Play-By-Ear Guitarist

Dear Dude,

I’ve been playing guitar seriously for about 2 years. I had my guitar before that but, I didn’t play it much. It’s not my first instrument so it wasn’t that hard to start. Ever since I’ve started I’ve been absolutely obsessed. I taught myself how to play, and got a little advice from the Internet. However, I’ve run into a couple problems. I tried to take lessons once and the guitar teacher basically told me that whatever is comfortable is right. I mean, as far as I’m concerned I could have been playing the guitar backwards and he wouldn’t have known. So I stopped. Ever since I’ve worked really hard on playing with good technique and rhythm. However, sometimes I worry that no matter how much I practice, and no matter how good I get technically that I might not ever join a band (I’m only 16) because I have never learned or studied music theory. I mean, I know music theory as cello goes… but I never took the time to learn music theory for guitar. I can’t read treble clef so I wouldn’t be able to read the music. So my question is, do you think that I have to learn music theory if I want to join a band? Did you? Because I have no problem playing’ stuff by ear but I’m afraid that’s not enough.

Thanks,

Play-By-Ear Guitarist

Dear Play-By-Ear-Guitarist,

To learn theory or not to learn theory that is the question. Or at least, one I hear all the time. It’s just so fashionable to be a classically trained musician (fuck especially in metal). Although it may be fashionable, learning theory can be a lot of work. Very rarely do I meet someone in a band that actually has any musical training or has studied music theory. Does that shock you? Well it’s the truth. Most dudes who rock in pro metal bands have not taken formal classes in any type of theory. So is it better to have learned or not learned theory? Do those guitarists have an upper hand? Are you going to have problems joining a band because you can’t read or don’t have an understanding of music theory? These questions all demand answering as soon as we open this Pandora’s box.

Have I had studied music theory? Yes, the high school I went to had a very progressive music program and I took as many as two music theory classes. It’s funny because we really just used the class as a chance to torture the teacher for an hour or so. See it was me, a few punk dudes, a few metal dudes, and a few band dudes (band as in the band camp kind of band). While I may have absorbed some of the classes by just being there, really we just fucked around most of the time. My point is that no matter how focused and into music I was I just couldn’t translate that passion or understanding into music theory.

Did I learn by playing by ear? Yes, and more importantly I communicate my music to other musicians by ear as well. Where some people might write music down I tend to record or even play music when I need to communicate an idea to another musician. Actually, most bands I have worked with communicate this way too, although some use a combination of writing and riffing. So cast those fears aside little man. There are plenty, plenty, dudes rocking in bands worldwide who have never studied or even understand the first thing about music theory.

On the other hand, I have also observed musicians who not only can communicate in the above ways but, have also studied music and are able to communicate with other musicians in that way. In my opinion those musicians have an advantage. I think its fair to say that regardless of many wasted hours in that music theory class there is a bit of knowledge that sunk in. So yeah, you definitely don’t have to learn music theory if you want to join a band. But, you’re probably better off at least taking a shot. You obviously have learned music in some form (you mention the training on the cello) so you should be able to apply at least that same sort of thinking (or learning pattern) to learning the guitar. I mean as you put it yourself (your only 16) you got a lot of rocking ahead so don’t fear learning theory. Just try it out, you may find it helps your music grow while giving you another voice to communicate with other musicians.

The Dude

Singer-Less

Dear Dude,

Recently our singer, who was a good friend to us and even a better singer, left our band. I am interested, would it be better if someone of the remaining band members took the roll as the singer (lets say guitar player, me) even if there is a possibility that it could sound bad, or we should look for a new singer, another person who we should teach the songs, our routine and other habits of the band?

Also, do you have any experience with singing and playing the guitar, and if needed would you be able to take Johns roll as a singer incase he leaves the band?

Thanks,

Singer-Less

Dear Singer-Less,

Replacing band members is hard as I have stated many times, but man, replacing a singer, that’s real hard. Especially when it comes to death metal or really any kind of metal. So much of the bands personality in this genre is caught up in the sound of the singers voice. Let me get this off my chest. I cant sing. Nope, man I can riff a fucking guitar, stumble on a drum set, and fake it on the keyboards but singing is hard and death metal singing is a lot harder then your mom thinks! So to answer your second question first, no, there is no way that I could take John’s (singer of darkest hour) place or roll in DH. It would absolutely be a different band and to be honest a much, much worse band at that. What’s the best thing to do when faced with this situation? Should you replace him or her with someone new or keep it in the family?

