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  1. #41
    Les Paul Forum Member Gibsononly's Avatar
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    Re: Question For Phil47UK

    +3 Amazing playing. It's only recently that I have been making the attempt at that connection to my playing. It's pretty freakin' difficult.
    Tone For Days

    The Stumble

    "The instrument is what it is in your hands with your amp. They all sound the same in the case. Because I have 20 of them in cases making the same sound."

    "Every kid likes Led Zeppelin, unless there's something wrong with them" - Joe Bonamassa

    Don't neglect the spiritual side of your life. Find the best person you know, nail him to a cross, and worship him.

  2. #42
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    I'm really enjoying this thread. Makes a bloody change from talking about tenons and green inlays............

    Vengarov Masterclass.
    Watch Venagrov’s passion and interpretation of a passage. How he makes analogies of certain situations and people to the music in his teaching… The fat cook for instance.
    Ok so it’s violin… But guitarists take note of this stuff….

    http://www.youtube.com/watch?v=WX8Y-...elated&search=


    Jason Becker Paganini Caprice….Notes upon notes and about as much expression as a wet haddock. Last one home gets a bag of peanuts guitar shredders syndrome.
    Get these fret board wankers to turn of their effects racks and let’s here what it really sounds like.

    http://www.youtube.com/watch?v=RBPyj...elated&search=.


    And now the same piece with light and shade played by an 18 year old girl..Note that unlike Becker who basically plays every note with the same velocity Su Meng has given the piece some thought. Contrast. Beautiful, even though her hairstyle may not be quite in Jason’s league.
    Ok.. One can argue the more clinical steel rod up the arse approach which obviously some classical players have, but then rock is rock and classical is classical and both genres of music are a century or so apart....
    Personally in this case, the Becker thing leaves me cold. There is absolutely no light, shade, feeling or contrast in that performance whatsoever. Just cascades of notes, albeit they are in the correct oder, for notes sake.
    A classic case of musical diarrhoea I'm afraid. It just doesn't say anything to me.


    http://www.youtube.com/watch?v=ChZ_Y...elated&search=



    And for a bit of fun about the whole thing.
    Hey! Have you ever noticed that a lot of these shredders all seem to have names like Italian ice cream salesmen?

    http://www.youtube.com/watch?v=evTTH...arch=Yngwie%25
    Last edited by phil47uk; 01-30-07 at 04:26 PM.
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

  3. #43
    Les Paul Forum Member orbifold's Avatar
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    Re: Question For Phil47UK

    Thanks for the links Phil. I really enjoyed those. That Petrucci video
    made me laugh, Su Meng was incredible, Vengarov was a lot of fun,
    and Becker, well that reminded me of my dentist's drill
    "...grab that slab, plug that sucker in, and grind me a pound. Make yo'se'f happy" The Rev B.F. Gibbons.

  4. #44
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    Hi Orbifold,
    Don't you just love people like Vengarov. They are so animated about their music.

    A great quote re music I read once said.

    ' The notes I handle no better than many pianists. But the pauses between the notes - Ah, that is where the art resides'. Arutu Schnabel.
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

  5. #45
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    Quote Originally Posted by Gibsononly View Post
    +3 Amazing playing. It's only recently that I have been making the attempt at that connection to my playing. It's pretty freakin' difficult.
    The secret is to let go and be yourself.
    The ultimate technique is to have no technique, but of course you have had to have the technique in the first place to be able to transcend it.
    A bit like the Karate expert.. He doesn't aim at the wood, but beyond it.

    The next time you practise, let every personal emotion you have ever known come out.. The good times you have had. The tradgedies in your life.. The really great and happy times. People you loath with a passion.. People you love more than anything else.

    Connect this to your playing and you will notice great things start to happen.
    Don't think CTS pots.... Old wood etc etc.. Forget that bollocks.. Think life.. Think you!.
    Last edited by phil47uk; 01-30-07 at 04:27 PM.
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

  6. #46
    Les Paul Forum Member sliding-tom's Avatar
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    Re: Question For Phil47UK

    Amazing that nobody's mentioned singing yet. To me a great guitar solo (or a solo on any other instrument) should have a vocal quality. Listen to Ray Charles and Aretha Franklin: the human emotion they relate to their listener with all the subtle shades and twists and turns are so pure and real, yet sound so effortless.
    Like B.B. says: "First I sing a line and then Lucille takes over and sings a line.""
    Just because you're bending strings doesn't
    mean you play the Blues!

