Is this enough to be successful?

I was recently listening to an audio speech on business development. Yes, every once in a while I listen to something completely unrelated to guitar. Sorry to disappoint the Fretheads! In the audio, the speaker was talking about Attitude and Knowledge. His point was that in order to be successful in what you do – in his case, business – you needed both attitude and knowledge; that you couldn’t achieve the right attitude without knowing what you are talking about, and that you couldn’t learn what you needed to know without the right desire, commitment, and passion for what you are doing.

I ended up turning off the audio at this point, not because it was bad (quite the contrary) but because it got me thinking about how Attitude and Knowledge relate to guitar – music in general, really. In order to be “successful” at music/guitar, does it take a combination of both Attitude and Knowledge, or can someone achieve greatness without one or the other?

As I went through my mental Rolodex of all of the bands and players that I liked throughout the history of my music career, more or less every one of them is a very learned scholar. From Holdsworth to McGill to Satriani, all of the players I admire seem to have a very intense and passionate grasp of music theory and the technical aspects of guitar. I’m quite certain this is what has shaped my musical personality to be so pro-music education. It even came to a point in my development where I thought knowledge and proper technique were more important than vibe and feel. (I have since backed off this opinion greatly.)

But all of these great, knowledgeable players also have the right attitude. Attitude in the one sense of being committed to mastering their instruments and the genres they were playing in, but also attitude in the sense of having the balls and ego to go for it and become the guitar giants that they are. You really can’t be timid and shy and achieve the level of success  they have (at least on stage and on CD).

So there it is, right? It takes both attitude and knowledge in order to become truly great at music.

Well… not quite.

Punk rock legend Sid Vicious

As much as I like to pat myself on the back and do the self-congratulation routine for having figured out another one of life’s big mysteries, just as I was about to declare another mental victory, I thought about Sid Vicious of the Sex Pistols and jazz guitar great Wes Montgomery. I think it’s safe to say that Vicious wasn’t exactly the most musically intellectual bassist we’ve ever seen or heard. Montgomery, great as he was, couldn’t read music. Both had great ears, obviously, but neither were particularly knowledgeable about the inner-workings of music by any measurable standard. Yes, they were knowledgeable in terms of having a grasp of the music they were playing, but hopefully we can both agree at least on the point that attitude was a much more important measure of their musical personality than knowledge was.

There are, of course, many more examples of great players who didn’t know much at all about the technical aspects of music, theory, or even how to properly tune their guitars (as sacrilegious as that is, don’t get me started), so I don’t think I can just easily dismiss “attitude only” as a legitimate path to success.

Though I think both are important to being a well-rounded musician (and person, to be frank) don’t dismiss one over the other. You can be the most well-educated musician in the world but get no attention because you don’t have the charisma to carry your audience, and you can have the greatest rock tattoos and leather pants in the world but fail to sell a single CD because you always play in F while the rest of your band is playing in E.

Attitude and Knowledge is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

Dave Matthews

Not every guitarist wants to be original. Many people grow up just wanting to sound like their heroes. When John Mayer first hit the scene he sounded very much like SRV, as did Jonny Lang. There are plenty of guys imitating Dave Matthews nowadays, and certainly there are more than a few Holdsworth devotees. I don’t think there is anything inherently wrong with that at all. If that’s what inspires you to play and you like how you sound, more power to you! I just might be very content to sound just like Metheny, Martino, or McGill.

But for those of us who would like to add their own personality and flavor to our playing, becoming a true original and finding our own musical voice seems to be a very daunting challenge.

This is just my personal theory, but I think becoming an original player has more to do with doing something different naturally more so than purposely racking one’s brain to try and set themselves apart from the pack. Someone stumbled upon an idea or way of learning because they didn’t know any better and before you know it they have found their own voice.

So you might be thinking, “Well, that didn’t happen to me, so does that mean I’ll never be original?” Certainly not. But, I think those of us (and yes, I’m including myself) that didn’t have the luxury of stumbling upon something great and just went the traditional guitar-learning route, will have to think outside the box a bit more.

Take Risks

In its simplest form, being truly original is all about taking risks. It’s also about having the conviction to press ahead and stay the course while everyone else is trying to keep you down. You have to run as fast as you can towards the big prize – being able to play the music you hear going on in your head. That is the only true manifestation of your talent. This, of course, requires a certain facility with the guitar, so obviously you’re going to have to practice, but that should go without saying.

Start With One Thing

Many original artists really only do one or two things very well. The Edge has his delay pedal. Tom Morello has his wah-wah and turntable sounds. Don’t feel like you have to go out and completely start from the beginning. Latch onto one thing and milk the crap out of it. Mutate it. Dissect it. Explore it in every conceivable way. Get every last drop out of it, make it a part of your style, and then move on. If you just scratch the surface and never really dig in then it’s more about luck than determination and hard work.

