starry_night Posted March 25, 2006 Report Share Posted March 25, 2006 i have started this topic to help us all speed up our guitar learning by exchanging ideas and knowledges as well as questions and quests for the long time dream of being a guitar virtuoso.... hey, more heads are better than just one so if you are a loner in learning guitar methods, then join in so ya'll gonna have company.. Quote Link to comment Share on other sites More sharing options...
redwhiteandthemaple Posted March 26, 2006 Report Share Posted March 26, 2006 Watch "Rock Discipline" by Petrucci. It's as basic as it gets to doing any kind of virtuosos. I own a couple a vids, MartyFriedman's, Petrucci's, Paul Gilbers, Some YngwieMalmsteen.. (his is pretty crap.. he's too much of a showoff to be a teacher.), ZakkWylde (great pentatonic stuff, but nothing more), Don Mock, Victor Wooten (I'm not a bass player, but it's interesting to watch, mix of bio/discography and his "thumb-techniques"), also have Joe Pass for some jazz, and lots of concert vids that I missed out back in the days because I was too in to rap, and some concerts that I missed because they just don't have them in Canada.. or near my range. (i.e. G3 2005) But I found "Rock Discipline" the most helpful. Of course there's more than just listening/watching lesson vids, but most likely all the basic techniques are there and it's suppose to help you get on your ways. your "unique" ways, that is. Quote Link to comment Share on other sites More sharing options...
psw Posted March 26, 2006 Report Share Posted March 26, 2006 Perhaps one should start by trying to decide what is a guitar virtuoso! I mean...Steve Vai is what most would consider to be a modern "guitar virtuoso", right? He has his thing down, but is someone who emulates him a virtuoso, even if he came really close. Would it be enough to be able to do what S.V. does? I remember an interview where he was saying on the track Tender Surender, I think it was, that he was trying to emulate Roy Buchanan's amazing out of time/pitch tremolo bend thing that he did...Vai didn't nail it...now Roy was not in the Vai mode but many consider him to be a "virtuoso" and I saw him live and he did have an "otherworldliness" about his playing like no other...still no Steve Vai. There are a lot of shredders about but is this the path? How about fusion...now much derided but some amazing players. Then there are the rediculously unique...how about Alan Holdsworth, no one could emulate him...not only in technique but in the way he thinks...both in soloing and composition... But I don't see Alan having a "hit" record soon. His legato style was obviously heavily influential on players like Satriani and EVH...but they only really took a tiny aspect of what he does... But is soloing the mark of a virtuoso anyway...what about a player like Steve Cropper, some fantastic in the pocket playing that is just right for the idiom (soul) that he plays/played in. One thing that I have discovered, but I guess knew all along, is that there are some stunningly proficient players out there, look at the vids of kids in their bedrooms on google's video links... There are some amazing Hendrix like guys out there for instance, but no matter how well they play they are not hendrix. Remember also that Hendrix died at 27, almost half the age of guys like Vai and Satch... For all of Steve Vai's virtuosity for instance(and it is undeniable), he is no hendrix, clapton, beck, page or any of these (founding rock) guys and I know he has the humility to admit it...that is what I most admire about him...but no one does Vai like Vai does Vai, nor will they ever! Compare SRV or Clapton's take on Albert King too, (think Strange Brew) and you would have to agree that AK far exceeded any imitation. The great thing about these guys is that it doesn't stop them carrying on a tradition of playing. Robert Johnson's legacy may seem primitive, but has a power that guys like clapton have spent a life time in awe of. Perhaps the easiest path to virtuosity, if it can be defined is to do something, make it your own and do it really well...then, if it is recognised (Johnson's two recording sessions were almost a fluke and he was one of many virtuosos who's legacies exist only in the influence of those who actually knew them), somewhere, sometime then it will be recognised as virtuosic playing... But are we living in an age of genius's anymore...will there ever be "guitar virtuosi" really in our current vision of popular musics. It is a disposable age, everyone seems to be such a flash in the pan that it seems like no matter who you are, you are here/hear today, gone tomorrow. Anyway...I don't know the answer but it is food for thought. There are probably "virtuosi" everywhere that will never be seen or heard of, and there probably always will be. Sometimes it's nice to walk in the footsteps of giants, and other's it's nice to put a little bit back into the ether so that it will be caught by someone and made into something great. Play guitar and mean it...you may already be a virtuoso! pete Quote Link to comment Share on other sites More sharing options...
