YouTube Channel and TikTok Surprises

It’s been a year since I resurrected my YouTube channel, I’ve posted almost 300 videos. I was certain that the internet crossed with that guitarist sh@t talk, I would get some interesting comments. However, I’m pleasantly surprised how nice everyone has been. I was expecting a few cynical or negative comments but all I’ve received 100 percent positive posts; minus the bot comments….

“The idea is top notch This deserves recognition.” Makes no sense on a music post. SMH

TikTok, where there are countless trolls, I have received nothing but positive feedback. It’s refreshing and nice to see that the internet isn’t completely full of negative energy. I’m sure, if my channel gets more popular, I’ll get my fair share of negative comments. But that is a tradeoff I’m willing to make.

The Infamous Thumbs Down

Technically, getting a thumbs down on a post is negative feedback but it’s a right of passage of sorts. I even wrote a tongue and cheek post about receiving my first thumbs down. There are some posts where, I get it. It wasn’t that good and don’t blame them. There are other posts where, I’m like “What the?!?!” Either way, it’s interaction and I’m enjoying it all.

I recently saw an add on Youtube claiming there is a secret guitar scale that no one knows and the pros won’t show you. Of course this add will lead you to their website and for a “small fee” you can get access to the secret and unlock your playing!

Snake Oil Salesman

New methods and contraptions that will get you playing the guitar in 24hrs like the Guitar Buddy. This guitar buddy is device you put on your neck and by the push of the button you’ll be able to play basic chords; I’m assuming most major chords and minor? For $34.95 you get this and for just a bit more, you get a song book.

Hell no!

Is this really playing the guitar?

A gadget like the Guitar Buddy doesn’t make one a guitarist anymore than Guitar Hero does. Truth be told, there isn’t a quick way to learn the guitar. Anyone who bought an Esteban guitar on QVC can attest to that notion.

I’ll have to admit that I’ve tried a few “programs” that I thought would miraculously unlock my talent, like a magical “aha!” moment. Unfortunately, that scenario only exists in the movies and maybe if one is a savant. You can have all the gadgets, programs and subscriptions in the world but they all amount to nothing without one thing….

Practice

It’s that plain and simple, you will need to practice. Playing the guitar is not just an art but also a craft and in order to master a craft, a player needs to put in the hours. The one thing these programs don’t say in the click bait is that you’re going to need to practice everyday. It can be a great blue print or guide to becoming a better player but you’ll need to practice it for hours. It can be hard work and it’s a grind, it’s necessary and worth it. I’ve been playing since I was 10 and I hope that I will continue to get better each day, each week and every year. Guess what I’ll have to do to achieve that goal?

Yup, practice.

Why Bother

Many say, “why even try, I never win” and I get it but what the hell. I haven’t won either but it only takes one time. My question to you is have you won? Do you know anyone that has one something pretty cool in the musical instrument realm. I figure, I’m due so why the hell not. I’ll keep you posted if I land something! Lemme know if you have won, want to hear about some good news!

I’ve heard and read many artists state that some of the best performances that they have given were ones that can’t even remember.  By this, I mean they give into the music/performance and go into a sort of trance, I guess you can say.  I’ve seen this in many guitarists that I admire from Eddie Van Halen to Bruce Cockburn and the result is usually a performance that strikes awe in my heart.  I say to myself, “how can I play like that?”

Let the music take control:

I’ll be honest, this is something that I still struggle with.  Two reasons:
1.  I want to remember my performance so I actively think about it while playing.  This hinders me because then my mind isn’t doing what it’s supposed to do; play the guitar.  The outcome is that I will either have a brain freeze and forget a passage or my playing because sloppy.  Either way, it’s a performance that I would rather forget rather than remember.
2.  I want it to be perfect so I over think and critique myself as I play.  Same result as above.

