64Firebird
New member
I feel like I'm stuck playing the same licks over and over again. How can I get out of this rut?
Improvising.
- Thread starter 64Firebird
- Start date
mixmkr
we don't need rest!!
if you're playing by ear...maybe learn some new "licks" from your favorite sources.
HOWEVER:
try stepping outside the arena of playing licks. Try and come up with [melodic?]ideas that express what you want to say when you play. I think being able to hear what your fretboard is going to do, before you lay your fingers on it, is more important than expanding your bag of licks. Sure...people fall back on their comfortable [blazing "Freebird" for example] licks that their fingers find easily. But knowing when your fingers jump around the fretboard, you can easily hum your notes along too...of course, maybe humming in your head...unless you're Geo. Benson..
Catch my drift? Play with your brain instead of finding "easy" riffs to fall back on. I'll step out on a limb and dare say Hendrix appeared like he used this method...
Then....
there's music theory...
HOWEVER:
try stepping outside the arena of playing licks. Try and come up with [melodic?]ideas that express what you want to say when you play. I think being able to hear what your fretboard is going to do, before you lay your fingers on it, is more important than expanding your bag of licks. Sure...people fall back on their comfortable [blazing "Freebird" for example] licks that their fingers find easily. But knowing when your fingers jump around the fretboard, you can easily hum your notes along too...of course, maybe humming in your head...unless you're Geo. Benson..
Catch my drift? Play with your brain instead of finding "easy" riffs to fall back on. I'll step out on a limb and dare say Hendrix appeared like he used this method...Then....
there's music theory...
Thinking outside the box
Take note of the patterns your using when you solo and try to break out of 'em. Find something that you dig but can't play and learn it. Avoid "stock" note choice.
Sometimes it helps to step outside your normal genre of music. I grew up playing hard rock & metal but I've also played in cover bands doing oldies, blues, folk and even played fretless bass for a while in a bluegrass group.
My good friend and drummer has turned me on to some cool jazz & classical stuff. Trying to cop some of the horn & piano stuff is quite a challenge. Transposing riffs from other instruments is a great way to get ideas that will break you out of your rut.
Take note of the patterns your using when you solo and try to break out of 'em. Find something that you dig but can't play and learn it. Avoid "stock" note choice.
Sometimes it helps to step outside your normal genre of music. I grew up playing hard rock & metal but I've also played in cover bands doing oldies, blues, folk and even played fretless bass for a while in a bluegrass group.
My good friend and drummer has turned me on to some cool jazz & classical stuff. Trying to cop some of the horn & piano stuff is quite a challenge. Transposing riffs from other instruments is a great way to get ideas that will break you out of your rut.
64Firebird
New member
I don't seem to have any trouble writting a melody. I just can't come up with one on the spot. I always prefer to plan out a solo in advance.
I wouldn't say I know music theory, but I have studied it. I've learned to play guitar from watching videos and reading books. Lately I've been fooling around with the harmonic miner scale in a miner blues progression (it has that strange middle Eastern sounding note) with a little success. But, I want more!!!
Thanke for the advice!
I wouldn't say I know music theory, but I have studied it. I've learned to play guitar from watching videos and reading books. Lately I've been fooling around with the harmonic miner scale in a miner blues progression (it has that strange middle Eastern sounding note) with a little success. But, I want more!!!
Thanke for the advice!
AlChuck
Well-known member
Miner scale! LOL! Do you need those special helmets with the lights to play those!
Look into the ascending form of the melodic minor scale, often called the "jazz" minor scale-- very useful and modern-sounding. It's also called the superlocrian mode when you start it on the 7th tone of the scale.
Pentatonic scales are also amazingly useful if you try them in ways other than the obvious, e.g. the minor pentatonic scale beginning on the second degree for a minor chord (D minor pentatonic over a C minor chord).
Look into the ascending form of the melodic minor scale, often called the "jazz" minor scale-- very useful and modern-sounding. It's also called the superlocrian mode when you start it on the 7th tone of the scale.
Pentatonic scales are also amazingly useful if you try them in ways other than the obvious, e.g. the minor pentatonic scale beginning on the second degree for a minor chord (D minor pentatonic over a C minor chord).
participant
New member
Dont know how well this applies but...
...last night watching some dumb tv show (5th Wheel?) I just held the guitar there, fingerpicking with my mind on the show... not paying attention to the fretboard or anything... and came up with some interesting stuff... maybe it was the connection to the right brain? Just not thinking about it? Was concentrating on the TV, but the guitar was makin some cool sounds... surprisingly melodic, considering I was just skipping around randomly.