Southpa Posted March 26, 2006 Report Share Posted March 26, 2006 Yessir, here today...guano tomorrow. Its all down to being yourself and being the best you can. It takes time and practice as well as versatility. You can bet those musicians mentioned above can play any classical renditions along side their original compositions. I once heard someone ask, "How do I know when I'm good enough?" The answer I heard was, "When you can play whats in your head." I pondered that for a while and realized it boils down to an intimate knowledge of the fretboard, every scale and every note in those scales. Quote Link to comment Share on other sites More sharing options...
psw Posted March 26, 2006 Report Share Posted March 26, 2006 Yessir, here today...guano tomorrow. I used to think this... it boils down to an intimate knowledge of the fretboard, every scale and every note in those scales. But I'm not so sure anymore about this means to this end...there are plenty of players who don't possess these interlectual and physical skills, yet play with astounding intuition, conviction and inventiveness... A lot of what is "in your head" depends on what you put into it! If you spend your time putting in precision scales you will get precision scalular music out...that's where SV struggles I feel to an extent. In his defence, he seems to be putting in an extrordinary effort to overcome the handicap that is a product of his own abilities in other areas perhaps. That is not to say that knowledge of the fretboard, etc is a disadvantage...but it may not be a true prerequisite for virtuosity. It could be that if not for the practice of whole tone scales, whole tone sounds would not be "in your head". Further, these sounds may not be in your audiences heads, so they wouldn't recognise your virtuosity when they hear it anyway In rock there are countless examples of guys that are pretty much pentatonic players (hendrix and SRV come to mind) who got by with the previously mentioned qualities. One thing that really could lead to "virtuosity" in the eyes of others is in composition. Good songs/tunes and approaches to performing them are sorely needed at this time, and are probably the essence of getting the recognition required to be considered a virtuoso. Vai combined his skills with ventures in the DLR band, Zappa, PIL, Whitesnake and others to open peoples ears to what he was doing. Without this legwork, would he have the statue he commands today? One great quote I heard from Vai was that he just loved to see his fingers flying around the fretboard...he gets a real kick out of his abilities and it does show...his particular approach makes the "virtuoso" tag easy because of it...but it has taken an incredible amount of work and savvy to get there... Now the task is to find your own road...the future of this quest is not to outdo Vai, but to do something that someone like Vai would wish to emulate. Check out the criteria for his Favoured Nations label...they specifically weed out Vai-wannabes... Anyway, an interesting discussion...feel free to tell me I'm wrong or to say there is a lot more yet in the shred ethic... pete Quote Link to comment Share on other sites More sharing options...
starry_night Posted March 27, 2006 Author Report Share Posted March 27, 2006 (edited) you are correct pete... and i cant deny that steve vai is one of the greatest but in view of the word virtuous, i think its better to look forward to creating your own thing than trying to 're-do' what have been done by somebody from the past. try alan holdsworth, he did his own thing and nobody like him does the same sound. what we need is to understand their theories rather than just listen to their music. i mean we need to try to understand the scientific side of those they play rather than the musical ones. behind a virtuoso is ones complete understanding of the knowledge that they posesses. having fast-fingers dosent count on being a virtuoso. try chopin. he is a piano virtuoso but piano is not his forte. but still he became one because he made such pieces that are so hard to master and to perfect by an advanced player. now, try robert johnson. he doesnt emulate any of his idols but he did understand well the principle behind it. in fact he actually looked behind the notes that his idols were playing and did it the same way but in his own understanding. his secret lies in the unusual detuning of his strings to his own tuning where he is the only one who can understand what he is pressing on the fretboard. i once overheard at our guitar convention that in one of his solos, his guitar was tuned like CAEFDD or something.. now that made him a legend and a virtuoso.. by creating his own theory by thoroughly understanding what others did. well, there defenitely is a whole lot more to learn OTHER THAN the shred ethic... now, can anybody tell me where i can find those blues saraceno tabs?? especially 'never look back'!!!!!!! Edited March 28, 2006 by starry_night Quote Link to comment Share on other sites More sharing options...
starry_night Posted March 28, 2006 Author Report Share Posted March 28, 2006 nice collections redwhite! and yeah youre right.. thats how to begin.... hey i also found something interesting from the limewire... it is a book called 'scales improvisation for jazz music'. i downloaded it in pdf format and its kinda big file (200pages).. its nice to see that the book have its own chart so you wont get dizzy reading the same old tabs.. easy to understand and easy to imagine... Quote Link to comment Share on other sites More sharing options...