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  7. #47
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    Quote Originally Posted by sliding-tom View Post
    Amazing that nobody's mentioned singing yet. To me a great guitar solo (or a solo on any other instrument) should have a vocal quality. Listen to Ray Charles and Aretha Franklin: the human emotion they relate to their listener with all the subtle shades and twists and turns are so pure and real, yet sound so effortless.
    Like B.B. says: "First I sing a line and then Lucille takes over and sings a line.""
    Dead right there my man...
    However I did mention singers in an earlier post though sliding-tom..
    See my post and sound clip of Mahalia Jackson above. #38

    Hey! And lets not forget dance.
    I love the capture of the Celtic feel and rhythms in River Dance.

    Try working out the timings in this one guys...What a band!
    The bloody thing is going from 4/4 to 7/8 with bits of 4/4 3/4 6/8 alternating all over the bloody place during the main theme towards the end.

    A good piece of homework for anyone wanting to sit down and work it out.

    http://www.youtube.com/watch?v=WoJHJ...elated&search=

    Phil.
    Last edited by phil47uk; 09-30-06 at 03:46 PM.
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

  8. #48
    Les Paul Forum Member Gibsononly's Avatar
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    Re: Question For Phil47UK

    Quote Originally Posted by phil47uk View Post
    The secret is to let go and be yourself.
    The ultimate technique is to have no technique, but of course you have had to have the technique in the first place to be able to transcend it.
    A bit like the Karate expert.. He doesn't aim at the wood, but beyond it.

    The next time you practise, let every personal emotion you have ever knwon come out.. The good times you have had. The tradgedies in your life.. The really great and happy times. People you loath with a passion.. People you love more than anything else.

    Connect this to your playing and you will notice great things start to happen.
    Don't think CTS pots.. Pigtail tailpieces... Old wood etc etc.. Forget that bollocks.. Think life.. Think you!.
    I do tend to get caught up in not sounding like Jimmy page or Mike Bloomfield. That is great advice. I am waiting for my new R8 to show up on my doorstep so I can really put some practise time in.
    Tone For Days

    The Stumble

    "The instrument is what it is in your hands with your amp. They all sound the same in the case. Because I have 20 of them in cases making the same sound."

    "Every kid likes Led Zeppelin, unless there's something wrong with them" - Joe Bonamassa

    Don't neglect the spiritual side of your life. Find the best person you know, nail him to a cross, and worship him.

  9. #49
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    Quote Originally Posted by Gibsononly View Post
    I do tend to get caught up in not sounding like Jimmy page or Mike Bloomfield. That is great advice. I am waiting for my new R8 to show up on my doorstep so I can really put some practise time in.
    Great stuff Gibsononly. Let's see some pics when it arrives..



    Here's how not to do it and then how to do it....

    The Malmsteen Vai and Satriani.. Who’s got the biggest dick rendition of Voodoo child..What an absolute heap of crap.
    What on earth does Malmsteen think he's doing trying to sing. He sounds like Arnold Swartzenegger trying to learn his lines . And wearing that sort of outfit when you resemble the lead character from Moby Dick aint a good move either.

    http://www.youtube.com/watch?v=C7gC-...elated&search=


    Hendrix.. Now let’s hear how it should be done. Mistakes and all.

    http://www.youtube.com/watch?v=z4PPw...elated&search=
    Last edited by phil47uk; 09-30-06 at 04:38 PM.
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

  10. #50
    Les Paul Forum Member refin's Avatar
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    Re: Question For Phil47UK

    [QUOTE=phil47uk;1390994]Great stuff Gibsononly. Let's see some pics when it arrives..



    Here's how not to do it and then how to do it....

    The Malmsteen Vai and Satriani.. Who’s got the biggest dick rendition of Voodoo child..What an absolute heap of crap.
    What on earth does Malmsteen think he's doing trying to sing. He sounds like Arnold Swartzenegger trying to learn his lines . And wearing that sort of outfit when you resemble the lead character from Moby Dick aint a good move either.

    http://www.youtube.com/watch?v=C7gC-...elated&search=


    I guess it's all good for the people who like that kind of "Wild West" approach to guitar,where music is a competitive sport.
    The first few notes that Vai hit were pretty good,before the typical yawnfest.I like to hear someone who paces themself with speed in certain places,so it is effective.I'm as guilty as anyone of sometimes letting my fingers run ahead of my feel.Yngwie looks like someone forced a potato into a surgical glove---as I would look too!
    All said and done,people play and listen to guitar (and music in general) for different reasons---to some,it ain't about the emotion,but the rush of energy and speed.If they are happy there,so be it...I just don't personally see the art in it.
    "......Play skillfully with a loud noise...
    PS. 33:3
    May God be praised!
    http://www.soundclick.com/bands/0/refin_music.htm


    Sometimes you have to gag on fancy before you can appreciate the plain.

