A Quote by Jimmy Page
Certainly, as a guitarist, I was aware of descending chromatic lines and arpeggios long before 1968.
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Before you can apply chromatic ideas to scales and arpeggios, you have to get the chromatic scale itself under your fingers. You should learn it up and down the neck, and become comfortable with the fingerings.
I consider descending chromatic lines and arpeggiated chords basic skills learned by any student of the guitar.
For an electric guitarist to solo effectively on an acoustic guitar you need to develop tricks to avoid the expectation of sustain that comes from playing electrics. Try cascades, for example. Drop arpeggios over open strings, and let the open strings sing as you pick with your fingers. It's kind of a country style of playing, but it works very well in-between heavily strummed parts and fingered lead lines.
As soon as I start to write I'm very aware, I'm trying to be aware that a reader just might well pick up this poem, a stranger. So when I'm writing - and I think that this is important for all writers - I'm trying to be a writer and a reader back and forth. I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I'll read those lines as if I had never seen them before and as if I had never written them.
Before Dream Theater took off I used to teach a lot, and one of the things my students often asked me was how to apply the chromatic scale to practical playing situations. You see, their other teachers would give them chromatic warm-up exercises without providing any explanation of how important and versatile this scale actually is.
When I went over to the States to promote Outrider, everyone was telling me I was a blues guitarist. I'm not a bloody blues guitarist. I'm a guitarist.
Certainly being proficient in an instrument does have its problems. Because the better you get, the more you just start sounding like an ordinary guitarist. There are certainly guitarists that transcend that and do really find their sound and all that sort of stuff.
I got a lot from my uncle who is a really good ska guitarist. Very ragged makeshift rhythms and intricate lines.
I'm more of a strumming guitarist, instead of a lead soloist guitarist.
Throughout history, fairly arbitrary lines drawn on maps have determined who prospers and who needs, who eats and who starves, who attacks and who is attacked, who lives long and who dies young. Oh, we have been slaves to those lines for so long.
So, we're well aware of the questions that our audience is inevitably going to ask. We're well aware of how carefully they watch the show and hold us to continuity. We're certainly aware of the debates that are going to occur.
I don't care where you are in the world, people are aware of what technology is available to others. If you're in Nairobi, you're certainly aware of the iPhone.
Long before I ever saw the desert I was aware of the mystical overtones which the observation of nature made audible to me. But I have never been more frequently or more vividly aware of them than in connection with the desert phenomena.
We constantly run lines together before every show too, and then there's a long, traditionally long, story to tell the audience every show. Today, we're doing it twice.
I didn't know Michael Heizer until I was preparing for my "Earthworks" show in 1968, and somebody called and told me to look at his work. Heizer had already made land art before any of the others and was deeply into it. But he was very young and working out West, so I wasn't aware of his work until he came and showed it to me.
People have been dealing with health long before there was science, certainly before nutrition science. We're constantly reading about scientific studies that support old wives' tales.
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