When faced with a leaving member of any kind, but especially a singer, its important to do inventory of your band. Who is left? Who can actually sing? Unless you’re going to pull off some crazy shit live I don’t think it’s a good idea to make it your drummer. So then your back to the string section. I don’t have very much experience with actually playing and singing but I have worked with many guitarist and bands that have singer/guitarists. Its hard and it’s a talent but it can be done. My suggestion is that if this doesn’t come natural, and especially if there is a possibility that it could sound bad, don’t replace your singer with a current member. Only do this if you feel the band will sound as good or better. Otherwise its time to look outside for a new voice.

Now it doesn’t mean you have to change the name of the band. Even some famous bands have gone through lead singer changes and survived. Although you will always get those fans that will pick a signer. I would ask yourself how invested in the band name or band you are really. Because a leaving singer is a really good chance to get a new beginning. Chances are your band is probably small enough that changing a singer at this point won’t matter to anyone and if you can find someone out there who is better or at least as good as your last singer then it’s worth it to soldier on.

Its when faced with obsticles like this that I call on the powers of the almighty AC/DC. When faced with a traumatic lead singer change they figured out a way to carry on. And when you’re already world famous its much harder to bounce back from a singer change. ACDC did and Back in Black was born! My point is its not the end of the world. As much as lead singers think they rule the world you can go on without them. Just don’t forget there is a reason the word ‘LEAD’ is in front of ‘singer’. Its to remind you they’re the voice of the whole band, so respect that and you should have no problem surviving. 

The Dude

Stay at Home Face Melter

Dear Dude,

First off, at 28 years old, I’ve been following DH since you played about 8 years ago in an old church basement in Cincinnati so, naturally I’m a big fan. I’m in a unique situation, similar to yours. I have my Masters degree in Counseling, and a Bach’s degree in Social Work. I work now getting kids who are addicted to drugs off of them, and I love my job. I’ve been playing metal since I was 13 and my band, if I may say, melts faces. But we’ve all made a choice to play as a hobby. We love our families and our jobs here at home. But one question that keeps coming up is: Is there any way to have your music distributed on a national level (by a label or otherwise) without national touring? We just would all really love to go to Best Buy and be like “Hey, that band, Pterodactyl Battle, yeah that’s us. You can buy that here”. So, if in your spectrum of amazingness, possibly from a bubble bath, you can offer some good advice outside of giving up (heard that one), then your spectrum of awesomeness could only increase. Thanks so much (for your music and help)

Thanks,

Stay at Home Face Melter

Dear Stay at Home Face Melter,

Being in a band at home is actually harder then most people think. I have a bunch of friends who are in bands but also have other “careers.” It’s funny because when I was a kid I just thought it was all or nothing, like rock star or bust! You were either in a touring band or your band didn’t matter. Now that I have been slugging it out for this long I can tell you there are many ways of rocking in life, not just the full tilt rock star touring action. So you’re not in a touring band but you want to get your music distributed on a national level with out touring. Can it be done and if so how?

Lets get something out of the way first. Getting your CD in Bestbuy is probably not going to happen if you’re not touring. Also getting signed to a bigger independent record label is also probably not going to happen. I say ‘probably’ because you may be able to prove all of the above wrong by doing one thing: being an amazing, amazing band. Now that’s going to be really, really hard so I would think realistically. The truth is neither of these things needs to be part of your ultimate goal anyway. What I am saying is that you already have a way for your music to be distributed internationally and at very little cost to you. You already have a way to sell your product to the world without a record label OR best buy. You already have… the Internet.

First you need to record your music well. Its going to be self financed at first so play shows, do a car wash, play more shows, work a normal job whatever you need to do to get some cash. If you have a career and other band members do too, then its up to all of you to pool your money for a recording. Remember its like a tattoo, you will have it forever so be willing to spend a little bit more money and time on it then you first thought you should.