  11. #51
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    [QUOTE=refin;1391056
    where music is a competitive sport.
    [/QUOTE]


    That's a great analogy you made there refin... 'A competetive sport'

    Yep! That just about sums it up. I think you have nailed the fretboard wanking fraterity on the head in one there..

    Phil.
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

  12. #52
    Les Paul Forum Member sliding-tom's Avatar
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    Re: Question For Phil47UK

    G3: Guitar -o- lympics threefold! I like that analogy "Who's got the biggest dick!" LOL!
    Sorry Phil - had read that post on Mahalia (though she isn't exactly "blues" ), but already forgot about it while reading further on.
    Just because you're bending strings doesn't
    mean you play the Blues!

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  13. #53
    Les Paul Forum Member
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    Re: Question For Phil47UK

    Well I guess the OP was not happy - but I thank him for his question. I have enjoyed reading this thread. Great information. I am new around here and I have found it hard to coax the emotion out and play slow with feeling. But threads like this and Phils responses have given me ideas to try. Thanks you guys for the great posts above.

    Alan

  14. #54
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    Hi guys,
    Ok... Gospel as opposed to blues then sliding-tom...But they both share the same roots anyway.

    Thanks Alanj.. I try to help in my strange sort of way.
    What's great about this forum is that you have all sorts imparting their knowledge in one field or another.
    Mine doesn't happen to be on the technical side of things re guitar construction etc, but more from a working musicians point of view.

    I think a healthy balance is what it's all about.

    Phil.
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

  15. #55
    In the Zone/Backstage Pass moonpie's Avatar
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    Re: Question For Phil47UK

    Let's see...question for Phil....let's see....hmmm....OH!! I've got one!

    Phil,
    What is the air-speed velocity of an unladen swallow?



    IF YOU LEAVE THE HOUSE, YOU'RE JUST ASKING FOR IT!




  16. #56
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    Quote Originally Posted by moonpie View Post
    Let's see...question for Phil....let's see....hmmm....OH!! I've got one!

    Phil,
    What is the air-speed velocity of an unladen swallow?
    56.7 mph in a 60 degree dive, with a prevailing 12mph headwind.
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

  17. #57
    Les Paul Forum Member orbifold's Avatar
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    Re: Question For Phil47UK

    We should not focus on how fast the swallow is diving but how
    much inspiration, commitment, and feeling went into that dive...
    Was the dive beautiful? that's what I really want to know

    Now, I'll try to find some nice youtube examples of diving
    swallows

    Seriously though Phil, keep 'em comin'
    "...grab that slab, plug that sucker in, and grind me a pound. Make yo'se'f happy" The Rev B.F. Gibbons.

  18. #58
    In the Zone/Backstage Pass moonpie's Avatar
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    Re: Question For Phil47UK




    IF YOU LEAVE THE HOUSE, YOU'RE JUST ASKING FOR IT!




  19. #59
    Les Paul Forum Member sliding-tom's Avatar
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    Re: Question For Phil47UK

    Quote Originally Posted by phil47uk View Post
    Hi guys,
    Ok... Gospel as opposed to blues then sliding-tom...But they both share the same roots anyway.Phil.
    Sorry, Phil, didn't mean to be a wisecrack here.

    Just because you're bending strings doesn't
    mean you play the Blues!

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  20. #60
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    Quote Originally Posted by orbifold View Post
    We should not focus on how fast the swallow is diving but how
    much inspiration, commitment, and feeling went into that dive...
    Was the dive beautiful? that's what I really want to know

    Now, I'll try to find some nice youtube examples of diving
    swallows

    Seriously though Phil, keep 'em comin'
    Ah.. Now if we are talking a LPF model swallow.. It often doesn't really matter how fast it flies, or what inspiration it has.. It usually never get's as far as that....But! It has to have the right coloured tail and beak though.

    sliding-tom......As long as it doesn't sound like Moby Malmsteen, it's ok with me.