Playing stuff backwards could help, too
EDIT: Also agree with mixmkr's comments... don't really believe your fingers ever "acquire" the magic ability to come up with something on their own. you have to almost hear it in your head first. Then, when you go to play it... you may hit a "wrong" note... but that "wrong" note could make the riff.
...last night watching some dumb tv show (5th Wheel?) I just held the guitar there, fingerpicking with my mind on the show... not paying attention to the fretboard or anything... and came up with some interesting stuff... maybe it was the connection to the right brain? Just not thinking about it? Was concentrating on the TV, but the guitar was makin some cool sounds... surprisingly melodic, considering I was just skipping around randomly.
Playing stuff backwards could help, too
EDIT: Also agree with mixmkr's comments... don't really believe your fingers ever "acquire" the magic ability to come up with something on their own. you have to almost hear it in your head first. Then, when you go to play it... you may hit a "wrong" note... but that "wrong" note could make the riff.
64Firebird
New member
Thanks for the advice! I guess I'm just at one of those places where it seems like I'm stuck. I've been thru them before as I'm sure we all have. Maybe I need to find a good teacher.
milesmaxwell
New member
improv gimmicks
You want riff tricks?
If you're a phrase-oriented lead player, you're on the right track with alternative scales. In addition to the harmonic minor scale and the melodic scale, try the whole tone scale over augmented chords, playing in all modes and chromatic (all twelve notes) runs. I especially like the chromatic stuff really quick a la charlie parker bop stuff to wow a listener. I play them so quickly that the notes are barely perceptible but color the runs a little.
I said "color the runs." heh.
I even use the old dexterity training in solos sometimes. You can spell out (arpeggiate) all the chords 1-3-5-7-2-4-6-8 as they pass. Depending how fast you are, you might be able to get through 1-3-5-7-2-4-6-8-3-5-7-9. Then, when you get that, try it backwards...
miles
You want riff tricks?
If you're a phrase-oriented lead player, you're on the right track with alternative scales. In addition to the harmonic minor scale and the melodic scale, try the whole tone scale over augmented chords, playing in all modes and chromatic (all twelve notes) runs. I especially like the chromatic stuff really quick a la charlie parker bop stuff to wow a listener. I play them so quickly that the notes are barely perceptible but color the runs a little.
I said "color the runs." heh.
I even use the old dexterity training in solos sometimes. You can spell out (arpeggiate) all the chords 1-3-5-7-2-4-6-8 as they pass. Depending how fast you are, you might be able to get through 1-3-5-7-2-4-6-8-3-5-7-9. Then, when you get that, try it backwards...
miles
64Firebird
New member
I'm not a fast player, but I'll give it a try.
Thanks.
Thanks.
philboyd studge
New member
Geez, you guys are smart. I going to have to try some of this stuff out as I've been boring myself a lot lately also.
My main gig is at a resort where I'm wired to the house system and I walk around the property and make stuff up. I don't really know how I do it, but I think it usually starts by creating a theme to a predetermined style and dynamics. Then I'll add a melody of sorts, and if after awhile I can't think of a bridge I'll give up and move on to something else, or go inside where the p.a. is and fire up the minidisc accompanyment and sing a few.
One thing I've noticed is that there's a tendancy of both guitarists and keyboardists to overplay, myself included. Because we can, we don't have to breathe. I tend to have more luck melodically if I try to image from a vocal or horn standpoint and allow more space.
My main gig is at a resort where I'm wired to the house system and I walk around the property and make stuff up. I don't really know how I do it, but I think it usually starts by creating a theme to a predetermined style and dynamics. Then I'll add a melody of sorts, and if after awhile I can't think of a bridge I'll give up and move on to something else, or go inside where the p.a. is and fire up the minidisc accompanyment and sing a few.
One thing I've noticed is that there's a tendancy of both guitarists and keyboardists to overplay, myself included. Because we can, we don't have to breathe. I tend to have more luck melodically if I try to image from a vocal or horn standpoint and allow more space.
Aaron Cheney
Favorite Chord: C 6/9
Rutbuster 101
Idea #1: Each time you pick up your guitar, before you play a single lick, force yourself to play something you have never played before.
I try to do this, and it isn't really that hard. It's kind of akin to the old songwriting adage "don't edit when you write". Just let your fingers play something completely random, without regard to any scale, chord, arpeggio, or lick. If you do this, I gaurantee you will surprise yourself.
