Guitharsis
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guitar_deth's LiveJournal:
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| Saturday, December 20th, 2008 | | 8:54 am |
Moved one of my guitars to FB-EABD So much awesome to be had there. | | Thursday, December 18th, 2008 | | 7:21 pm |
Won't somebody think of the children?
We're being audited by a Caitlin. Think about that. Sure, the world doesn't really need another 4000 Jennifers every hour, but every time you give a little girl a cutesy girl's name, you're giving a cutesy girl's name to someone who will eventually be a grown woman. A Grown woman with a cutesy girl's name. Allow me to demonstrate through a short vignette that has not, to my knowledge, ever happened: Me: what's your name? Dakota: Dakota Me: Sorry? Dakota: Dakota! Me: Dakota! That must have been adorable when you were THREE See what I mean? Cutesy girl's names. Don't make that mistake. This has been a public service announcement. | | Sunday, November 23rd, 2008 | | 11:42 am |
Hey, an update
Have now played this lick 600 times in the last 3 days: 100 on Friday, 200 yesterday, 300 today. When next I have a practice session I will play it 400 times for the even thousand. Beyond that I'll meditate on it and find ways to make it my own, then practice those. And maybe move it to different octaves and such... But I've been returning to this long-standing idea of a melody/solo/whatever maker written in perl and based on markov chains, and of at least creating tables of information to draw from. The holdup is that all of this is a bunch of work that may not be necessary or even useful BUT: right now while I'm examining these things in microcosm may be a good time to add to these tables. Anyway, thinking of a note and its attributes that can be stored as data and keys ( key in the context of lookup tables italicized to differentiate from key in the context of music): You have the note. -The note has a frequency. This can be expressed as a MIDI Note Number in particular, but more generally (and therefore more usefully) as a scale degree. But that's context, so I'm getting ahead of myself. -A Duration. It starts somewhere and ends later on. -A Volume. Loud or soft. This one's kind of nebulous, and I'm not really sure how or if to track it. -A Style. Picked; hammered on; pinch harmonic; vibrato; whammy bar; etc - also kind of nebulous, but there should be a space to at least describe within-note articulation. But the part where the markov chain concept falls apart when used in music is this: a note also has a context. -What was the last note? This is a standard MC idea. - How did this note arrive from the last? Did it come from a higher frequency or lower? Was this note arrived at through bending? whammy bar? slide? hammer-on? pull-off? -And MC's are all about where it goes next based on where we've been BUT the same question applies on the way out: How does it go to the next note? This is a very important consideration in guitaring. Then there's an even larger context: -What is the key? -What is the tempo? -What is the time signature? -Where is the note located within the measure? -What is the current chord? -What was the last chord? -How long has this chord been the current chord? -What is the next chord? -How long until the next chord becomes the current chord? Obviously, tracking all of that precisely would result in a program that spat out the original information with no variation over and over again, but music can be abstracted: -track the MIDI note number, but the scale degree (of the current key) is the main data point. -throw out tempo; if the program produces something unplayable, simply run it again. Or view it as a challenge. -chords can be abstracted to scale degrees as well. In this way a lot of different information from different contexts can be generalized into fewer tables and reused in different contexts. The question of creating new information where there was none before is also a standard MC problem. I aim to solve by a second table that just tracks the MIDI note numbers, utilizing progressively fewer keys until a solution is found... anyway, that just some shower thoughts. | | Tuesday, August 19th, 2008 | | 7:28 pm |
This is the one
That got me really starting to think about posting these things. Drony, squirmy, lengthy. Oh: and backwards. Sounded better that way. Recorded last December. 