Play For Yourself:

Why is it that when we practice, we are at our best?  If I had a dollar for every time I said, “why can’t I play this now?  I was nailing it in practice…”  The reason is that when practicing, I’m playing for myself and no one else.  It’s just the three of us: Me, my guitar and the music.  Throw a crowd in there and the nerves kick in and all of a sudden the piece is harder than expected.  Why can’t we play for ourselves when we are in front of people?  For me, it’s that I don’t want to come across rude or narcissistic and I fear that the audience is judging me harshly.  But these notions are all conjecture and speculation that I have put out there with no real proof that it is true. I’m hindering my ability to play to my full potential.

Let the Music/Life Guide You:

A dear friend of mine Robin Easton (blog here), recently wrote a post suggesting that we should trust our hearts and trust life to teach us in life.   This can be applied to our playing as well.  Trust our experience, our training and our hearts when we play. Play for yourself and let your heart and music guide you into a great performance.  Note, that doesn’t mean that every note will be perfect,it might even be a bit sloppy but some of the best performances that I have ever witnessed weren’t technically great but the passion; the emotion was there.  The musician let go and let the music guide him/her into something that I felt privileged to watch.  This I suggest to you sounds scary to even me because this requires an act of faith and to embrace the unknown and dare I say relinquishing control.  But the idea of control is a myth because we can’t control things like if the PA goes out or if a crying baby is in the audience, etc… Giving in and letting go of the control is probably the biggest act of control that you will do.

Like that old cliche’ I’ve heard over the years: “Play like no one is listening.”

*Note: Thank you Robin for inspiring this post!

If you have followed Guitar Musings in the past, you have probably stopped reading the blog because there hasn’t been a post in months.  This has been for a number of reasons; some personal and others professional. Anyway, I’m trying to get myself back on track;  with my playing and my writing.  

Surround Yourself:

I have found that, even though I play for many hours, I don’t practice.  I’m just noodling on the guitar but not learning or polishing my craft.  Some of that has to do with me being a bit lazy/uninspired and not knowing what to do.  That is why I signed up for lessons with a local teacher and am completely excited for my first lesson.  I have heard great entrepreneurs say that if you want to keep the energy of your new venture going, surround yourself with other entrepreneurs.   Doing this will keep the energy up and you will be more likely to succeed.  I’m doing the same by surrounding myself with other guitar players.  Just the thought of playing on a regular basis has gotten my creative juices flowing.  I can’t wait.

Are you surrounding yourself with other players to keep you going?  Reading this blog or going to a guitar related forum isn’t the same.  We need to have the contact of other musicians.  Whether it’s a lesson, jamming with friends or just going to a concert, try feeding your guitar soul a bit and the music will begin to flow.

So everyone keeps asking me how the Guitar Contest went. In a nutshell, it was mixed. I did everything exactly the way I wanted to. I made some contacts, met some stars, I turned in a performance that the crowd got into, and I distributed over 600 copies of my CD to guitar fans. The one bad part was that while the judges all agreed that I had the chops (“I’d have to practice for 100 years to get those kind of chops” – Earl Slick) , they weren’t quite ready for the intensity. Their critiques sounded like something my parents would have said (which I’m actually OK with, rock and roll ain’t for the parents).

So needless to say I didn’t win the contest. But I accomplished what I set out to do and made a splash. To quote the editor of Guitar Player Magazine – “Yours will be the most watched video from the contest once we post them on Youtube.”

Here’s a video my wife shot of my performance.

For the record –

Judges:

Earl Slick (David Bowie guitarist)

Jennifer Batten (Michael Jackson guitarist)

Elliot Easton (The Cars guitarist)

Steve Lukather (Toto guitarist)

Greg Hampton (producer, Alice Cooper, Lita Ford)

Host:

Brendon Small (Creator of Adult Swim’s Metalocalypse and Home Movies)

Prizes:

A bunch of gear and a magazine profile, no contracts or studio time

LInks

Hercules Guitar Superstar Vid
Unedited version of the performance (contains offensive language)

United Breaks Guitars Lyrics

I flew United Airlines on the way to Nebraska
The plane departed Halifax connecting in Chicago’s O’Hare
While on the ground, the passengers said from the seat behind me
“My God! They’re throwing guitars out there.”