Take that recording and put it up on itunes, your website, Myspace, Pure Volume, Sound Exchange or any other website that sells MP3’s. I did that with my own band, Man and Wasp. We recorded the songs ourselves and released it on the Internet ourselves. Now we have a band that never tours, never plays, but has a record available for purchase anywhere in the world over the internet. It allows us to just keep writing songs and not have to think about the pressures of touring in a band.

If you want an actual product, well then, you can very simply start an online store. Bands of your size can get CD’s pressed themselves at places like Furnace CD. It’s actually run by the man who signed darkest hour to their first record deal. You can order say 1000 CDs and then set up a site to sell them through. It may mean doing a little more work yourself and fronting a bit more money but it will mean that you will have an internationally distributed record without having any pressure to tour what so ever.

All you have to do from here on out is promote the site. Play shows, pass out fliers, you can even “cyber” tour (you know just add friends to your myspace and promote your band via the internet). Especially if your career happens to be a boring desk job. Believe it or not you could use that cubical time to do some real “tour” work on the computer.

There is really only one reason for a record label to sign a band that is not going to tour all the time. And that’s out of pure love for that band. How many record labels in 2008 are making that decision? Lets just answer not enough. So fuck it, there is also no reason to sign to a record label if your not going to be touring or doing it full time. You don’t need them. You can do everything yourself, on your terms, and on your time line. That’s what the future of music on the Internet is really, at least I believe. Soon we will all be able to create music and distribute it ourselves straight from artist to listener.

The Dude

Drummer Bummer

Dear Dude,

I play bass in a metal band. We are just starting to get serious and want to do more things, such as play shows, make a demo, etc, etc. The thing is, our drummer is not exactly the most talented drummer ever. It is quite hard to write new stuff with him, and he does not know our songs very well yet. Should we stick with him and hope he improves?? Or move on to a new drummer?

Thanks,
Drummer Bummer

Dear Drummer Bummer,

As bands grow they often have to go through some major changes, especially in the beginning. Every band I have been in has had at least one line-up change before it got solid; it’s just the nature of being in a band. Regardless, it’s often a difficult, traumatic, and basically, the shittiest situation you can be in as a band member. It’s difficult to ask a band member to leave when there’s a personal dispute, but it’s even more difficult to ask someone to leave because of their ability. So, before you pull the plug think over a few things.

How bad is he really? I mean you have to live with the people in your band. Travel together, eat together, and sleep together. You’re basically going to be married for a short time to all these dudes (or dudettes) in your band. With that in mind if your current drummer is your tight bro take that into consideration. I mean if he’s cool, chances are you can probably (and tactfully) bring up the situation with him. You can tell him you want to play shows, record a demo and that means practicing a lot more! If he’s into it and you think he can actually get better, well then your boy deserves more time. A few hours of shredding in the practice space to get him up to speed is well worth it. To be blunt, you’re going to have to live, eat, breath, sleep, shit, with these dudes, so if he feels like family make an effort to keep him in the band and start practicing with him a lot more.

Ok, so you thought about it and well, you still think he’s not the right fit for the band. My advice then? Absolutely ask him to leave. I mean if you’re serious about doing this band and he is not willing to work, or just can’t keep up with you, then my advice is move on pronto. You need to be musically satisfied in a band too and if he is not going to cut it, it’s much better to move on now than later. I have seen bands hire a session drummer to play parts their own drummer can’t and it usually always results in the original drummer quiting the band. Its ugly, but dude, you don’t want to have to mess with this problem farther down the road. When money is on the line shit gets way more stupid, believe me.

The reality is being in a band with a good friend who has worked hard to get to his or her talent level is always more rewarding and fun then being in a band with a hired gun (you know someone you don’t know that well who jumps from band to band riffing). So stick with your man if you think he or she has got what it takes. Those hours of practicing will make you a better band anyway. Just remember if after that (or during) you feel it’s just not right and can’t get better well then go with that instinct. There just so little time, why waste it making sub-par music?

The Dude

Sweep’n Maniac!

Dear Dude,

I have been working on my sweep picking for a long time now. What pick gauge thickness is better for sweep picking? 3.0 or 1.0?

Thanks

Sweep’n Maniac!

Dear Sweep’n Maniac,

Sweep picking is the new black, but if your not just running up and down the neck as fast you can (and actually doing something musical), it can be a really cool and useful technique. Many people don’t realize how much pick density, hardness, and size can affect your playing. So, to answer this question I just had to ask a few shredders I know.