    Phil.
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

  21. #61

    Re: Question For Phil47UK

    watchtower , ladyland ...know the riffs, slide an all .. got the wawa , reverb . bic-lighter, played it live a 100 times,I always play the cords 1st. when i pick up a acoustic 2 c if its it tune NEVER get it down ... fuckin song is voodoo 2 me an inself is ART

  22. #62

    Re: Question For Phil47UK

    Quote Originally Posted by Zhangliqun View Post
    Phil's certainly right about the musicality. Learning lines by rote and repetitive physical execution so you can play them really fast won't result in anything musical or magical.

    I may be wrong, but I think the original poster was asking in so many words was is it the case that most people are physically capable of playing extremely fast, say at an Yngvie pace, given enough practice.

    My answer would be no, for the same reason that most people wouldn't be able to be run as fast or jump as high world class athletes given enough proper training. Some people have faster reflexes and/or a higher concentration of what they call "quick-twitch" muscle, whether it's in the legs or in the wrist or finger muscles in the forearm.

    Everyone can get fast-ER than they are, but not everyone can get 'guitar-athlete' fast.

    The Stairway To Heaven solo, at least the studio version, isn't exactly slow but it really isn't all that fast. What makes it work is, as others have said, the touch, tone, phrasing, note choice, etc., the subtle things that make it musical and not just a mechanical series of notes being pumped through a rosewood production line.

    Being able to play guitar-hero fast is a plus, but it should be seen as just one tool in the arsenal. You have to be able to make the listener FEEL something -- otherwise no matter how fast you play, you're nothing more than just another act at a freak show.

    (It's also possible to overreact in the other direction as some do, who then cop the attitude that it is always wrong to play really fast...)
    There was a great quote from Zappa that summed up guitar playing in Frank's pithy and imitable style somewhere....something along the lines of ......Guitar playing, as currently understood (circa 1988) has more in common with an Olympic-style competition than music............

  23. #63
    Les Paul Forum Member Kluson's Avatar
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    Re: Question For Phil47UK

    Phil,
    you are a real credit to this forum, your posts always have something for everyone. I wish I had had a teacher like you when I firsty started instead of destroying all my records stoping and starting them trying to copy the guitar players of those old dark days.
    Your students must be inspired by you, Not only musically but spiritually, sorry if that's a bit deep
    Cheers !

  24. #64
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    Quote Originally Posted by Kluson View Post
    Phil,
    you are a real credit to this forum, your posts always have something for everyone. I wish I had had a teacher like you when I firsty started instead of destroying all my records stoping and starting them trying to copy the guitar players of those old dark days.
    Your students must be inspired by you, Not only musically but spiritually, sorry if that's a bit deep
    Cheers !
    Sorry Kluson.
    Haven't been in the woodshed for ages and didn't see your post.
    Well I do try my hardest to inspire, and hopefully it rubs off on some ocassions. Even though most people think I'm a complete eccentric nut, including my wife and my own kids.

    One of my pupils just won 'Guitar Techniques Magazine' here in the UK, young guitar player of the year award and a place at Brighton music college for three years, so I'm really pleased about that.. Mind you like everything in life. You win some .. You loose some and for every guy like that, you get a dozen who wont stay the course.
    I think if pupils can see your burning passion for music and your guitar, it gives them something to aim for, and as I say to just about every pupil I have ever had..Christ! If I can do it. Anyone can.

    Phil.
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

  25. #65
    Les Paul Forum Member Kluson's Avatar
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    Re: Question For Phil47UK

    Hi Mate,

    Keep it up, good luck

  26. #66
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    Quote Originally Posted by Kluson View Post
    Hi Mate,

    Keep it up, good luck

    I'll certainly try..
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

  27. #67
    Banker
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    Re: Question For Phil47UK

    Phil, you anywhere near London? If so, can you drop me a PM please........?

  28. #68
    Les Paul Forum Member Groover's Avatar
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    Re: Question For Phil47UK

    Lives in the backwoods ' Dorset' but thats nearly 'UptNorth' for you !!

  29. #69
    Banker
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    Re: Question For Phil47UK

    Quote Originally Posted by Groover View Post
    Lives in the backwoods ' Dorset' but thats nearly 'UptNorth' for you !!
    Groover, no matter how I twist it I can't work that one out.