The band and exchanged a look, best described as terror
At the action on the tarmac and knowing who’s projectiles these would be
So before I left Chicago, I alerted three employees
Who showed complete indifference towards me

Chorus

United, United
You broke my Taylor guitar
United, United
Some big help you are
You broke it, you should fix it
You’re liable, just admit it
I should have flown with someone else or
GONE BY CAR…
Cause United Breaks Guitars!

When we landed in Nebraska, I confirmed what I suspected
My Taylor had been the victim of a vicious act of malice at O’Hare
So began a year long saga of pass the buck don’t ask me
And I’m sorry sir your claim can go nowhere

So to all the airlines people from New York To New Dehli
Including kind Miss Irlweg who says the final word from them is no
I’ve heard all your excuses and chased your wild gooses
And say this attitude of yours, I say, must go

Chorus

Bridge:
Well I won’t say I will never fly with you again cause maybe
To save the world, I probably would but that won’t likely happen
And if it did, I wouldn’t bring my luggage
Cause you’d just go and break it
Into a thousand pieces
Just like you broke my heart
When United Breaks Guitars!

Chorus
Yeah United breaks guitars – End

Links:

http://davecarrollmusic.com/story/united-breaks-guitars (back story by the artist)

LA Times story on how Carroll might get some satisfaction from United.

A couple of days back; I attended a service celebrating the life of a friends son. I never met this person, yet I felt a connection and found myself getting emotional from time to time.   Throughout the service I heard how much he loved the guitar and music and was surprised by how we enjoyed the similar musicians and songs.  One song that particularly grabbed me was Joe Satriani’s “Always with you, Always With Me” that the played early on. This is my absolutely favorite Satch song and whenever hear it, I will now think of Jeff; a fellow guitarist.

The connection is that six string wonder that can frustrate the hell out of you and comfort you in times of trouble.

In my last blog entry, I promised that I would offer up an instructional based on the pentatonic scale in my next entry. OK, I lied. Kind of. Turns out, as I began to write the entry, I kept coming up with idea after idea after idea. As it stands, I still plan on writing on this topic, but it’s going to take some time as it’s going to be a big one. In the meantime, I give you Amusing Inconsistencies and Subtle Nuances.

Amusing inconsistency number one: the use of the word tremolo. On a guitar, it’s the thing that changes pitch. On an amplifier, it’s the effect that changes volume. I blame Leo Fender. Mainly because his biographers blame him. Speaking of Leo, amusing inconsistency number two: a radio repairman who didn’t know how to play guitar creates one of the most successful guitar brands in the world. Huh. And to segue into the ‘subtle nuances’ discussion, inconsistency number three: frets.

If I were to say “put your index finger on the 12^th fret of you high E string”, chances are you’ll put your index finger between two pieces of wire over a couple of dots (or a block, shark tooth, etc.). But why would you do that? Technically, the fret is the piece of wire itself. Shouldn’t you put your finger on the wire? Well, hopefully we all understand that that’s not what I mean when I say those words. Any noob knows that you don’t press down on the actual fret wire. It sounds bad. But as a player advances, the distinction between subtle nuances like this becomes important.

For example, harmonics get to be pretty tricky if there isn’t this clear distinction. Let’s say I instruct you to put your index finger on the “2^nd fret” of the G string, then tap a harmonic 12 frets higher. Common thinking would have you tap at the area between the two pieces of wire on either side of the “14^th fret”. But to achieve the cleanest execution of the harmonic, you’ll want to tap directly over the fret wire on the high side of the “14^th fret”.

The reason? Although your fret hand finger is pressing between the two fret wires, the string length actually begins (or ends) exactly on the wire at the high side of the fretting finger. This means that the spot on the string exactly 12 frets higher is exactly over the fret wire at the high side of the “14^th fret”.