First things first, I use the Jim Dunlop 1.14 (although mine are provided by In Tune guitar picks) If you’re not into numbers it’s the dark purple pick Dunlop makes. I have used this hardness pretty much since 1996 and really cannot play with any other gauge. I would rather play live with a penny as a pick than use a thin pick. I just don’t get the control I want, I just can’t rock with a limp pick.

But, don’t just take my word for it. One quick phone call to my main man, (and co-guitarist of Darkest Hour) Kris “Weenie” Norris, reveals a slightly different outlook. Surprisingly, Kris uses a very thin .66 gauge pick. To a dude like me that feels like a piece of paper, but believe it or not I have seen Kris melt some frets with that little flimsy thing. However, Kris still suggests a heavy pick for sweeping even though he uses such a thin gauge. He attributes his wrist problems and chronic pain to his decisions to go against his own advice and still use a thin pick.

Kris and I agree that the harder the pick the better the control, even though we both actually use two different gauges. To settle this I had to call the only other dude I knew who could put this question to rest. And that’s no other then Mr. Devin “Fucking” Townsend. Now if you don’t know who Devin is, well he’s a sick ass producer, shredder extraordinaire, and (even Kris would agree) a badass motherfucker on the guitar. Devin’s advice is to go the middle road. Too thin and you don’t have enough control. Too thick and there’s not enough give. He suggests the Dunlop Green .88 picks. He likes the real big kind, not the old standard size picks. Dunlop calls it the “triangle pick.” Now I tried to jam with this pick once but it felt to me like I was playing with the top of plastic coffee lid.

Now, even though we all actually use different gauges, we still agree on two main points. One, the harder the gauge pick the better the control. Two, don’t use too hard of a pick gauge or the pick will have no “give.” If you’re not sure where to start, go with the standard size Green .88 picks. It’s a good middle road. Now you can play around with hardness after you get used to that (If you want more give go a bit thinner, if you want more control go harder). My personal feeling is stay away from anything harder then 2.0 unless you really feel it. In the end you need to feel what’s right for your playing and try every size and thickness. Once you feel the pick that’s the right thickness, you’ll know it right away. It just will feel, right

The Dude

Catch Ask the Dude on XM Radio!

Monday, May 12th, at 4:30 PM EST, Ask the Dude will be taking your questions live and jamming some tunes on XM Radio’s killer metal station Liquid Metal Channel #42 (if you have direct TV it’s number 841). If you don’t have XM you can download the free trial at: www.xmradio.com/xmlmoffer It’s good for 14 days. Make sure to call in with your band questions, problems, or opinions.

Check back on Monday, May 12 to see if the next question Ask the Dude answers is yours!

Demo Shop’n

Dear Dude,

My band is currently circulating a four-song demo, but I haven’t sent it out to any record labels yet because it sounds like what it is: a demo recorded for a few hundred bucks. We want to show labels that we have our shit together as a group, and I think having awesome gear and a really nice-sounding demo would help prove that. We’re saving up money to buy better gear and make a crisper recording, but how much does production quality matter when shipping out demos? What do we need to show labels in order to prove that we do, in fact, have our shit together and are ready to make this band our careers?

Thanks,

Demo Shop’n

Dear Demo Shop’n,

Getting a band signed has always been, well, interesting to say the least. I have seen bands get signed over anything from someone leaving a demo in a bathroom to someone at a label thinking a band was a totally different band at first. The jist is that sometimes it just seems like dumb luck, and of course it always feels like other bands have more money to invest then you do, better connections, better hair cuts, etc. You get the idea; in band life the grass is always greener. So how much does production quality matter? What do record labels look for? To answer those questions I went straight to the top to get some feedback.

First, I turned to the person I’ve known the longest who works at a record label. Wouldn’t you know it just happened to be the founder and owner of Victory records, Tony Brummel? Tony took some time out of his day to give me some feedback to pass on to you.

I asked Tony how much demo production matters to him when he’s thinking about signing a band. Tony replied, “It depends on the band but, if someone has the gift they can hear magic from a boom box recording. More importantly seeing the band is the best “DEMO.” Seeing is believing. Trust me you can even ask the dude.” Tony is of course referring to the signing of my metal band, Darkest Hour. It wasn’t a demo or even a CD that really got us signed. It was our live show for Tony and the Victory staff that sold us.