Fail, and Fail Again. Then Fail Some More.

If you’re afraid of failing, you should probably give up playing guitar altogether, let alone try to find your own voice. The measure of success lies in how quickly you stand right back up after every failure. The messier and dirtier you get from each failure, the faster you need to get back on your feet and move forward. I’m inclined to believe that the people who succeed the greatest are the ones that have first failed the worst.

Just Be Original

If you love playing completely out of tune and think that’s the “thing” that makes you truly original, then by all means keep doing it. Everyone else might hate it, but they certainly can’t say you aren’t original, right? More realistically, however, you’ll probably work out a few things on the guitar that, coupled with the way you currently play, will present a unique and interesting twist that many have not heard before. Don’t be confused; being original doesn’t mean you have to be completely, 100% different than everyone else. Eddie Van Halen wasn’t so off the chart that people couldn’t identify with his playing or learn his songs, but he had enough tricks in his bag that were distinctly his own that he became a true, original icon of guitar.

Have Confidence…

Make people notice what you’re doing. If you are afraid to stand out and be original, you won’t. If you hesitate because you think people won’t like what you’re doing, then you’re not finding your own voice – you’re finding everyone else’s. You need to be able to put yourself out there and be unashamedly bold about doing what you do. In many cases, your confidence will win people over more so than the actual part of your playing that is unique to you.

Find Your Own Musical Voice is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

Scott McGill playing a Vigier fretless guitar

The guitar offers many technical challenges for the serious player/student. The more you dig into it and try to master it, the more elusive it can be before finally succumbing to your charms and giving you control. For those of us who are gluttons for punishment and simply cannot sit idly by and enjoy the fruits of our labors, there is one surefire way to throw yourself over the waterfall in a barrel… pick up and try to play a fretless guitar!

I don’t know how many of you have tried it, but it’s not exactly the easiest thing in the world. In fact, if you want to be able to play anything other than pseudo-sitar slides, dare I say it’s downright frustrating as hell.

For those players that are able to get a handle on the fretless guitar’s idiosyncrasies, it opens up a completely new territory to discover; the Wild West of the guitar, if I may say so. One player who has certainly done his homework and figured out how to control the beast is my guitar teacher and good friend Scott McGill. I’ve written about him before and reviewed his arpeggio book. When I decided to get my own fretless guitar (a Parker that I had modified) I went to Scott for advice on how to approach learning to play it without pulling my hair out. I thought some of the conversations we had would also be of interest to others interested in trying to play fretless guitar, but since I didn’t record our talks I had to do the next best thing and interview him. I’m pleased to finally be able to add him to the Fretterverse Artist Spotlight.

What made you decide to get into fretless guitar?

It seemed interesting to me and I always thought fretless bass was an interesting sound. I viewed it as a new way to challenge myself.

When you first started with it, did you listen to other fretless players?

No. Although I was aware that others played the instrument, I had not heard any material. There really is no tradition for the instrument as of yet.

What kind of music do you like to play on the fretless?

Music of my own making, Classical, and jazz. For me, traditional rock vocabulary is a waste of time on the fretless.

Godin Multiac Nylon Fretless Guitar

Does your approach to picking or your fingerings change when on a fretless guitar?

I’ve changed my left hand approach a bit. I’ve been using the 1^st, 2^nd, and 4^th fingers more and using the 3^rd finger more sparingly, similar to traditional contrabass technique. As for the picking hand, I have a more aggressive attack as the fretless has heavier strings than my fretted electric. My vibrato has changed since I started playing fretless as well.

Is it hard to switch back and forth from fretted to fretless guitars?

Yes. I have to take a little time to get used to fretted guitars after playing the fretless. My fretless has a wider neck, too, which has taken a little bit of getting used to.

Have you found your songwriting on the fretted guitar has changed as a result of playing so much fretless?

Yes, I tend to write specifically for the fretless. I view it as a different instrument altogether.

Let’s talk about the technical challenges. Obviously, good intonation is a huge hurdle…

Playing a note in tune is something guitarists can, for the most part, take for granted. Playing fretless means you have no such luxury and, like a violinist or cellist, you have to focus on just playing a single note in tune, let alone the more complicated material. It’s like starting over.

Chordal playing is also tough; how do you approach playing chords on a fretless guitar?

I make the chordal vocabulary fit the new instrument and that doesn’t necessarily mean “easier” chords as some very modern chord sounds can be played on the fretless. In instances you barre more and perhaps you add or leave out a note to stay in tune if necessary depending on the context or tempo. The angle of your hand makes all the difference with chords. I guess it’s a matter of finding something that’s pleasing to the ear and physically possible.