This can all sound a bit OCD, but it’s like the old cliché, “Tone is in the hands” (yeah, tell that to a guitar builder, amp designer, or effects processor engineer).  For me, this means that you can hand the exact same guitar, pick, strings, cable, effects, and amp to two different players, and it will be the subtle nuances in technique that will produce two unique sounds. Subtle changes in the placement of the pick over pickups can have a big impact on timbre, adding the fleshy part of the thumb during specific downstrokes to create partial pinch harmonics can add bite and attitude to notes/chords, facing the amp at different angles to manipulate feedback, etc. It all adds up to create your own unique sound.

In other words, subtlety can be huge. How’s that for an amusing inconsistency?

HJC

You can find out more about Hercules and his music at http://www.herculescastro.com

What’s my point, you ask?

I would have normally talked myself out of going and then regretted it later. But that was the old me.  I’m now practicing my guitar new years resolutions by expanding my boundaries in my guitar life; not only with playing but listening to new music and seeing more concerts.   There is something about live music that gets my blood flowing and keeps my motivated to become better at my instrument every day.  If it does me good, I guess I should do it more. 

What are you trying to expand your guitar/musical life?

Remember when alternative music was actually an alternative to popular music? As “alternative music” grew in popularity, by merit of terminology, one would have expected the label to change to “popular music”. But it did not. Nirvana, for example, was one of the most popular acts in the world, but they were still labeled “alternative”. Go figure. Now when someone refers to “alternative music”, I have no idea what they are talking about.

Along these lines is the phrase “Thinking outside of the box”. There was a time when this meant to think differently, more originally, from a fresher perspective. These days, it has become more of a catchphrase. It seems that everyone is thinking outside of the box. So if we want some different, fresh and original thinking, maybe we should get back in the box.

I thought that would be an amusing introduction to this entry, although tying the two together will be a stretch, at best.

Today’s topic is two-tiered. First, I’d like to talk about stepping out of your comfort zone, which I guess could qualify as “out of the box” thinking. Second, I’d like to talk about use of the pentatonic scale for blues applications. This one will plant us firmly back in the box. Why a discussion on both? Mainly because I just had a unique experience that got me thinking about both. I’ll share.

My background is heavy metal, shred-style guitar playing. My main influences have names like Van Halen, Vai, Malmsteen, Gilbert, Kotzen, etc… So when a friend approached me to sit in with his country/classic rock band for a party, I said “Oh, Hell no”. Not because I take issue with those styles. I have a lot of respect for players in those genres. My concern was that I would sound silly trying to squeeze in harmonic minor 64^th note runs, sweeps, taps and divebombs over “Knockin’ On Heaven’s Door” (anyone remember the “Johnny B Goode” scene in “Back to the Future”?)

However, after some consideration, I started thinking that this might be a good opportunity to hone my skills by trying something I never would have bothered with, left to my own devices. Besides, I know the blues scale, and that’s pretty much all you use in country/classic rock, right? Well, I’m happy to say that that is not correct at all.

One of our songs was “Sultans of Swing” by Dire Straits. A quick listen reveals some pretty cool lead work, complete with some quick runs, which is right up my alley. But after diving into it, I found some very unusual tonal structuring, intricate phrasing, and to my horror, finger-style picking. Another song we did, “Smooth” by Carlos Santana, actually featured some extensive harmonic minor work. This surprised me. In both cases, yes there was some pentatonic, bluesy lead playing going on, but there were other things happening that made it very interesting.

Long story short, I learned the songs (more or less), played the gig, it was fun, and I walked away with a new appreciation for musical styles I hadn’t really thought about previously. But best of all, I’ve got some new licks and techniques under my belt.