On whether production value is more important than songwriting Tony answers, “Songwriting, its all about the band. I always try to make the decision after seeing a band. With Protools and today’s current recording technology I have heard a lot of great demos and then ended up seeing a very mediocre band.” No doubt that Tony is right on that point. Computers have given artists many tools and at the same time given those same artists many crutches.

I also reached out to another friend of mine, Josh Grabelle, founder and owner of Trustkill Records. Josh was kind enough to write us some thoughts on what he looks for when signing bands:

“The bottom line is this is all about the music, it has never been about how GOOD it sounds recorded, after all, a band should be reaching more people with their live show than they reach with their recorded music. When I got into punk and hardcore in the late 80s, the records I loved back then sounded like TOTAL SHIT. I didn’t care at all though, I loved it. Again, it’s about the music and the feeling you get, not the production or how many hours you spend on pro-tools with auto tune. In the early days of Trustkill I would sign bands that didn’t even HAVE demos, let alone shitty sounding demos… it was about the music. Now, 10 years later, any band can record a demo, the shit is so easy my Grandma could do it with Garageband.”

Keep in mind you still need to be competitive… Now a days you can’t just send in that boom box recording, it has to at least sound like the band does live. Josh expanded on this point by saying;

“To say that the QUALITY doesn’t matter isn’t entirely true. If I open up 50 demos in one day and one of them sonicaly kicks the shit out of everything else, what does that tell me? Either these are a bunch of rich kids, OR, more likely, these kids take their ART and their BAND very seriously. THIS is what we are looking for, a band made up of kids who are willing to throw it ALL away for their band, give up their life, their jobs, their girlfriends, to get quality gear and truly get a grasp on what it takes to record music in the proper way. So, do you NEED to have a PERFECT sounding demo to send to a label? No. But if you want to compete against the other 10 bands in your high school, or the other 10,000 bands in the country, you should put in the extra work.”

There it is that ugly word right at the end: work. It’s almost as ugly as ‘practice’ but the fact that it shows up a lot in this column, has to mean something right? Anyway, it’s clear that record labels are looking for a band that can play a good live show, that spends it’s time working on songs and music, rather then buying amps and looking on eBay for guitars. They are looking for dedicated, hardworking, musicians who are willing to risk everything. Why? Because a dedicated musician should be driven enough to go for it, no matter what the odds. My advice is read this letter and listen to that demo again. Do you feel like it’s a good representation of your band? Are the songs good? Are you confident your band can hold its own against other bands out there. If so, start shopping that bad boy and playing some shows. If you read this letter and change your mind about that demo then make sure your band is ready to slug it out. Practice and jam as much as possible till you find the sound that says you. Practice (MORE!) until you can play those songs with your eyes closed (this is so you don’t waste anytime when it comes to laying down those tracks). Then find a studio (but preferably someone who has recorded local bands, or bands for cheap. You don’t need to spend a million bucks just make it sound like a good representation of your band live). Take that demo and those songs on the road and share them with the world. Whether or not you sign that million dollar deal you have to always remember the reason your writing all theses songs and going through all the bullshit is to be able to share music with people. If your intentions are true and the music does speak to people, well then don’t worry, there will be plenty of record labels that will want to sign your band.

The Dude

Tough Crowd

Dear Dude,

My band has played about 20 shows in the last year, performing with groups ranging from Lennon (soloist with only a keyboard and microphone) to Swedish melodic death metal. Winning over crowds usually is never a problem, especially since we have an energetic live show. The exception is at the extreme metal shows. Our most challenging gigs have been as openers for Katatonia and Arsis. Their collective musical ability is almost limitless and their fans know that. We do all the things that a good metal band does (double bass, harmonized riffs, solos, etc), but we’re nowhere near the most technical group out there and do not have the tens of thousands of dollars to buy mind-blowing gear like those bands. What do you recommend we do to not only improve our song writing and musicianship in the long term but also win over the more elitist crowds in the short term?