Idea #2: Play over chords. Too often us guys plug in all by our lonesome and just start whippin' out the pentatonic licks. They are easy, and they sound great when you're playing by yourself, but they are all gravy and no potatoes.
Do this instead: record some chords to play over. Not power chords - COLORFUL chords. Get a jazz progression book and copy some of them onto tape. Play along. Learn how cool it is to land on the 7 over a major 7 chord.
Idea #3: Yeah, I do it too: I see the fretboard as nothing more than a series of pentatonic boxes, and regardless of which box (key) I'm in, the actual lick patterns are the same.
Well, try this: translate your licks to another scale pattern. Take your favorite pentatonic lick - the one you always catch yourself playing - and learn it three frets up the fretboard in the major scale position.
For example: you're playing in A minor, with the root being the 5th fret on the low E string. Your pinky is landing on "C" (8th fret, low E string), the relative major. Slide your hand up so that your middle finger is on that fret, the classic "C" major scale position. Now re-learn that familiar lick, using the exact same notes, in the position.
It can be tricky. Many of the "hammer-ons" and "pull-off's" you rely on won't work. But trust me, you will be breaking some habits.
Idea #4: Learn a sax solo. Learn a clarinet lick. Study a trumpet line. All musicians fall into ruts because they are easy to finger or cliche on their given instrument. But what might be easy on a sax or clarinet might not be so easy on a guitar, and vise versa. Dust off your Kenny G CD and try not to gag. Or better yet, Miles or Charlie Byrd or Dizze or Benny Goodman.
ok............I'm done.
Aaron
http://www.voodoovibe.com
Idea #1: Each time you pick up your guitar, before you play a single lick, force yourself to play something you have never played before.
I try to do this, and it isn't really that hard. It's kind of akin to the old songwriting adage "don't edit when you write". Just let your fingers play something completely random, without regard to any scale, chord, arpeggio, or lick. If you do this, I gaurantee you will surprise yourself.
Idea #2: Play over chords. Too often us guys plug in all by our lonesome and just start whippin' out the pentatonic licks. They are easy, and they sound great when you're playing by yourself, but they are all gravy and no potatoes.
Do this instead: record some chords to play over. Not power chords - COLORFUL chords. Get a jazz progression book and copy some of them onto tape. Play along. Learn how cool it is to land on the 7 over a major 7 chord.
Idea #3: Yeah, I do it too: I see the fretboard as nothing more than a series of pentatonic boxes, and regardless of which box (key) I'm in, the actual lick patterns are the same.
Well, try this: translate your licks to another scale pattern. Take your favorite pentatonic lick - the one you always catch yourself playing - and learn it three frets up the fretboard in the major scale position.
For example: you're playing in A minor, with the root being the 5th fret on the low E string. Your pinky is landing on "C" (8th fret, low E string), the relative major. Slide your hand up so that your middle finger is on that fret, the classic "C" major scale position. Now re-learn that familiar lick, using the exact same notes, in the position.
It can be tricky. Many of the "hammer-ons" and "pull-off's" you rely on won't work. But trust me, you will be breaking some habits.
Idea #4: Learn a sax solo. Learn a clarinet lick. Study a trumpet line. All musicians fall into ruts because they are easy to finger or cliche on their given instrument. But what might be easy on a sax or clarinet might not be so easy on a guitar, and vise versa. Dust off your Kenny G CD and try not to gag. Or better yet, Miles or Charlie Byrd or Dizze or Benny Goodman.
ok............I'm done.
Aaron
http://www.voodoovibe.com
Aaron Cheney
Favorite Chord: C 6/9
And by the way.......
I really like AlChuck's suggestion regarding the melodic minor. Now how does that work again? Ascending it's exactly the same as the major scale with the exception of the flatted third, but descengind it's pure minor? Is that right? Where the heck is that jazz theory book I used to have...........
Gonna hafta givit a try.
Aaron
http://www.voodoovibe.com
I really like AlChuck's suggestion regarding the melodic minor. Now how does that work again? Ascending it's exactly the same as the major scale with the exception of the flatted third, but descengind it's pure minor? Is that right? Where the heck is that jazz theory book I used to have...........
Gonna hafta givit a try.
Aaron
http://www.voodoovibe.com
AlChuck
Well-known member
Aaron,
Correct, the ascending form is just like a major scale except for the flatted third, and descending has the seventh and the sixth flatted, same as the natural minor scale. But just play the ascending form as follows:
Over a dom 7 chord, up a fifth (or, you could name it the superlocrian scale starting on the flat fifth, same thing).