Good sustain is also hard to achieve. Do you find yourself relying on pedals and/or gear to get sustain-like effects, or do you just play less long notes?

As of late, I play without effects and just straight into an amp so the approach is more percussive. The lower strings on my guitar tend to sustain more than the higher ones. I have done recordings with the instrument where I use effects but for right now, I just focus on playing clean with just an amp and a cable.

Frettless O'Donnell Fusion Series

Was there anything else you found particularly difficult, or something that required you to look at the guitar differently?

Performing is quite a challenge because although it’s a guitar, it’s drastically different and challenging, especially if you’re improvising in front of an audience. Perhaps it’s a bit like being a saxophonist and playing flute live. It’s a part of the same instrumental family, but a different approach altogether. Playing fast passages on a fretless for me tends to be more difficult as you can’t just lightly dance off of the frets when playing rapidly. You have to press the string all the way down to make contact.

I’ve known you for a very long time and I know that, like me, you love to practice. What does your fretless practice routine consist of?

I use a similar plan. Scales, pieces, arpeggios, harmonics, improvising, chords, and writing section of music. I go to the fretless first when practicing as I figure if I can play something on that in tune, the fretted guitar won’t be quite as tough. It’s my favorite instrument right now. I’m working on a disc’s worth of material of classical pieces right now that includes the fretless guitar and I’d like to do another disc of all fretless guitar in the near future similar to “Awareness.” All of my discs from 2002 on include fretless guitar on them and I’d like that to continue and I am preparing to record more fretless material within a few weeks. I’d like to get involved in festivals and live performing a bit more too. I love the instrument and am having fun with it.

For more information on Scott’s recordings, you can visit his website. Another great website with plenty of information on fretless guitars is Unfretted.com.

Artist Spotlight: Scott McGill on Playing Fretless Guitar is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

John McLaughlin

I think it’s safe to say that before The Beatles, not many people in the Western world paid very much attention to the rich cultural offerings of one of the world’s most populous countries — India. To this day you can practically throw a rock in any direction and hit a yoga studio or Indo-Pak grocery store, yet many of us still have not taken the time to embrace the brilliant music they have given to us. Their influence has certainly crept in, especially in the fusion music genre, but more can be done. My goal for today is to give you a short primer to whet your appetite; with Derek Trucks, John McLaughlin, Scott McGill, and Carlos Santana championing the cause, you no longer have an excuse to ignore what’s going on across the ocean.

Musical Form

Most indian music is directly related to the spiritual nature of their culture. A “raga” (pronounced ‘rahg’) is a series of musical notes arranged in modes and played during certain times of the year and certain times of the day in order to elicit spiritual and emotional connectedness. There are two classifications/systems of Indian raga – Carnatic and Hindustani.

What is most interesting about raga are their use of microtones, which fall outside the scope of Western music intervals. (More like falling in between the cracks, actually, but hopefully you get my point.) Here is an example of a raga — Raga Anandi Kalyan — performed by India’s most famous musical export, Ravi Shankar.

Indian Rhythm

Indian music also has a very distinct and complex rhythmic structure comprising of many variations on beat subdivisions and accents. Although this is a “guitar” blog I thought you would all enjoy seeing table master Zakir Hussain performing:

In 2007, McLaughlin and Indian percussionist Selvaganesh Vinayakram produced a DVD called John McLaughlin: The Gateway to Rhythm, which was specifically designed to teach guitarists about how they can integrate Indian music rhythms into their playing. (Admittedly, I have not seen the DVD yet, but it’s been on my Amazon wish list since it came out; so, if anyone wants to buy it for me so I can review it…)

Where To Start?

If you have even the smallest curiosity about Indian music and how it might open up your ears as musicians and guitar players, here are a few recommendations for CDs and other products to get you started:

Players

U. Srinivas (fretless electric mandolin player)
Debashish Bhattacharya (Indian slide guitar)
Shakti and Remember Shakti (McLaughlin’s Indian music inspired project with Zakir Hussain)
Nikhil Banerjee (fantastic sitar player)

Books

The Raga Guide: Survey of 74 Hindustani Ragas
Ragopedia: Exotic Scales of North India

I’ll leave you with one more clip for good measure. Enjoy!

The Indian Music Effect is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

Now that the lawyer speak is done with, let’s dig in!

Progressive guitarist Scott McGill studied privately for many years with legendary teacher Dennis Sandole (one of John Coltrane’s teachers). His first book – The Guitar Arpeggio Compendium (available from his website) is a 75-page tour-de-force manual for learning how to play arpeggios on the guitar. Compiled over many years of research, practice, and in performance applications, the Compendium will most certainly provide you with at least a few (if not more) ideas that you had never thought of before.