Thanks,
Tough Crowd

Tough Crowd,

I have played in front of some hostile crowds, and a lot of times the way a band acts can be like blood to sharks. If you antagonize the crowd and give them a reason to turn on you they probably will. I once saw Phil Anselmo turn an entire arena against him in Pittsburgh PA on the 2004 Ozzfest. He came out and the first thing he said was “PANTERA’s DEAD!” No one wanted to hear that and their set was definitely ruined by that vibe. As a Pantera fan I was bummed and put off by it too. If it can happen to one of the best front men in metal then it can happen to your band. There is just no way to totally control how a crowd is going to react but there are definitely ways that you can control the room and hopefully put your band in a position to get the best reaction you can.

First things first: Don’t antagonize the crowd. If there is one dipshit in the front yelling and the rest of the crowd are into the show, then ignore him or her. This is hard advice to follow and I myself am guilty of diving into a crowd with a Les Paul and middle finger in air, but let me tell you from experience, this rarely makes new fans. Now I am all for fucking shit up and not giving a fuck but when you cross the line into antagonizing or aggression you may end up on the angry end of a crowd and crowds can turn into mobs. So be nice and remember you are there to make fans. If someone totally disrespects you you’re going to have to react, but remember no one wants to watch you and a few boners in the audience argue the whole set so keep it positive and you will win people over.

With a metal ass crowd it’s important to be organized and deliberate with everything you do. If you’re playing with some sick ass bands then you better be tight, and you better practice. It doesn’t mean you have to out-shred every band you play, but it just means pay attention to your shit. The number one way to get heckled is to suck, so make sure you are all playing the songs good and tight. Practice is how you will absolutely improve your bands overall song writing and musicianship.

In addition to having the right attitude and putting on a well thought out, interesting show, it’s important to adjust to your surroundings and be able to rock no matter what. If you’re in a punk ass VFW hall with a few bands and 100 kids all having a great time don’t carry yourself like a rock star. VFW halls, punk shows, DIY venues, these are not places to act like a dick rock star (in fact there is never a reason to do that). It will just get you a bad reputation. On the same note if your playing a packed rock club with tons of kids you got to remember you need to reach the kids in the back. So get out there and demand their attention, demand their respect, and most of all demand that they have a good time with you. My band has morphed from DIY shows all the way to OZZFEST and it’s not easy to do. But you can do it with dignity and pride if you are for real and honest.

Bottom line, music shouldn’t be a competition. It shouldn’t be like sporting events where everyone walks away and says so and so band blew everyone away. Unfortunately, some idiots think the opposite, so don’t worry about how other bands sets go or who gets what response. Just focus on putting on a sick show and making friends. Notice I didn’t say, “making fans.” On stage there is a big difference between seeing that crowd in front of you as friends rather than fans. If you can rock with that mindset you will be ready for any audience.

The Dude

Shredder Looking to Open His Horizons

Dear Dude,

What is the best way to learn how to play chords and scales on guitar?

Thanks,
Shredder Looking to Open His Horizons

Dear Shredder,

Learning scales and chords on the guitar can be a very daunting task. It’s a lot to memorize, let alone learn. As a little dude I remember reading interviews with Eddie Van Halen and Dimebag Darrel (two of my favorite guitarists) who both claim to have practiced or studied the guitar very little. As much as I would love to claim that I share in their super powers and need little or no practice, it just wouldn’t be true. Unlike the aforementioned shredders I try to do as much practicing as I can. For me rock didn’t come as easy as it must have for those mega dudes and that has meant many long hours of shred time.

The first thing to keep in mind is that learning chord shapes and scales is all about memorization. Figure out what tuning you’re going to be jamming in most and start there. I started in E flat (because Slayer, Pantera, and Van Halen all riffed mainly in that tuning). Later I migrated to the drop C shape, which I do most of my writing in now. Once you determine which tuning you want to start in its best to make a diagram or chart. There are millions of free scales and chord charts out there. You can really use any memorization technique you want, anything from putting stickers on the neck (which actually works awesome!) to flash cards like in grade school. I have found for me that using a method that involves the guitar helps immensely. So try to come up with something that will help you remember what the notes are playing as you play. Even if it’s as simple as saying them out loud as you play each note.