Gorecki Posted March 28, 2006 Report Share Posted March 28, 2006 My first thoughts are how the word Virtuoso applies here. Most often the original Italian meaning "skilled, of great worth" puts so many names into the same grouping it seems almost inadequate to use for comparing anyone as there are so many skilled players in today’s world? An example, an intermediate player on todays standards would have been considered far more of a virtuoso in the 50's than they are now. So is it relative? Quote Link to comment Share on other sites More sharing options...
marksound Posted March 28, 2006 Report Share Posted March 28, 2006 I get tired of the titles and categories and comparisons and all that, um, jazz. I don't know if one player is better than another, but I know what I like. I call it music. Quote Link to comment Share on other sites More sharing options...
starry_night Posted April 2, 2006 Author Report Share Posted April 2, 2006 My first thoughts are how the word Virtuoso applies here. Most often the original Italian meaning "skilled, of great worth" puts so many names into the same grouping it seems almost inadequate to use for comparing anyone as there are so many skilled players in today’s world? An example, an intermediate player on todays standards would have been considered far more of a virtuoso in the 50's than they are now. So is it relative? yes it is relative in a way in the sense that it is like the technology... the one who invented the wheel is still a virtuoso although he never invented the car. what it takes is much understanding of what we do (beyond the guitar) and then applying our originality like what redwhite just said.. we need to be 'unique' but what we need now is the understanding of not just the guitar but the whole music. that connects us to what marksound said... I get tired of the titles and categories and comparisons and all that, um, jazz. I don't know if one player is better than another, but I know what I like. I call it music. well, what you said marksound just made sense, but dya think we need to compare? isnt it better to absorb those good players in our head than to compare who plays better than who? now can anyone share me their 'never look back' tab? its a good source of blues ya know? Quote Link to comment Share on other sites More sharing options...
Gorecki Posted April 2, 2006 Report Share Posted April 2, 2006 Well that just cracked me up. what we need now is the understanding of not just the guitar but the whole music. followed by now can anyone share me their 'never look back' tab? You're not going to understand the 'whole music' through tab! That's the thing that constantly drives me nuts, people want to become great players but not great musicians, ie the drive to seek out tab instead of charts is a clear signal the commitment to becoming a great musician isn't even there. Quote Link to comment Share on other sites More sharing options...
starry_night Posted April 3, 2006 Author Report Share Posted April 3, 2006 You're not going to understand the 'whole music' through tab! hey the fact that i was searching for a blues saraceno tab doesnt have anything to do with me learning to be a good musician. i just wanna have the music sheet of that certain track. thats all. and another thing, it will help you a lot in understanding it easier if you analyze other player's style.. i.e. analyzing how saraceno approached the blues music then comparing it to another artist, while learning the blues fundamental itself... BUT, i still wanna have that tab! Quote Link to comment Share on other sites More sharing options...
Gorecki Posted April 3, 2006 Report Share Posted April 3, 2006 You're not going to understand the 'whole music' through tab! hey the fact that i was searching for a blues saraceno tab doesnt have anything to do with me learning to be a good musician. i just wanna have the music sheet of that certain track. thats all. and another thing, it will help you a lot in understanding it easier if you analyze other player's style.. i.e. analyzing how saraceno approached the blues music then comparing it to another artist, while learning the blues fundamental itself... BUT, i still wanna have that tab! Okay, okay. Just so you understand, Some of us are not that remedial of players! What you're looking for sounds like a commercial product http://www.sheetmusicplus.com/store/smp_de...88&item=7204191 Quote Link to comment Share on other sites More sharing options...
starry_night Posted April 8, 2006 Author Report Share Posted April 8, 2006 yah i agree, commercial products that is. i just love that certain song. thanks anyway. now, does anybody know what the best exercise is for alternate picking? like everyone else, i have this 'slower-right' problem but it seems that i aint improving when i do fast runs instantly during a freestyle playing. i can do it though but only when my mind is set to doing it but i found out that whenever i do those fast alternate picking instantly, i get the chance of being clumsy... help anyone? Quote Link to comment Share on other sites More sharing options...