Drooooooone | | Friday, July 25th, 2008 | | 9:13 pm |
| | Saturday, July 19th, 2008 | | 11:06 am |
| | Saturday, July 5th, 2008 | | 10:48 am |
July 4, 2008
July 4, 2008I don't intend to post many guitar solos here; mostly I'm trying to improvise & post pieces that make some kind of musical sense or at least define a milieu. That said, there's nothing quite like the sheer chaos generated from a fretless guitar and a lot of distortion. Enjoy. | | Wednesday, July 2nd, 2008 | | 9:00 pm |
| | Tuesday, June 24th, 2008 | | 7:33 pm |
| | Wednesday, June 18th, 2008 | | 9:08 pm |
I've always sought to be well-rounded
familiar with all, master of none, etc. But I've never played enough Chuck Berry licks to be any good at them... ...which puts a damper on my current goal of figuring out just about every X song I can. Anyway, the opening to "Johnny Hit And Run Pauline" goes like so:
e e e g e e e g e e e g e e e e e e e e e e
E |---------|7//8--8--8--7//8--8--8--7//8--8--|8-----------------------|
B |---8--10-|7//8--8--8--7//8--8--8--7//8--8--|8--11-10----8--8--------|
G |---9--10-|---------------------------------|---11-10----8--9--------|
D |10-------|---------------------------------|---------10-------10\---|
A |---------|---------------------------------|------------------------|
D |---------|---------------------------------|------------------------|
Trying to wrap my head around the solo now. Send help if I don't emerge in 24/36/24 hours. See what I did there? | | 8:14 pm |
| | Sunday, May 11th, 2008 | | 12:06 pm |
E 3 - - - -
B - 2 - - -
G - - - - -
D 1 - - - -
A - - - - -
D - - - 4 -
Makes sort of an Ef Major/F | | Tuesday, March 4th, 2008 | | 6:16 pm |
Hi
So, I've not been practicing much, and didn't really post much last practicing spell (which included musical meditation, an idea I stole from Steve Vai). Anyway, had a though while listening to some of Adrien Belew's fan-FUCKING-TASTIC playing on the new NiN album. The idea is to steal riffs and combine them. Not one after the other, but to take 2 examples of guitar solos in the same or similar keys. Preferably, this would be by 2 different guitarists. Isolate a phrase to 'learn' from each. Pick one of them as the base phrase, then inject 1, 2, 3 notes at a time from the other one at the same temporal location. So the idea is that 2 competing lines are trying to get out, but only one is going at once. Just wanted to jot that down before I forgot about it. The new NiN rules, btw. | | 6:10 pm |
Writer's Block: Charmed, I'm Sure
Unquestioned access to food, healthcare, education, moneymaking potential, individual transportation, a near 100% likelihood of not dying today, and the ability to blog it all. | | Wednesday, February 1st, 2006 | | 1:29 pm |
Cascade
SCALE: chromatic/mode/pentatonic/other/mixed Direction: up/down/mixed Cascade Length: 3 - 8 notes Jump: +/- octave from first note of last cascade. Example: SCALE: mixed DIR: down
E |------------------------------------------------------------------14-12-10-------------
B |-------------------------------------------7-------------------------------14-12-10----
G |---------------------------------------------10--9--8--7----------------------------13-
D |----------------------------------7----------------------11-10--9----------------------
A |---------12-10--8--7----------------10--8----------------------------------------------
D |-9--7--5-------------12-10--9--7-------------------------------------------------------
G |---------------------------------------------------------------------------------------
...and so forth
(NOTES: scale1: D# E F# G A B C D; scale2: E F G A B C D; scale3: chromatic; scale4: G# A B C# D E F#) | | Saturday, January 28th, 2006 | | 7:36 pm |
| | Friday, January 27th, 2006 | | 8:12 am |
2 1/2 Ideas
Swear I'm getting that website together eventually. 1) A combination of my standard fingering exersise with the string idea from the restrung tuning dealy. Basically, play one pattern on one string, another pattern on the next string and repeat based on those string combinations 2) Chord study. Now that I'm in a pop band and need to start writing, I need to get my chord theory together wrt the circle of 5ths/4ths. Something along the lines of picking a key and a chord, another chord, and then 2 chords from the next step in the wheel, etc. 2.5) There was an idea floating around my head about taking scale exersises and making them vertical (i.e. across the fretboard) like I did with the fingering exersises. More on that as it developes. | | Friday, January 20th, 2006 | | 4:32 pm |
| | Thursday, December 22nd, 2005 | | 5:35 pm |
Random Tunings.
So, I used to restring my guitars at random, and I got some pretty cool stuff out of that. I don't think I ever really codified it, so I'll just sot down things that come to mind: 1) Totally random (by note/by string) -note: pick a note each string will be between, say, the low G I use on the 7-string and G above the high E string; string as appropriate. -string: choose random strings and pick a note in the usual range (minus a fifth to plus a minor 3rd) 2) Pairs (same/octaves) -same: all strings tuned to the same note -octaves: all strings tuned to the same note, displaced by octaves 3) Trios (same/octaves) 4) Alternating (2/3) -one note, then the other (then the other), and so one. Displaced by octaves, or same. 5) Single note (same/octaves) 6) Non-symetric (4-2/1-5) -4 or 5 of one note, 2 or 1 of the other; same or octaves. More on that later. | | Wednesday, December 14th, 2005 | | 8:14 am |
Ignore what I said yesterday.
Turns out the amp has more segments than I remembered. I set up 2 patches last night. One has a good medium gritty sound that I will use as a primary sound. To that I can add some extreme fuzz for leads and the occasional heavy metal chord, some chorus, and a delay. All of the delays work off of a tap button, so I can go from slap-back to long fairly quickly. The other is a nice clean tone to which I can add an acoustic simulator, tremelo, delay, and reverb. Realistically I won't use the tremelo or the reverb, but I put them on to play around with in case the urge hits during practice. So I don't need to drag pedals around with me at all, and since the head has a line out for the PA, I don't need to drag a cab around with me for practices. |
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