The moral of the story: It’s a good thing to throw caution to the wind every now and then. Step out of your comfort zone, and you’ll be rewarded with a fresher perspective and some new tools. You don’t necessarily have to love the material, you don’t even have to use what you gain, but it might just be the thing to bust out of a rut or amp up your technique to make you just that much better.

P.S. For all of you more evolved (older) players out there: Yes, I know that Santana and Knopfler influenced all of the guys who influenced me. You can feel all good that you knew that before I figured it out. Good job. Now get off my case or I’ll take your fiber and pill dispensers away from you. : )

Next week: Pt 2 – How to apply the pentatonic scale for happy blues and mad blues.

You can find out more about Hercules and his music at www.herculescastro.com or  his MySpace profile

About a month ago, I met again with my friend and we broke out the guitars and played.  Success!!!  We both got into that zone where you couldn’t make out whose guitar was whose and the melodies and chords filled the room.  This is one of the reason why I play, for moments like this. 

I spent many days thinking about what was different between the two sessions. What I came to realize was the success came from me staying true to my ability as a guitarist instead of trying to match my friends style.  He and I have played together for 20+ years and know each others ways very well.  We can anticipate each others progressions and ideas in while playing.  It’s a beautiful ting.  As guitarists, we are two sides of a coin when it comes to our style.  I’m a fingerstyle acoustic player and he’s an progressive electric guitarist/shredder. 

In the past, my problem has always been that I try to play in they style of my friend instead of mine.  I grab a pick and attempt to play fast and even though, I’m not bad with a pick, I’m much better using my fingernails.  I struggled in past jams because I was featuring my weakness instead of my strengths.   Our last successful jam, I utilized my strengths and funny thing happened;  I played pretty damn well.

It’s a great thing to be flexible and well-rounded as a guitar/player musician.  I try to expand my boundaries as a guitarist everyday and will continue to do so.  I have become a better player not because I practiced more, I became a better musician because I learned to embrace and be true to my style.

1. Post more to Guitar Musings:  I apologize that I haven’t posted much in the past month but there will be more posts in the future and am excited to move into Guitar Musing’s second year.  Also, if you have any requests, please contact me with your idea and I’ll see what I can do.
2. Get some playing recorded, both tape and video.  As my friend Hercules states: “I gotta push that big red button.”
3. Learn the fingerboard:  Acoustic Guitar Magazine has a great article on how to learn the finger board and know what notes you are playing.  Also, http://www.guitarcardio.com/ is a great place to do this as well.
4. Be proud of my playing and don’t be too critical on what I do.  It inhibits my progression of becoming a better player.

I’m pretty sure this will keep me busy for a while. What are your guitar resolutions for 2009?

My Plea:

If you expect for me to spend hundreds, if not, thousands on a guitar in your shop, please invest thirty or so minutes in setting it up.  First impressions are important and if the guitar isn’t setup right, I will not take a chance and buy.  So please, put on a new set of strings, adjust the truss rod to the new environment and tune it.   I won’t guarantee that it will sell the guitar on the first day but it’s a nice start.

Top 5 Mistakes:

1. I don’t sight read the whole piece when initially getting to know the song.  This keeps me from getting the full picture and I tend to have trouble putting it all together. I can’t tell you how many songs I learned where all I could perform was the first minute or so.
2. Try to play it at full tempo too soon.  This tends to create mistakes or bad habits like poor fingering or timing issues.  I’m getting better at playing slower tempos and then working my way up but still “fall off the wagon” every once in a while.
3. I don’t give it a rest when needed.  I get so obsessed with the song, I think the more I practice, the faster I learn and the better it will be.  I have found that the opposite can be true. Sometimes stepping away for a day or two gives me a fresh perspective and I tend to play the piece better when coming back.
4. I focus on the “fun” or challenging parts or a piece but neglect the rest. The result is that I might be able to play certain parts well but the rest of the piece is sub par and in turn, the performance suffers.
5. I don’t warm up properly.  I sometimes jump into the song without any warming up which can result in me playing like crap.  This is especially true when the song is technically difficult.