There have been so many books written about chords and scales that it could make your head spin. Do some research, get out there and look around, see what makes sense to you. A book that worked really well for me and speaks to metal heads in general is The Guitar Grimoire by Adam Kadmon. It has almost everything you would need to know about metal chords, scale shapes, and basic music theory.

There are many computer programs that serve the same purpose. I use the program Guitar Pro to do all my tabbing and notation. It contains a really awesome scale tool that is very helpful. Guitar Pro is not the only program like this out there, it’s good to try a few different ones. I suggest Guitar Pro but its really about finding a program, book, or method that works with you and how you remember. Music doesn’t work the same for everyone that’s the real magic of it so you need to find a way that makes sense to you.

Jamming with someone you know, who already understands how notes and scales work, is without a doubt the fastest way to not only memorize the notes but also learn how they work in conjunction with music. As I said in the beginning it starts with memorization but ends at understanding.

Learning anything on guitar is always about repetition so it’s going to take some long hours of wood shredding to get those scales memorized and fluid sounding. Make sure to take it slow, practice with a metronome, and just do each step over and over again. I used to read this all the time when I was younger and never paid attention to it. Its called muscle memory and it really works.

Remember it’s a three-part process: Memorization, Repetition, and Realization. It’s by taking the path towards learning scales and chords that you will stumble upon the ability to not just know them but understand them. And that ultimately will push you and your playing to a place you never thought possible.

The Dude

Caught in a Mosh

Dear Dude,

What should I do if I’m in a situation where the other guitarist in my band and the drummer present a new riff and I think it fuck’n blows? It’s like a ton of random notes, not appealing sounding at all, and definitely not catchy or melodic, which is what we are going for. I tried to say I didn’t like it but they keep saying WE LIKE IT. Seriously it doesn’t even go with our music at all!

Thanks,
Caught in a Mosh

Dear Caught in a Mosh,

Inter-band politics and song writing is something you almost can never get away from. Music is art and art is expression. It’s not unreasonable for someone to get emotional about his or her music. No matter what type of band scenario you’re in, you’re probably going to have to deal with something like this. So don’t fear it. This kind of tension is what writing music is all about, and it’s from this tension great riffs, songs, and records have been made. Its not easy for most people and even some of the biggest and sickest bands go through this all the time.

The first thing you need to do is search yourself. Do you really not like the riff/song idea or is there something else going on? Being in a band can be like being in perpetual high school. There are all sorts of little inter-band dynamics that can cloud both your and your band members’ judgments. So make sure you are pure at heart, and not thinking from that place in your brain that is still pissed cause the other guitar player can play the solo to Crazy Train better than you.

Next, ask is there something I can change in a slight way to make this riff not only more smoken’, but also more me? I have noticed that when this problem usually occurs the dude who thinks the riff sucks, doesn’t like the fact that there is none of his own ideas in the riff. It can be rough justice to face, but sadly, often true. Maybe add some sort of harmony, maybe you don’t like the chord progression, or maybe the riff should be faster or slower. Chances are if you are all into the same bands and clear about what type of band you’re in, there should be a way to tweak it and make it better.

Ok, what if the riff/song idea in question really does suck. In that case, what do you do when you’re presented a riff that “blows?” It’s important to be tactful, respectful, and most of all clear as to what you think is not working. When you’re working in a group situation you have to be able to work with other people, so make sure you hone in on what doesn’t work for you. That way you can work as a team to make the idea grow, or explore other options. A common misconception is that you have to make all these decisions right away. It may not hit you right away what isn’t working, so don’t be afraid to take your time while you’re writing. This doesn’t mean never commit, it just means if you need some time to come up with the critical feedback that is going to help push the song, that’s ok. So maybe keep the riff in the song as a placeholder just remember not to let it sit there too long. Bands often times don’t like change because it involves more work.

Its important to remember a band is a team, a gang, and a collective of individual voices singing together. You need those band mates and they need you. Who knows how many bad riffs I would have pushed forward if it weren’t for my band mates. Work together and find a way to communicate with your fellow bros. No one wants to be in a band with people who are unhappy with the music they are playing. No one wants to be in a band where the members are afraid to say they don’t like something. No one wants to be in a band that isn’t honest and real to what it is. So keep your band honest, communicate clearly, and be willing to share the burden of song writing. I promise it will be worth it for everyone involved when you write that first kick as song.

The Dude