is fine. When problems possibly hit : when you need to record a rhythm guitar and then record "another rhythm" guitar which is different in some way then the first one. When you need to play guitar fills in the song you are jamming with your friends etc. Basically, layering guitars and making variations on the go and playing stuff which is non strictly rhythm or lead. I think this can really hinder the opportunities for gigs, recording and live jamming but it is very simple to fix by incorporating : * Playing in the musical context whenever you can, using backing track, jamming along the song or with friends * Practicing non obvious stuff like : alternative rhythm parts played in different positions of the neck using different voicings, playing short fills, making song theme repetitive motives/melodies (lead) which are catchy little sections that usually go in between the verses etc...not really related to actual soloing on the guitar, practicing percussive ambient/fx stuff that you could use in recording to make the song sound more rich and unique. I think having command over all this can be really rewarding, even if you are not that likely to be using it every day - it does give you a nice new dimension on guitar playing and also composing and sense for "what goes well with what". IMO - practicing along the backing tracks is the most rewarding practice as you do get great time reference (drums in backing tracks keep tempo and are precise as metronome) + you learn to listen to other elements in band situation and get a sense for keeping time by listening to other instruments in a band. Silly as it sounds - practicing with a metronome and practicing with a drum backing for the same thing can feel different. You do need some time to "learn" how drums beats work and how to play to use them instead of plain metronome. -------------------- For GMC support please email support (at) guitarmasterclass.net
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Aug 31 2013, 03:28 PM |
Playing to a backing track is much more rewarding but playing against a metronome really shows up all your flaws which in itself is a great lesson. A backing track provides a lot of information whereas if you practice to a metronome you are responsible for providing the groove and give an indication of changes
Tomo is a master at this -------------------- My SoundCloud
Gear Tyler Burning Water 2K Burny RLG90 with BK Emeralds Fender US Tele with BK Piledrivers Epiphone 335 with Suhr Thornbuckers PRS SE Custom 24-08 Ax8 Fessenden SD10 PSG Quilter TT15 |
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Aug 31 2013, 05:46 PM |
That's one of the best reasons to constantly learn new music, other peoples music and other styles.
I personally think every musician should be in a working cover band (top 40, or show band, circus band, church/worship band, cruise ship gig, casino house band, etc.) for 5 years. You're constantly seeing how other players approached songs, ensemble playing, tone, groove, etc. And generally you find that they're using those varied approaches on a lot of the same song forms - similar chords, similar bar structures. Or, if you can learn tunes fast enough, be a 'freelancer' and play with as many singer/songwriters as possible. You're always playing and you're ALWAYS getting new things under your fingers and into your head. Hell, you might even get paid. *I have 3 different gigs with 3 different bands coming up in September. One is more of an acoustic gig the other two are rock/pop (but with dif rigs). It always seems overwhelming when I get those piles of mp3's, youtubelinks and even some charts in my in-box but after methodically starting to work through it I realize ... 1) it's never as daunting as I think. 2) a few tunes have some really cool chord progressions (that I'll steal later for my own use 2a) maybe a weird time signature or odd bar structure or an extra two beats somewhere. 3) there's usually one tune that "I always wanted to learn but never got around to it". 4) there's at least one song that has a lick or line that absolutely challenges me technically (not that hard to do as I'm not a shredder). When I don't have a pile of 'work' to get through I apply the same ethic/method: I learn new stuff. Transcribe a lick/line or a solo (any style - and yes I work with the metronome to get it up to speed). Figure out the chords to a tougher tune - Steely Dan or Keith Jarrett or Yes, Zepplin, Crimson, whatever, etc. Definitely jam to backing tracks - but I make my own and I try to make the bk trk interesting and musical with good 'parts'. Something that makes me want to play well over it. This post has been edited by klasaine: Aug 31 2013, 06:01 PM -------------------- - Ken Lasaine
https://soundcloud.com/klasaine2/foolin-the-clouds https://soundcloud.com/klasaine2/surfin-at-the-country-hop Soundcloud assorted ... https://soundcloud.com/klasaine3 New record ... http://www.cdbaby.com/cd/kenlasaine Solo Guitar ... https://www.youtube.com/playlist?list=PLXZh...5iIdO2tpgtj25Ke Stuff I'm on ... https://www.youtube.com/playlist?list=PLXZh...b-dhb-4B0KgRY-d |
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Sep 1 2013, 05:16 PM |
All good Cosmin.
I can only say that my experience is completely the opposite. Maybe it's regional - ? All the good players in LA, NY, Nashville, etc. play in some type of cover band as well as all their other projects. We think it's fun and instructive. It doesn't have to be a Top-40 wedding band. It could be an all 70s 'soul' revue or Hip-hop guys do Beatles tunes or Metal guys and gals play the Carpenters (I'm not making any of this up by the way) Dread Zeppelin or the Fab Faux would be the famous examples. Or one of your own bands can have an 'alter-ego' and play a set of all your favorite tunes that you didn't write. *Another thing we do out here is if it is an actual Top-40 or show thing that books a lot of gigs - most, if not all the main players have one or two (well qualified and rehearsed) 'subs' that fill in when the main guy or gal doesn't want to or can't do it. Also, there's usually (always should be) a book of charts. Same thing with the broadway show 'pit' bands. It helps my time, it helps my concept, it adds to my lexicon as to what I have available musically in any given situation, it helps me when a producer or engineer or artist mentions another song/band/record/tone that they're referencing a little for their song, etc. I don't back down on this aspect of music. Playing stuff other than your own stuff is one of the most effective ways to really get better at being a musician. It worked for Beethoven and the Beatles - it can work for you. This post has been edited by klasaine: Sep 1 2013, 05:21 PM -------------------- - Ken Lasaine
https://soundcloud.com/klasaine2/foolin-the-clouds https://soundcloud.com/klasaine2/surfin-at-the-country-hop Soundcloud assorted ... https://soundcloud.com/klasaine3 New record ... http://www.cdbaby.com/cd/kenlasaine Solo Guitar ... https://www.youtube.com/playlist?list=PLXZh...5iIdO2tpgtj25Ke Stuff I'm on ... https://www.youtube.com/playlist?list=PLXZh...b-dhb-4B0KgRY-d |
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