Tony Enamel Posted July 8, 2006 Report Share Posted July 8, 2006 If speed is what you're after, Play S-L-O-W-L-Y. What you're trying to do is to teach your muscles to make the millions of adjustments necessary to execute a bit of musical expression (and to do it fast!). You can play with all the soul in the world but, if your fingers only know a few ways of behaving, you become like someone who only knows a few words trying to communicate. When you practice slowly (and I'm talkin' really slow), you allow your muscles a chance to learn the movements of a particular technique (or combination of techniques). Not only that, your ears have a chance to hear how well you are actually playing. Never Practice mistakes!!! Stanley Jordan described how, when he practices, he plays so slow that it's near impossible to make a mistake. This is for two reasons. For one, his muscles (nervous system) never learn what it feels like to play a musical passage incorrectly. As well as that, he says, when we make mistakes, we feel a certain degree of stress or frustration. This, over time, develops a relationship between stress and poor playing (mistakes). The next thing you know, you're on stage in front of a new audience. You feel a little nervous (stress) and you can no longer play even pieces you normally nail! My point is: If you're making ANY mistakes, you're practicing too fast. Quote Link to comment Share on other sites More sharing options...
Sambo Posted July 8, 2006 Report Share Posted July 8, 2006 to quote gary moore 'anybody can play fast, its playing slow thats the difficult thing' Quote Link to comment Share on other sites More sharing options...
starry_night Posted July 13, 2006 Author Report Share Posted July 13, 2006 Never Practice mistakes!!! Stanley Jordan described how, when he practices, he plays so slow that it's near impossible to make a mistake. This is for two reasons. For one, his muscles (nervous system) never learn what it feels like to play a musical passage incorrectly. As well as that, he says, when we make mistakes, we feel a certain degree of stress or frustration. This, over time, develops a relationship between stress and poor playing (mistakes). The next thing you know, you're on stage in front of a new audience. You feel a little nervous (stress) and you can no longer play even pieces you normally nail! My point is: If you're making ANY mistakes, you're practicing too fast. Quote Link to comment Share on other sites More sharing options...
Tony Enamel Posted July 28, 2006 Report Share Posted July 28, 2006 One thing to consider for your picking hand is to make sure that your technique never changes (fast or slow). Try this: Play a lick that you're good at slowly and study your picking (ie. angle to the string, which muscles are moving the pick, how wide the pickstroke is, etc.) the play the lick fast and check your picking. If there are any differences you need to correct them. Your picking should stay exactly the same at any speed. Consistancy is KEY. There's my $.02 Quote Link to comment Share on other sites More sharing options...
custom22 Posted July 28, 2006 Report Share Posted July 28, 2006 Perhaps one should start by trying to decide what is a guitar virtuoso! For all of Steve Vai's virtuosity for instance(and it is undeniable), he is no hendrix, clapton, beck, page or any of these (founding rock) guys and I know he has the humility to admit it...that is what I most admire about him...but no one does Vai like Vai does Vai, nor will they ever! Compare SRV or Clapton's take on Albert King too, (think Strange Brew) and you would have to agree that AK far exceeded any imitation. pete I was watching a Stevie Ray Vaughn DVD, and he had the oppurtunity to have BB King open for him, and declined even though he was many times more skillful. It goes to show your point, that even though there are people who are technically skilled and can play fast, they wont be a Page or a BB King. Just thought I'd try to build on your thought you had there. Quote Link to comment Share on other sites More sharing options...
Lord-of-the-strings Posted July 29, 2006 Report Share Posted July 29, 2006 (edited) Seeing the meaning of virtuoso in english, like someone mentioned earlier "Skilled, of great worth" I personally believe it is the "of great worth" part of the definition. Look at how many skilled people there are in the world, does that make them a virtuoso? No. Look at how important these virtuosos (Hendrix, SRV, SV, EVH, EC etc) have been in the development, and playing of the guitar? SO many people have strived to create THEIR tone, when people respond to a guitar player like that, that's what makes a virtuoso. Not their ability, the reaction to their ability. Notice how all of these virtuosos aren't just skilled, but intuitive, creative, and unique in their own ways? THAT is what seperates virtuoso from skilled. Don't try creating another person's tone, that just makes you boring. Try to create YOUR tone. Make it your own. EDIT: Forgot to thank Tony Enamel, thank you thank you thank you. I needed someone to set me straight and say that. Thank yoooouuu! Edited July 29, 2006 by Lord-of-the-strings Quote Link to comment Share on other sites More sharing options...
