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So You Wanna Learn to Play Guitar (pt.XVIII.2)

Thursday, September 10th, 2009

B.B. King

In this latest entry, our guitar teacher Jason M offers his in-depth insight on Blues Guitar, inspired by greats like B.B. King:

Now you've probably had your own path of music that you've been following since you were born and hopefully there was something magnetic about why you enjoy what you do and you thrive off that completely.

I mentioned some of my blues influences last time, and before I talk about the actual music itself I'd like to bring up the individuals.  Let's start with someone like B.B. King.  My dad is still a huge B.B. King fan, he's been to the shows, listens to the CDs or cassettes, tunes into the blues station on the radio, and when he's on T.V. he still watches him.  Now what makes B.B. King or any other bluesman a great artist?  Let's take what we know and figure out how to learn more ways to find out how to get their sound. 

The Guitar: Everyone should know that B.B. King plays a guitar named "Lucille"; a Gibson semi-hollow body with 2 "f-holes" for extra blues tone.

From there you discover what kind of amps he used/what kind of pedals he likes/ and where he prefers his settings when he plays.

Now to go a little deeper without getting personal… what gives B.B. his sound?  So you'll start to listen and discover that not only does he trademark a signature "A blues pentatonic" in 8th position, but with one single note… a single decending string slide from the 8va area on the high E you can tell it's B.B. King, or atleast someone trying to play like B.B. King.  Another thing you might notice is that he doesn't sing and play at the same time.  It's (line, lick, line, lick, line, lead, line solo etc…)

If you've made it this far; now you can look into see more about who the artist likes… is he a fan of Clapton, does he like Buddy Guy, who were his primary influences, who was influenced by him?  Those kinds of questions will help broaden your perspective to find more music as well as newer or older artists.  It doesn't really end…

Deeper perspective; B.B. King articles/biographies/books/ and columns are out there.  You can actually learn how to play like B.B. King…. from B.B. King.  A few years ago he had his own column in Guitar World magazine, and it's true you can use that same resource to get complete transcriptions of his stuff.  A common beginner mistake, which isn't necessarily a mistake is to try and figure out how to play a tune without hearing it first by reading the transcription.  (I've discovered how to play songs I didn't know before and years down the road I finally heard the song on the radio and was like "ah, I've known that riff for 10 years… that's how it goes") So what I suggest, and this is how I'll support the record industry is to go out and buy the CD… you'll never get the same experience through a download.  Ok, so let's say now you got the CD and you have the transcription… you've got the chords located at the top of the page, you know his scales he uses, you've got his tone. 

From there, there are a couple more things you can look at.  Who transcribed them?  Was is Jeff Perrin or Andy Aledort?  A lot of times the person that transcribed the material has reference notes available before the transcription that can help you get the strum pattern; be it "medium-shuffle" where an 1/8 and a quarter note has a triplet feel or a "down down up up down up" pattern.  Often they'll include a box scale pattern you can use to play that A minor pentatonic blues scale in 8th position.  Even some secret tricks the artist has used where the standard chords notated are actually played inverted for example.  From there transcriber will often breakdown the modes/notes played with some interval theory as well.  Study that stuff.

Last and not least is take a look at the record label B.B. is on.  Is he on Geffen, has he always been with Geffen?  Who else is on Geffen?  What label was he on before then… you'll discover her started off on Crown records and from there you can look to Crown Records to find similiar artists that you might enjoy as well.  Record labels like to maintain a diverse but similiar quality that can help you branch from there.

It might be fun just to start rockin' out to B.B. once you have your music on and guitar plugged in.  But here's a head's up if you have the transcription: learn to read through it with the song going before your 1st attempt playing it.  This way you'll be ready for the changes and will be able to follow through and anticipate the changes and see the techniques involved.  Either way, just have fun and enjoy rockin' out to some seriously great blues.

Jason M
Jason M

 

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Support Music Education

Wednesday, September 9th, 2009

As a proud partner of NAMM, we support their stance on supporting the arts regarding the "No Child Left Behind Act." Here is their latest positioning:

On August 18, U.S. Department of Education Secretary Arne Duncan spoke with the Support Music Coalition regarding his letter about the importance of Arts Education.

Tell your Members of Congress that when the No Child Left Behind Act is reauthorized, Congress should provide flexibility in the law for music and arts programs.

Every child in America deserves to have a complete, well-rounded education that includes music and arts education. These programs develop and foster skills to help students meet the ever-growing demands of a 21st Century workforce.Music Class

We must call upon Congress to make a strong commitment to our children. By reauthorizing the No Child Left Behind Act to include music and arts education as "core" academic subjects, our elected officials can make music and arts education a reality for every single American child.

