#16
|
||||
|
||||
Quote:
I'm away from the blues right now, but when I circle back there is so much yet to learn and have fun with.
__________________
Barry My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}: |
#17
|
|||
|
|||
Quote:
Oddly enough after 30ish years of playing I had a (minor, all puns intended) similar moment a couple of weeks ago when working through a music theory book and a scales website. All of the notes in an Emin pentatonic scale are also part of the Gmaj scale. I remember from years ago the relationship between the 1 and 5 in a scale, but this was a revelation. So, Emin is in the Gmaj chord progression (easy to visualize in a chord wheel) and I can jump back and forth between Gmaj soloing and Emin pentatonic. Lots of fun, easy open string based riffs - Gmaj is now my favorite key (capos not withstanding). This old dog may still have some new tricks. Dave |
#18
|
|||
|
|||
It all came together when I equated the 6 strings on the fretboard to 6 offset piano keyboards, or perhaps more obviously, the succession of semi-tones. Just as notes rise and fall by whatever degree, so can chords by the same degree. Instantly then I could play whatever melody an octave higher by adding 12 frets, or transpose to other keys by adding the appropriate number of frets.
Basically, the aha moment was, "oh, it's just another piano" and seeing as I came from a piano/chorale world, it made sense to me. |
#19
|
|||
|
|||
Recently, my aha in fingerstyle has been
1) learning to play with as little tension as possible 2) playing from the string* *http://www.guitarprinciples.com/touc...om-the-string/ (this has drastically improved my right hand) |
#20
|
||||
|
||||
Quote:
No single moment. Lots of small (but critical) ones as I improved and continued learning more challenging music. I have a degree in music, and play many instruments. For me the process of learning new instruments always involves starting by knowing chords, and knowing my scales (for locating notes) in several positions up the neck. It also involves the range of the instrument. Lastly, it involves chord progressions. I hear even classical music as chord progressions, which yield clues as to the notes involved, and incorporate the scales. |
#21
|
||||
|
||||
My Aha moment was much later on in life when I realized I did not need to impress anyone but myself......
|
#22
|
|||
|
|||
As a beginning learning /player I could not play a barre chord at all, nothing even close. A luthier friend, who is a bit of a mentor for me, told me to play it regardless of how it sounded. Never judge it. Just make the shape. Let your brain rewire. I did this for almost 4 months. Nothing.
One morning the barre chord appeared. Sounded exactly as it's supposed to. Out of nowhere. The brain had made the change. |
#23
|
|||
|
|||
I was reading something theory related years ago, when it occurred to me that there is a musical alphabet, and that by applying it to any given string on the guitar, it was pretty easy to find any note, anywhere on the fretboard.
One of the first things we learn when taking up the guitar is the names of the strings, and one of the first things we learn in school is the alphabet. The musical alphabet is A thru G, with sharps/flats. The only place that a sharp/flat does not occur is between E & F, and B & C. So, the Musical alphabet is A - A# -B -C -C# - D -D# - E - F - F# - G - G# . If you apply it to any string on the guitar ,the string name is the starting point to begin the alphabet, and once you arrive at G#, the musical alphabet begins again. This, combined with having learned a lot of chords when I began playing, really opened the fretboard up, and got me into exploring it daily. It was such a simple thing that I could'nt believe that it hadn't occurred to me sooner. It was all stuff that I knew, but had failed to tie together. I realize it isn't a big revelation, or anything, but it does go to show that sometimes we can be our own worst enemies when it comes to hitting the next milestone in our playing. I would rather play than stick my nose in a theory book any day of the week, but good things can come from setting your guitar on a stand for a while, and taking in some new info. Last edited by S.bowman; 07-26-2018 at 08:38 PM. |
#24
|
|||
|
|||
Firstly I learned by using the power chord shape and moving it up and down the 6th and 5th string, later came the scales, CAGED system etc. But that was my moment.
|
#25
|
|||
|
|||
Only playing since March 2018 but multiple "moments"
Multiple aha moments since I started in March 2018 -My biggest moment was probably when I played with my first "jam" group with players who were MUCH more experienced and skilled but I held my own and actually enjoyed playing 3 hours of very entertaining music (in a bar/mexican restaurant none-the-less which I at first thought would be intimidating).
Other than that, finally seeing how major/minor scale patterns fit together and point out where notes are on the fret-board. And then "noodling" with triads and see there are all kinds of ways to get chords and notes on the fret board. I'm sure there'll be many more along the way.
__________________
Bennie/Wake Forest Yamaha FG830 Taylor DN3 (2007) Taylor T5 Standard (2010) |
#26
|
|||
|
|||
For me, it was probably an understanding that every fret represented a half-step. I don't know why I didn't understand this earlier, but once I did it was like a revelation.
|
#27
|
|||
|
|||
Harmonising the Scale.
For me, I think this was a liberating concept, but I had to work it out on spreadsheets for myself.
https://spinditty.com/learning/Music...-C-Major-Scale
__________________
Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |
#28
|
|||
|
|||
Your biggest 'aha' moment when everything made sense in learning guitar / fret-board?
When I was aged nine ( 60 now ) I started classical lessons for five years . Then during the Glam Rock years and upto eight years ago the electric guitar and gigs took over . On being 100% Acoustic now the classical lessons have really been helpful with fingerstyle playing . For me the lightbulb moment was using a Fred Kelly Speed pick and studying Doyle Dykes approach to fingerstyle playing
__________________
Martin OODB JT Gibson J45 Yamaha LLTA Yamaha SLG200S Yamaha NTX1200R Taylor GSMiniE Rosewood Joe Brown Uke AER Compact 60 Marshall AS50D Now 100% Acoustic and loving it ! No more GAS |
#29
|
|||
|
|||
I'm still waiting for my aha moment that unlocks the fretboard...
__________________
"I've always thought of bluegrass players as the Marines of the music world" – (A rock guitar guy I once jammed with) Martin America 1 Martin 000-15sm Recording King Dirty 30s RPS-9 TS Taylor GS Mini Baton Rouge 12-string guitar Martin L1XR Little Martin 1933 Epiphone Olympic 1971 square neck Dobro |