Over a dom 7 alt chord with a natural 13, e.g. D13b9, down a whole step (or, the superlocrian starting on the sixth).
Over a dom 7 alt chord with a flat 13 (that is, a raised 5), e.g. D7#5#9, up a half step (or the superlocrian starting on the 1).
Over a minor 7 b5 (half diminished) chord, up a minor third (or the superlocrian starting on the 2).
Killer stuff in there...
Correct, the ascending form is just like a major scale except for the flatted third, and descending has the seventh and the sixth flatted, same as the natural minor scale. But just play the ascending form as follows:
Over a dom 7 chord, up a fifth (or, you could name it the superlocrian scale starting on the flat fifth, same thing).
Over a dom 7 alt chord with a natural 13, e.g. D13b9, down a whole step (or, the superlocrian starting on the sixth).
Over a dom 7 alt chord with a flat 13 (that is, a raised 5), e.g. D7#5#9, up a half step (or the superlocrian starting on the 1).
Over a minor 7 b5 (half diminished) chord, up a minor third (or the superlocrian starting on the 2).
Killer stuff in there...
64Firebird
New member
More great advice! Thanks again guys.
Tonight, I went to a Blues fest and saw Chris Duarte. He blew me away! I was really paying attention to what he was doing and I got a hell of a lot of insperation.
Tommorow, I'll be seeing Buddy Guy!
Tonight, I went to a Blues fest and saw Chris Duarte. He blew me away! I was really paying attention to what he was doing and I got a hell of a lot of insperation.
Tommorow, I'll be seeing Buddy Guy!
Dude! I've been listening to Chris Duarte for a long time! He's amazing... If any of you guys get a chance try and check out Bugs Henderson sometime... I don't know how often he leaves TX anymore, but he's in his 70s and still rips it up on stage... I got to see him in April and he still shows up in the sleeveless black T-shirt and cranks out the blues like no one else. Ok, now that I've gone completely off topic, I guess I'd better get back on it... what I do when i'm in a rut is to actually try picking up some tab or music of someone else's. While i know theory and all the stuff about the flatted 3rd 6th and 7ths... I hate using it... what I do it look at what someone else has done and think about how to use that with something else that I already know... but i agree that playing over a chord progression helps and trying to play more sparingly is something almost every guitar player needs to do... someone I really listen to when i realize I'm playing too much is Mark Knopfler's solo stuff... he just has this amazing vibe in his music and stuff like that really inspires me. Just my thoughts though...
I've stopped playing for 6-9 months several times.
Mostly because I was broke and had to pawn off my guitars
But once I got back into it, their was definitely a noticeable jump in my understanding of the guitar.
I don't recommend such a long, extended break as I've done But take some time away, and get hungry again. Take a week off, do something completely different then you normally would. I think I remember George Lynch mentioning in an article that he would stop playing for awhile when he was getting in a rut.
I sometimes also make it a point not to write with a guitar. Then I'm forced to think more musically instead of falling into muscle memory patterns.
Another thing to do is to transpose one of your songs into another key. This can be quite dramatic and yield some really interesting results that can spark your creativity.
Mostly because I was broke and had to pawn off my guitars
But once I got back into it, their was definitely a noticeable jump in my understanding of the guitar.
I don't recommend such a long, extended break as I've done
But take some time away, and get hungry again. Take a week off, do something completely different then you normally would. I think I remember George Lynch mentioning in an article that he would stop playing for awhile when he was getting in a rut.I sometimes also make it a point not to write with a guitar. Then I'm forced to think more musically instead of falling into muscle memory patterns.
Another thing to do is to transpose one of your songs into another key. This can be quite dramatic and yield some really interesting results that can spark your creativity.
64Firebird
New member
stump said:
Yes it was! My son and I were standing next to him as he came of the stage and walked through the crowd!
Fangar
New member
Some good ideas here. I also find that I personally tend to write more of a broad range of music genres and that I really learned some cool stuff when listening to types of music that I usually didn't listen too. If you immerse yourself in all types of music, you will tend to derive styles that encompass many genres. Just a rough example in my eyes would be like a Yngwie Malmsteen who appplied a very classical edge to his fusion type of music. If you listen to the same artists and styles over and again religiously, you will find that rut more often. Just my experience.
Fangar
Fangar