Brett Garsed Discussion

[Wiebren]

Hello there,

I have trouble creating original sounding licks, I know the theory behind it, arpeggio’s, scales, etc. But I have trouble putting it together. It all sounds al little bit static. You know it is all too diatonic. I'm studying a lot but it seems that I’m in a rut concerning this topic. What do you think is the next step to being original and creating a more fusion type of lines. What do you recommend maybe it’s a good idea to play tabs from a guitar player you like or training your aural skills more, or should I take a mathematical approach?

I'd love to hear other any one's thoughts about it.

Good weekend,

Wiebren

PS. Sorry for the crappy English, and thank god for spell checking

[JJW]

hi mate

I would say just play alot and when you come up with something that sounds cool write it down before you forget it.Use your ears and play over backings experimenting with your note selection be it diatonic or substituted.Always come back to writing out those new licks/lines and work them into your practise routine so there added to your improv vocab easily.

As long as you know a lil theory you should be able to play the scales and target notes you want too

have fun-and btw your english is fine

EDIT
also buy Bretts DVD as he realy explains in detail about about playing

[Wiebren]

Hi there,

Thanks for your reply, I’ve looked for the DVD but it's not available in this area. I guess I’m going to buy straight off from Brett's website to get all profit directly to Brett.

I'm definitely growing to write every thing down from now on. I heard the idea before but I forgot it. I guess I should have written it on some paper . I've have a good knowledge about theory, but I guess the hard part is to put it all into practice. That’s something I should practice too

With kind regards,

Wiebren

[sieuminh]

the few good licks that I came up with - most of which I have forgotten - have always been created when I just feel the music, or sing a melody, as opposed to think what notes they are.

I'd say think - or sing- it before you play it. Or feel what you want it to sound like - sad, happy, or twisted

I heard that some top players think more in terms of intervals/ tension rather then scales or appergios. I think that's a great way to play if you can do it.

I guess Brett does that too, because in the DVD he talks about establishing an emotional relation with what you play.

Me, I'm still learning my appergios

[bretto212]

The best advice I can offer is to record yourself when you improvise and make notes of the things you played that you liked (and may want to use again) and try to find why you disliked some of your other ideas.
Intervalic recognition is essential for transferring what you hear in your head to your instrument but if for the moment you're just going for it and hoping for the best then recording yourself and listening back is a great way to build up your vocabulary.
Transcribing others is ok but don't go too far or else you'll end up a clone of your favorite players. There is security in this as they'll all be tried and tested ideas but if none of them are your own then you'll never have a career as an individual.

[Myke]

Hi,

Sound advice from Brett about taping what you play and listening back. Tis an excellent tool.

My 2 cents would have to be about just doing it. To quote Magnus "Playing the guitar really helps your guitar playing". The best advice for anyone looking to improve their playing (that should be all of us guys) is to play with as many different people as possible. Use your head to work out what you like about other peoples ideas but really just follow the heart to find something you really like.

Personally, I'm sure that I don't look at the guitar the same as most people. I use and teach a twelve tone theory with little emphasis on formal scale shapes but is more about getting people using their own minds straight from the start. Try not to think about 'licks' and patterns but train the hands to move (so you're not limited), train the ears to hear (so you can relate what you're hearing to what you know) and the mind to be free (old cliche but it'll help you to explore and let go some of the predetermined ideas).

I guess that covering new ground and new ideas is about breaking free of some of the muscle memory. Your hands may have a tendancy to travel the path they've been before. I know mine do!!

[Sepeter]

Hey Wiebren!

I think the previous advice from Brett, Myke, sieuminh and JJW pretty much cover it. Anyway, here are my thoughts on the topic.

My advice to get cool licks and lines happening is to get them in your ear first. Listen to lots of players (not necessarily guitarists) you like and study their note choices, licks and lines. Play some of them and add something of your own when you like, following your ear. That way you develop your aural skills at the same time. If you have enough influences and you always explore their licks or lines to the fullest and beyond, you don't have to fear about sounding like somebody else. Scott Henderson says in his Melodic Phrasing video that "You should learn the licks, but you should also learn from the licks".

I think mathematics and music isn't always the best combination. When you are expressing emotions with your instrument you need more of an intuitive channel for the music, so that you don't have to think about it. I do think mathematic ways, visual aids etc. are great when practicing scale fingerings, arpeggios and mapping out the fretboard. But I'd develop my ear as much as possible at the same time and you don't necessarily need your instrument to do that. Just humming a major scale in its all possible intervallic combinations is great fun, especially if you do it on a bus or train full of people!

Most importantly, listen to everything you find interesting, PLAY IT and let things take their time to soak in. And when they are ready to come out, be technically prepared to deliver it.

Best regards,
Peter

[Wiebren]

Hello all,

Thanks for all the reply’s and your time. Recording seems to be a good way to improve. You can really hear what’s going on, for example when you’re bending strings, and how is your timing? I did e few recordings in the past but I did It with some really messy equipment witch kind of bothered in a way . I guess the quality is not really the point in these things as long as your can hear what your doing right or wrong so I’m getting back that trusty old tape recorder

You guys are right about that musician should think more, there is so much music to benefit from. I guess the whole internet generation has a problem with it. The internet is such a great recourse but it’s taken too much for granted. There is just a information overkill. Not many people listen to records to play them, they just download the tabs, witch is good at a certain level. But I don’t think it’s the way to go if you want to improve. I guess this has every thing to do with “Just doing it” I also think that a little spiritual thinking is good. I makes you that much more creative and it lets you put some emotion in your playing.

You’re totally right about the mathematical thing I guess. It’s a nice idea to explore for a week. But I shouldn’t be the way to play music, it has nothing with music to when you think it trough. So thanks for that thought . I’ve tried some to sing some scales and making nice melodies which works pretty well indeed. But for me its not a good idea too sing in a train, I’m not vocally gifted if you know what I mean

Thanks a million for your thoughts and time, and every advice is welcome:).

Kind regards,

Wiebren