Tell your Members of Congress that support for music and arts education should be strengthened in the reauthorization of NCLB to provide flexibility for all decision makers at the state and local level to include rigorous and sequential programs so that students can continue to reap the benefits of school-based music education.

We at TakeLessons hope that all children can have the same musical education that has been available to previous generations. By supporting the arts you are supporting every child's opportunity to experience the arts as an integral component to a well-rounded education.

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Celebrating 100 years of community music

Tuesday, September 8th, 2009

We found this inspiring article about the Community Music Center of Boston's Centennial performances. This organization epitomizes the notion of giving back to to community at large through the gift and power of music:

The music began in a pair of settlement houses in 1910. Within those institutions, the Community Music Center of Boston initially offered education and a sense of community to recent immigrants. Since 1971, the center has been housed at the Boston Center for the Arts in the South End, but its mission has remained consistent: to provide music instruction to urban students of varying ages and skill levels. They include some 5,500 students each week, many of them enabled by the $150,000-plus in scholarships given out annually.Community Music Center Students

The Community Music Center is marking its centennial with a series of 100 concerts, the first of which is next Friday at the Boston Arts Festival in the North End’s Christopher Columbus Park. The concerts will run through June 2011 and will range from solo recitals and orchestral performances to jazz and world music. According to David Lapin, the center’s executive director, virtually all of the concerts will be free, and more than half will take place in Boston schools. The Boston Public Library will also host an exhibition of Center memorabilia from January through April.

Lapin says that in its first years, the center focused on Eastern European immigrant children and the small African-American population that had migrated from the South.

“Obviously, we have a much fuller orbit to travel today,’’ he says. The school’s population now includes students from Southeast Asia, the Caribbean, and Latin America. In the 1980s it began working with people with AIDS; more recently it has been reaching out to children with autism and older adults with Alzheimer’s disease.

“What we’ve tried to do, in each decade, is not simply look to respond to demand that’s out there for music lessons, but to create demand where it might not otherwise exist,’’ says Lapin, who has led the center since 1983. “We’re not just waiting for people to come through the door; we’re trying to create new relationships in the community and nurture a demand for arts education generally.’’String Students

That’s why the concerts – which Lapin calls “a gift to the city’’ – will be as much about outreach as about public music-making. Many will feature students from schools with which the center has had long-running partnerships, but there will also be what Lapin calls “reasonably high-end performers’’ in the recital series and in special events.

“It reflects the twin goals of access and excellence in both education and programming more generally,’’ Lapin explains. “It’s part and parcel of what we do on a regular basis, but we’re trying to enhance the visibility of the music center and use [the concerts] as a way to not only celebrate the music center [but also] try to raise higher the banner of arts education throughout the city.’’

Some of the notable events include “Performathon,’’ the center’s annual daylong fund-raising concert, and a student composer venture with the new-music ensemble Dinosaur Annex. One set of performances seems particularly intriguing: the entire cycle of Beethoven symphonies in arrangements for solo piano, four-hand piano, and two pianos. That series – which opens with the first two symphonies on Dec. 10 – should provide an interesting counterpart to the Boston Symphony Orchestra’s performances of the symphonies.

Like other arts institutions, the center has been affected by the recent economic downturn. Lapin found that “the demand for arts education is relatively inelastic; people will still pay for education more than they might pay for tickets to a performance.’’ The largest decline has been in contributions: Lapin says that during the winter, “no one knew what was going on, and so basically, people stopped giving for a few months. And that was pretty scary, quite frankly.’’

Though the situation has since stabilized, Lapin is taking nothing for granted. “We’ll see,’’ he says. “Like everyone else, we have more than one set of fingers crossed.’’

We at TakeLessons avidly support music education for all and wish the very best for the Community Music Center and all organizations that facilitate in providing music education to children and adults alike.

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So You Wanna Play Guitar (pt.XVIII.3)

Thursday, September 3rd, 2009

Slash

Here is the latest entry from our San Diego Guitar Teacher Jason M:

In this segment I wanted to breakdown how all of the things that we've gone over so far can affect your playing.  1.) Guitar transcription notes 2.) Ability to recognize chords and play to a track 3.) Discovering the influences of those you are influenced by and 4.) Using similar techniques to uncover signature sounds of those same artists.

This time I wanted to take that one step farther in a piece called:  Unraveling the guitar solo.

Many guitarists 10 years ago loathed guitar solos.  It was just a wanky thing Slash and Santana did to imitate proficiency, right?  Wrong.  But still kinda, yeah… I'll get to that. 

