However, when it comes to the blues, theres nothing simple about it. But still, for a lot of musicians, the music that they hear inside they're head is sometimes spinning at 100 miles per hour, where experimenting with several different fast runs helps them comes to terms with the music they are hearing inside their head. But with all of the bending and wailing that comes from the blues, a lot of people are easily gravitated towards it, where the sounds easily can take them back to their past, as well as creating new memories. When it comes to music, sometimes it hard for a lot of people to relate to something that sounds very fast, being that it doesn't exactly emulate the crys of a human being. But when it comes right down to it, some guy shaking the piss out of his B string sais a lot more to me than flawless appegros. The bottom line here is that everything has it's place, everything is related, and everything can be mutilated to work anywhere. I can throw out some ungodly fast funk bass that's impressive, but you won't find anybody dancing to it. That's the one example of shred that I can think of that really moves me their's this one spot where he takes the guitar someplace "higher." Then again, I don't listen to much shred, so I don't have the background to give more examples. Nun Chuka Kata by Buckethead comes to mind. But, realy fast notes played the right way are excellant for building tension and/or intensity in a solo. If you're playing fast though, it becomes increasinly difficult to add vibrato or bends- you basicly have to stop to add it. You can make your guitar wail, moan, cry, whatever without changing strings. I think that bends and vibrato are more expressive than a barage of fast notes. Also, vibrato is a technique thats largely up to the individual player. But still, I love listening to Yngwie, Vai, Satriani, these guys are amazing, and I really feel thrilled that I can play a few parts from their major compsitions very accurately. When it comes to blues, and shred music, the blues is what inspires me the most, and I guess it comes from my childhood and dealing with my imediate re-action as to what sounds real. We could either waiting patiently for the next big, or we could create our own. There are too many imitators today, Ide love to see the return of the guitar heros, instead of the lame excuses of musicians that we have been forced to endure and accept.ĭon t get me wrong, there are a lot of talented musician that are still fortunate enough to grace the charts, but still theres a big void that needs to be filled. Its hard toi explain in one (gulp), but music that is played with passion can come from just about anywhere, as long as you truly believe in the sounds you have created, and believe in yourself as well. Fore a lot of people, being noticed is most important on their agenda. But what really matters as a musician is whether or not you respect yourself, and if you ask me, there are a lot of musicians today who don't necessarily respect themselves because they are still unpracticed, and searching for meaning, (which shows in their music, and lack of new ideas.) But for a lot of reasons they choose to not let this bother them, because once you reach a high level of success, you tend to cast away your original intentions, and your overall love for music in an attempt to gain recognition. For everyone, it takes time to find their sweet spot, and what type of music best represents their overall personallity, but there are a lot of musicians who get tired of searching and would rather just take the fast road to whatever sounds seem to garner them respect by legions of fans. We are all motivated for different reasons when it comes to excelling on the guitar. Well, it all depends on the musician, and whether or not he plays to impress himself or to impress others.
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