The Arpeggio Material

There are a lot of sections in McGill’s book, progressing from the seemingly easy two- and three-octave arpeggios to polytonal and quartal arps. Here is the Table of Contents:

• Two- and three-octave arpeggios
• Scales Derived From Arpeggios
• Arpeggios on Scales (Permutations)
• Two-Notes-Per-String Arpeggios
• Position Studies
• Open-String Arpeggios, Arpeggios With Harmonics
• Triad Inversion Arpeggios
• Exotic and Synthetic Scales
• Polytonal Arpeggios
• Quartal Arpeggios

Click to see a page sample.

Full arpeggios up to the 13th with alterations are presented in notation with fingering,  string, and picking recommendations. These arpeggios start off innocently enough, but by the time you get to the three-octave 13th arps with alterations you are really getting a good mental challenge!

The Scale/Arpeggio Connection

Although the general concept of the connection between scales and arpeggios is certainly not a new revelation by any stretch, McGill makes some great suggestions with string shifting and displacing octaves to extend the range of the arpeggio in more confined position studies.

The Compendium also offers a small but nicely varied list of scales you can use in your studies, ranging from simple modes and basic alterations to more complex raga and ethnic scales.

Attention to Detail

Click to see a page sample.

Nothing small or seemingly insignificant is left out. Even comments on articulation are included in McGill’s book. My favorite section would have to be the polytonal arpeggios — arpeggios constructed from two, three, or four distinct triads (at least as far as the book is concerned). Work through the Gdim/Eaug/B arp for a while and you’ll see what I mean!

12-tone, chromatic, quartal harmony, and polychordal arpeggios are also discussed, leaving virtually no musical stone unturned.

The thing I like the most about the book — save for the material itself — is that every possible permutation and example is not written out, encouraging us to explore on our own and make the musical connections in our own way. Far too many books and DVDs give away the farm, so to speak, and at that point we’re just learning by rote. McGill purposely tries to push you along (at your own pace, mind you) to work things out for yourself.

Start Learning Your Arpeggios Today!

The Guitar Arpeggio Compendium by Scott McGill is absolutely packed with information that will keep you practicing for many years to come. I use it in my personal practice sessions and it has my endorsement as an essential learning tool for guitarists of any genre or discipline. It’s not a “jazz” book, it’s a GUITAR book!

The Guitar Arpeggio Compendium by Scott McGill is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

Time: 50 min.

Practiced: Lesson Material from Scott McGill (04/17/1991 and 05/07/1991)

• Minor arpeggio from Scott McGill’s “The Guitar Arpeggio Compendium”
• Sus 4 arpeggio from Scott McGill’s “The Guitar Arpeggio Compendium”
• Scale position study: C, B, Bb, and A major scales all from 5th position
• CMaj13th arpeggio, every string, every finger
• First 8 bars of “All the Things You Are”
  • 1234, 1235 string groups
  • melody in every voice (finger)
• Improvisation over ii-V-I in C Major

Comments: Kind of a slow day today. Tired and a bit unmotivated, but I’m glad I got some practicing in. Having a little trouble with the fingering on the sus4 arpeggio. I found a way that’s more comfortable for me than the two recommended fingering I have from Scott; will have to ask him about it.

Thinking a lot about coming up with a newly-defined goals list, especially in light of the article I just wrote. I want to concentrate on jazz lines again and really nailing down the ii-V-I progressions. It’s been a while since I’ve hammered away at those.

Physically my hands and everything feel strong and in good position.

Practice Journal: Josh (01/08/2010) is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

Time: 35 min.

Practiced: Lesson Material from Scott McGill (04/17/1991)

• Minor arpeggio from Scott McGill’s “The Guitar Arpeggio Compendium”
• Scale position study: C, B, Bb, and A major scales all from 5th position
• CMaj13th arpeggio, every string, every finger
• First 8 bars of “All the Things You Are”
  • 1234, 2345 string groups
  • melody in every voice (finger)

Comments: Session was short, but felt good. It is interesting going back to lesson material from so long ago. I remember these lessons with Scott vividly; sitting in his room practicing, learning and being exposed to all kinds of new material and players… truly a great time.

Specifically, the fingering of the minor arpeggio feels a little awkward moving from finger 4 of B string to finger 1 of E string, but it’s workable. ATTYA was a little more tricky since I haven’t worked on inner voice melodies in a while. Will take some practice to get back into that routine, which I intend on sticking with.

Pratice Journal: Josh (01/07/2010) is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.