You basically have a few ideas that are common to guitarists skills and ideas and are repeated thereafter.  Rather than bore you with notes and garbage I'll share with you a couple secrets that I've noticed occur during these solos.

The classic bend:  Figure out if you're in Em and whole step or unison bend on the 12th and 15th fret of the high e and B. 

The rock lead bend/chop/hammer lick:  Slash/Santana/Hammett all use it.  Uses the 3 lowest strings.  Bend your ring finger up on the 3rd string, barre the next 2 strings down with the first, hammer on and pull off the ring finger in a sequential order 4 or 5 times in a row.

The pedal or pull off ascension:  Three finger pull offs I've mentioned before, but an open E pedal can be added to sound like pieces of Iron Maiden or Dethlok.  Simply take the high e, tremelo pick it…. and sporadically hit the notes that sound right on that same string.  (you'll probably be in Em, but I said I wouldn't mention notes).

End with a whole step bend on the highest note and shake it with a strong vibrato at the end.  This is a great way to climax, unless you wanna shred down into open position for an aftermath.

Ok, so I mentioned a couple tricks… use em, abuse em.  Now do yo know how to play a Slash solo?  Maybe, but let me bring up the points.

The keys to rote memorization of the solo are awesome because it was designed to sound memorable, if what you're playing sounds like crap instead of Slash you'll know it.  Break it down not only by measure, but by use of technique and also melody.  Those three things are going to help you perfect the tones used. 

Say you have 3 of the 4 techniques involved that I previously mentioned.  Spot em, aniticipate them, and lock down about where they come in.  If there is a measure you just can't get, don't get hung up on it…. you'll hear it again the next time you come into the solo.  Your mind should be able to grasp it eventually.  And last, listen for those moments in the solo that feel like passion.  Those notes are the ones you hold on to, and they're generally not hard to play. 

Secret of the day: If you see 16,000 notes in a measure, it's probably only six.

Rock,

Jason M Jason

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How unique is your song title?

Wednesday, September 2nd, 2009

Jeff S, our guitar and songwriting teacher from the greater NYC area has given us his insight on how to create a great title for your song:

Some songwriters start out with a patch of melody or a line or two of lyric Songwriting as their creative catalyst.  Others, like me, usually start with a song title.  Obviously, the catchier and more novel your song title is, the greater chance it will stand out and be identifiable with you (as a the songwriter and/or artist).  While a song title is not copyrightable, a strong one can help pique interest and generate listens out of pure curiosity.

As a general guideline, it is probably best to stay away from hackneyed song titles like ”I Love You” or “I Need You”.  On the other end of the spectrum, it is also a wise idea to avoid leeching onto titles that are intrinsically and irrevocably identifiable with the original artist; that they almost become almost proprietary (and in some cases, they are). 

Such iconic songs as Paul Simon’s “Bridge Over Troubled Water”, Carole King’s “You’ve Got A Friend”, Tom Petty’s “Freefallin’ ” Bill Withers’ “Lean On Me”, and Lynyrd Skynrd’s “Sweet Home Alabama” fit under this category.  They are so woven into the pop cultural fabric that it would be fool’s gold to try to re-excavate them. These are but a few of such seminal songs, but I’m sure you get my drift. 

And more recently there’s another stockpile of uniquely indelible songs/titles like Amy Warehouse’s ”Rehab”, Katy Perry’s “I Kissed A Girl”, Coldplay’s “Viva La Vida” or Beyonce’s, “If I Were A Boy”.  All these are immediately correlated with these artists.

I am in the process of titling my 3rd artist CD and I wanted to see just how “fresh” my potential titles were.  So I typed my 3 leading title contenders into the iTunes search engine and it gave me instant insight and tacit guidance.   I emerged with the realization that I had to dig a bit deeper for a title that wasn’t overused and was able to immediately eliminate some titles that I was considering.

My curiosity was sufficiently ramped up by my research, so I decided to plug in some other titles that popped into mind.  I found 147 songs under the title, “Always” and 75 entries called “The Hard Way” or “Hard Way”.  I was surprised to see 150 songs listed under the title of Addicted “.  And this was just on iTunes, so it reflects just a microcosm.

Besides itunes, there are some other fantastic sources you can utilize (for free!) to get a fix on the creative uniqueness of your song titles.  The major performing rights organizations, ASCAP, BMI and SESAC, all have super extensive databases. ASCAP has the ACE Title Search.  On the BMI site, look for the word search at the top of their home page.   SESAC has a repertory search at the bottom of their home page.  No matter what title you come up with, have fun and try to find a previously unexplored approach to your title and craft it into something that is truly you!
Jeff S 
Jeff S

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