psw Posted July 29, 2006 Report Share Posted July 29, 2006 that's what makes a virtuoso. Not their ability, the reaction to their ability. Notice how all of these virtuosos aren't just skilled, but intuitive, creative, and unique in their own ways? THAT is what seperates virtuoso from skilled. Well said, that is kind of what I was getting at when I suggested looking at what a virtuaoso is to you... Don't try creating another person's tone, that just makes you boring. Try to create YOUR tone. Make it your own. On the other hand, there is lots to be taken from other players and learning their stuff really can help...take from them what you need and take it further... This is what all the greats have done. SRV, like Eric Clapton and Hendrix, were deeply influenced by Albert King (check out strange Brew by Cream....note for note Albert King)...interestingly though, they all went back to the source for inspiration, not just copied the copy...and they did make it their own. EVH has often been quoted as taking inspiration from EC, but it's hard to see where the influence is...perhaps it's in the spirit of his playing. Going back to what influenced those you admire, then seeing what you can make of it, is a great exercise. For Malsteen you might want to check out Bach or Paganini....major, major virtuosi compared to the infant guitarists out there as far as composition and ideas are concerned. Don't be limited by guitarists either, jazz players have a lot to offer in terms of phrasing and note choice, for instance. I was watching a Stevie Ray Vaughn DVD, and he had the oppurtunity to have BB King open for him, and declined even though he was many times more skillful. It goes to show your point, that even though there are people who are technically skilled and can play fast, they wont be a Page or a BB King. Well, SRV was a very talented player and could hold his own I am sure. BB has his own thing and a very tight band, it is really interesting to see him playing at a recent Video with Jeff Beck (my Fav) how such diverse styles can be used when people stay true to their own sound. Many a player would have held back in the presence of the King of the Blues, or tried to match his style...but JB showed that he could provide his own full range of expression, even within the context of BB's band and songs. Worth checking out, BB King, Live by request, 2003. So, for me, yes these players speak to me, they have their own voice and something to say. Vai and Satch have their own voice too. But, it is worth going back to where they get some of their stuff from. Roy Buchanan was the influence on the Vai track (tender surrender) and for Becks classic (cause we ended as lovers) but neither came close to the amazing power of the original's playing...another unique voice. Sometimes other players do have the "words" and phrasing for what you have to say, but you do need to develop your own voice if you want to deliver them effectively. Take what you need, and make it your own. Play it with authority and you to could be a V! pete Quote Link to comment Share on other sites More sharing options...
starry_night Posted July 30, 2006 Author Report Share Posted July 30, 2006 thanks for the tip enamel.. youre such a great help to our dumb freatboards! and yeah i think youre right, i have to UNDERSTAND my own way of playing and re "study" my own attack and everything to make all of my notes work! well, all of us have these "unconciously" applied styles that i think we have to realize by ourselves to make us better. and yeah i never thought of how i pick every strings if i was playing arpreggios! now atleast im starting to realize how i was picking them, i.e. having some notes in which scientifically i should have given it a downstroke to prepare for the higher string but yet i still do it the other way(which always made it slower or unsmooth)... you know, some unconscious mistakes which we always do because we never concentrated on those very little unimportant details which in the future turns out to be the very weakness of your playing... very well said pete, you still never changed a bit, you still speak wisely! Quote Link to comment Share on other sites More sharing options...
