A Quote by Chuck Israels
Playing inside the changes means playing enough of the important notes of the chord progression at important times. A good solo might be very free, but every once in a while it loops or hooks into an essential note that describes the harmonic change.
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Even back then I really didn't enjoy playing chord changes, riffs, and solos when I was young. The only thing I enjoyed playing were these Robert Fripp-type double-picked loops that no one wanted to hear, including me; I just liked playing them.
After 35 years of bone-crushing rock guitar playing, I'm finally starting to get my head out of the harmonic sand and learning how to play over chord changes.
I realized by using the high notes of the chords as a melodic line, and by the right harmonic progression, I could play what I heard inside me. That's when I was born.
I think there's something that feels so good about a 1-4-5 chord progression. It's a very standard chord progression, and it just feels good to the ears.
As the chord changes go by, I don't so much think about a static chord voicing changing. I just see the notes on the neck change.
Well, John Doherty's playing was very unique. He bowed a lot and used staccato, while I slur a bit. I bow a lot as well, but I do a bit of playing a few notes with the one bow. As you go south there's more slurring with the bow. As you go north there's more bowing every note. But sometimes you get the combination of the two in Donegal.
I knew I had to have a hit. I would get no more chances. Analyzing what they had in common I discovered they had many similar elements: harmonic rhythm, placement of the chord changes, choice of harmonic progressions, similar instrumentation, vocal phrases, drum fills, content, even the timbre of the lead solo voice. I decided to write a song that incorporated all these elements in one record.
The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.
Team sports are very important for shaping personalities. It's important that kids understand the mentality behind playing team sports and playing for one another and playing with friends.
I was always free because I felt free. It's very important to be free inside. The most important thing is to feel free.
A guitar is so tactile, and when you're playing bends - and bending notes is a big part of my style - there are so many notes within the note you're bending from and the note you're bending up to.
Note-taking is important to me: a week's worth of reading notes (or "thoughts I had in the shower" notes) is cumulatively more interesting than anything I might be able to come up with on a single given day.
A good way to work on alternate picking is to choose three or four notes, and work on those. Too often, players who are trying to improve their right hand dexterity get hung up by playing too many notes with the left hand.I hear a lot of players running whole scales from the sixth string to the first , and playing them really sloppy.Keeping it very basic-and using only a few notes-and playing slowly with perfect rhythm is a task in itself.
I think it's so important when you're playing a character that you can't judge the person you're playing at all. It's a judgment-free zone. You have to just go for it.
Playing live is about going for it .. it's about bringing it ... you should see a bunch of people trying out stuff, actually performing, instead of learning the record and recreating it note for note. I can't play the show the same way every night .. I really need to be in a creative environment, every night or I'll go nuts ... my manager accuses me of singing just long enough to get me to my next guitar solo - which is true.
I didn't want to take the guitar solos down note-for-note, but more or less use them as a map, and keep all the hooks from the guitar playing, and let myself come through.
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