    I'm trying to find an old-school guitar teacher in London (speaks English and doesn't shred)......I'm kinda tired of my playing and need to stretch out in a different direction.

    I guess I'll keep looking

  30. #70
    Les Paul Forum Member Raptor's Avatar
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    Re: Question For Phil47UK

    Well I stumbled on to this thread simply because I saw it was addressed to Phil, and I love his sense of humour and his posts. The thread has been fantastic.
    I have had similar dilemmas both personally and with other guitarists. I am not offering anything new, rather my own experiences along the same lines. I have been playing for over 30 years, and was in a regularly gigging cover band for over 10 years straight. I can read music, and tab, but I am weak on theory (being self taught). I can learn most leads and solos from tab or music with practice, but stick mainly to playing rhythmn. I can sit down with a track from the JamZone and squeeze a passable take out of my guitars, but only by repitition and practice of what sounds and feels right to me. I would fill my pants if asked to sit in and play solos on an improvised jam.
    To the point. We had three songs that were part of our sets. "She Sells Sanctuary", "Take It On the Run", and "Down on the Corner". I was the guitarist who played electric on Sanctuary. I learned the parts and the solo note for note. The problem is that I found that I was just playing guitar, not making music. I was so wrapped up in counting notes and trying to make things perfect that I didn't enjoy it. One gig, in the middle of the song I got distracted and realized I missed a note. I realized that no one noticed, or winced, and it felt better to me. So I altered the solo parts a bit, just enough to keep the feel and spirit of the song, but to something that I found easier to play and remember. It turned into an extended version of the song as we all got into it so much and the audience loved it. I was making music now, and not just playing guitar.
    The second song, "Take It on the Run", I was playing acoustic rhythmn, and I knew there was no way I could match the speed strumming during the solo. Again, I did my best and no one ever complained about it. I had 'made the song my own' and no one ever said that we didn't do a good job on it.
    The last song, almost drove a guitarist we had nuts. He was on acoustic, and was determined to match every up and down stroke exactly like CCR did. He could do it for about 30 seconds and then would lose it. I tried to show him that the song sounded fine using a couple of strumming variations, but he would not give it up. Finally one practice he threw his guitar down and quit. The thing I remembered the most about his attempts was that he sounded mechanical and forced. He didn't sound like John Fogarty, nor did he sound like himself. Those incidents helped me get over my quest for perfection.
    I don't think there is anything wrong with learning to play a passage note for note, for personal satisfaction, or for practice. Some people, and bands can pull it off really well. But if you are perfect, note for note, and someone else in the band isn't, it can be a trainwreck. So I stopped trying to sound like anyone else a long time ago. Sounding like myself is far more satisfying and fun. Just watch one of the singing reality shows some night like 'American Idol'. Those who try to sing a song exactly like the original never pull it off and sound fake. Those who take chances and make the song their own give the best performances.
    So thanks to Phil for a great thread, and to the others for the advice and inspiration. I would love to sit down with a case of ale with Phil and get some lessons, too bad I don't get over to the UK anymore.
    To Mlongano, keep playing and practicing it. I hope you get it down for your own satisfaction.




    My wife and I have a simple arrangement.
    I can only buy guitars that she likes.
    Thank God, she loves every one that I try!




  31. #71
    Les Paul Forum Member Groover's Avatar
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    Re: Question For Phil47UK

    Quote Originally Posted by Banker View Post
    Groover, no matter how I twist it I can't work that one out.

    I'm trying to find an old-school guitar teacher in London (speaks English and doesn't shred)......I'm kinda tired of my playing and need to stretch out in a different direction.

    I guess I'll keep looking
    Sorry Banker my poor attempt at a warped sense of humour. Seriously I think Phil lives in either Devon or Dorset can't remember which ! I know where your coming from tho' I have thought about travelling down from Sheffield and turning up on Phils doorstep. I think good teachers are hard to find and from Phils threads he does seem to tick the right boxes.

    Good luck on your quest

  32. #72
    Les Paul Forum Member phil47uk's Avatar
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    Re: Question For Phil47UK

    Hi guys,
    Sorry. I haven't been in the woodshed for a week or so and didn't see the posts.
    Yes, Groover is correct, I live in Dorset down by the coast near Lyme Regis.Any further south and you'd be in the sea. I unfortunately I don't get up to London much these days. (I’m so disillusioned when I do).