psw Posted July 30, 2006 Report Share Posted July 30, 2006 very well said pete, you still never changed a bit, you still speak wisely! Hey, you know there is another perspective...when I get all misty like this I aways get the Aussie classic "I remember when I was young" stuck in my head... "well, I remember when I was young the world had just begun and I was happy... I used to wonder about the earth and how it moved around the sun so snappy.... hehehe...now all the australians will have that song stuck in their heads.... Anyway, back on topic...I do remember when I was young...I left school early and joined a rock and roll band and practiced heaps. I showed some promise initially being largely self taught from slowing down and playing along with records...them were the days...then I got me educated...uh oh... So...you know, I never really used my little finger on the fretting hand that much. I didn't worry too much about strict alternate picking...as long as you could pick up a few riffs, knew me major and minor chords and could play out of a blues box...everything was cool.... But, when I decided that I wanted to be "great"...I changed stuff. I really got down with the scales, I learn't where every note was, all the chord theory and I made sure every fret used its own finger (including the little one on the end)... Now, nothing wrong with that you might think. I went back to school on an audition and took up classical (to pass some exams), learn't to read music and classical theory, and eventually went on to university... However...let's have a look at some of these virtuosos...strict alternate picking (think dimeola or more recently steve morse) is now a rarity...sweeping, tapping and stuff broke all the rules. Go back to Hendrix, Clapton and SRV...very much box oriented players...Hendrix rarely used that little finger you know...But lets go back further...Django...only two usable fingers on the fretting hand really...incredible speed and complexity there. I really did lose something in correcting my "mistakes"...and I never really got it back. Have a listen to your playing and really think what it is you want to hear from yourself. Look deep inside...what is it that you would like to say. Do you really need a huge vocab of technique to get that across...what is it you need. I am not dissing technique...I have also gained a lot from all I have learn't in so many ways...but from the point of view of playing enjoyment, I don't need all of what I learn't and some of it did have a detrimental effect on my playing...perhaps I practiced out a lot of the uniqueness of my "voice" when I smoothed off all the rough edges, maybe that's it... Some things though that have held me in good stead is knowing every note all over the fretboard and how they relate to each key. What chords are made of and what chords go together and how they move. How different instruments interact to create a feel, not just the guitar in isolation. And, slowing down did help me listen really closely. In fact, it is quite interesting to listen to the greats slowed down to hear all the little nuances, the slipped notes and odd timing that makes there sound unique. I also really got into how "in tune" things are...I remember doing all kinds of bends, then comparing them to the same note on the string above. I can still bend a note to a pitch one two or three frets above from the feel of the tension alone...I can bend up to a pitch and play it and release it in tune from this practice (I think I stole that idea from Larry Carlton who was big at the time). Now I am learning about the beauty of being out of tune...I guess Jeff Beck got me into this but is present in a lot of blues and world music. JB remarked how buddy guy had the amazing ability to play sharp...there is a lot of this subtle articulation in JB's playing too (kind of the opposite of flat blue notes)...a really nasty colour. You hear it in Page's playing too. I also got into the idea that there are no "wrong notes"...it all depends on context and what you do with it. It is often said if you play a bum note you should repeat it like you mean it! In studying Jazz I recall some greats in the 40's saying how you couldn't play a c# in Aminor...but you can, if you have the vocabulary to talk your way through it. It could be a part of a dominant 7th leading to the 4th chord (A7 to Dm) a transient superimposition of Bbm (the third of that chord) over a static Aminor...all kinds of things...if you know what you are doing you can make all kinds of weird things work....even players like Hendrix used raw sound (feedback and the like) as a kind of sonic sculpture. Sometimes this strange beauty, and the willingness to risk can be lost through interlectualising too much...through practicing out all the character in your playing and...by filtering everything (what you play, how you play it) by what is "right" and "correct"... Beware, don't loose yourself, find your voice in what you have and learn the skills to speak what you have to say, in your own way...that is your voice, and the key to V!... pete Quote Link to comment Share on other sites More sharing options...
starry_night Posted August 1, 2006 Author Report Share Posted August 1, 2006 (edited) dammit how do i suppose to keep the song from sticking in my head!!!! hhwaaaaaahh!!!!!! Edited August 1, 2006 by starry_night Quote Link to comment Share on other sites More sharing options...
wylde1919 Posted August 2, 2006 Report Share Posted August 2, 2006 (edited) The only way to become aguitar hero, is to make sure that your music speaks to it's intended audience. I hear alot of people (including famous guitar players) say, play what you want and what you feel, don't worry about what anyone else thinks. That is only true to a point. Remember that music performance is about a relationship between you and the folks in the audience. You want to move them. You want to make them say, "I felt that." If you play for only yourself on stage, it just ends up being musical masturbation. From a technical standpoint, the best thing a guitarist can learn is to find the pocket. If you can make a riff or set of chord changes groove, you will make an impression on your audience, regardless of whether or not they are schooled musicians. The average listener can't tell that Yngwie plays licks 100 times faster than Hendrix. But they can feel that his (Hendrix's) licks are in the pocket and groove. O and if none of that works, just splay your legs apart real far and do the windmill thing like Townsend! Edited August 2, 2006 by wylde1919 Quote Link to comment Share on other sites More sharing options...
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