    Music to me is pure passion and should reflect the very soul of the person playing it. Off course this is difficult to do and one has to be in the right frame of mind. People often say to me. Hey Phil, you were just coasting the first six numbers, then suddenly it's like someone flicked a switch and you went up two gears. I know exactly what they mean and annoyingly there is nothing I can do about it. It's all in ones head.

    I try to get my pupils to jam along with me on say a minor blues. Many people can usually play the notes in the right order..But with no feel.
    For a blues for instance, I then tell them to try to imagine the backing chords as setting the scene a hundred years ago on a hot and sweaty night somewhere down say in Alabama.. The guy has just come home on a Friday night from picking cotton.. That's all he ever does, and that's all he's ever going to do.He calls through the open door.. “Hello, I'm home”.. No answer coz the wife is too busy putting the kids to bed.. He then shouts back the same thing, this time with irritation in his voice.. He's going out tonight to drink with the guys, so confidence wells up in his voice... But then he stops and reflects.. Back to the same old dirge on Monday, and the voicing becomes more of a hopeless sigh.. The wife suddenly screams back an octave up.... “So what the fuck do you think I have been doing all day then?”.. “Nothing!” An argument ensues and she ends up crying....And so the story unfolds.........All the time the backing chords drone the heat of the night and the repetitive despair.

    Yeah it's a story, and you have to try and tell and live it.
    Not easy, when you have just walked into a club and people are talking everywhere about how they missed the bus for work that day. But like a good actor, you must try and shut them up and turn their heads... Hey! You are going to listen to me!

    I try and psychologically wind my pupils up.. I get them to look at me in the eyes and pretend I have just beaten their Mum up... Go on.. Look at me.. What are going to do about it?.. Whack the bastard !!! Then I want them to imagine going over to Mum to comfort her.. Be tender...
    This is not easy with most people as they are scared to let go. They feel self conscious.
    The difference between a good guitarist and a great one.. The good guitarist is consistently good, but the great ones go in spurts and phases, and when they are on top of it sound like a million dollars. It’s not about old wood and PAFS. OK they are a bonus, but anyone thinking otherwise is seriously missing the point.

    OK.. The rhythm thing.. I learned a good trick from a flamenco player back in Madrid during the 60’s. It’s all about tensioning the right hand ( If you are right handed of course ). Take a pick and hold it lightly between your finger and thumb.. Then waggle it…. Plenty of give? Now do the same thing but squeeze the pick a bit harder… More tension and the pick becomes more rigid.. The secret is not about hitting the guitar harder, it’s about tensioning the right hand. You can then keep up the same velocity, but bring it down from a roar to a whisper without loosing continuity.

    All musical genres have a history. I get my pupils to try to listen to music from all around the world… South America… Hear the animals of the jungle within the rhythms. Listen to the French and black influences of Cajun music.
    Use tension and release.. Try the chord of say F or Fmaj 7th.. Now play F Lydian. F G A B C D E F against it. All the notes fit, but one clashes and causes tension… The B. That’s because it’s the flattened fifth against the F chord. Play around with that note to give you a feeling of slight unease which then suddenly resolves to a calm when you lean on the other notes within the scale.. Bernstein used it to great effect in West Side story.

    Yeah..You have to think of your guitar as a palette of colours, and the various chords and scales depict the shades and tonal makeup of what you are trying to paint.

    It’s not easy, but if one comes at it from a different angle, rather than the usual guitar mag.. This fits that scenario, you’d be surprised what one can achieve.

    A good musician should be like a good actor.. Just watch this clip from Goodfellas of Joe Pesci.
    Brilliant! The guy turns what is a nice cosy fun drinking situation with freinds to something extremely menacing with the space of a minute. He ad- libbed most of this so I read somwhere.
    Listen to the inflections. Watch the hand and body movements. Now that's acting.
    He steals the whole scene..And that's what one has to try to do musicaly to an audience. Then as quitely as you stole the scene, lay back and give someone else center stage..Like with good actors, it's not about how fast and loud you say it. It's how you say it and mean what you say.

    http://www.youtube.com/watch?v=twW_riHWz_4



    And Salieri's description of Mozart's music in the film Amadeus. I love this bit in the film and the piece too.

    http://www.youtube.com/watch?v=pxgZcMGmkkI

    Phil.
    Last edited by phil47uk; 03-04-07 at 10:45 AM.
    'Long tenons......Short tenons. When the drummer comes in, what the fuck does it matter'.

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