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21

I write from personal experience -- I now always wear earplugs as an audience member in big gigs. When music is very loud, it impairs your ability to hear detail. Pitch and even rhythm become difficult to discern. At a certain level of loudness, your brain "fills in" the detail. This is why it's a good idea to play demo tapes loud to A&R men, but keep ...


18

Yes. The key signature of Db has a Bb, Eb, Ab, Db, and a Gb. Those notes are flat unless otherwise noted no matter the octave. For any key signature on any staff, you will only ever see the accidentals written once in a typical pattern. The octave the accidentals are in are entirely based on the clef used, but apply to all octaves. You can think of the ...


16

YES! Of course. That's the best thing to do. Every time you can't play a song at its normal bpm / speed (tempo), decrease the speed to a point where you feel comfortable with, and practice it there. After some practice, you'll be able to increase the bpm/ speed and after a while, you'll be able to play it at its normal speed. This is good practice for ...


14

There's an excellent book by Gerald Klickstein called The Musician's Way that is the best treatment of this topic I've come across. Klickstein is a guitarist as well, but the methodology he advocates is applicable to any instrumentalist Keep a practice log Split your practice time among these broad categories: New material Developing material ...


13

All types of practice work well at that level, the key is to not spend too much time on any one thing. Different practice topics are draining in different ways so change between practice types often to maintain concentration, also take regular breaks. e.g. -practicing scales, arpeggios and chords is physically draining but not mentally. -Sight reading is ...


12

Play it slow but correct and then speed up. Try to play it perfectly, as slow as you need it to be. It's better to be able to play it slowly and well then to play it fast and sloppy. Your friends are right, a metronome can help. First, set it to a speed at which you can comfortably play it. From there on, put it a bit faster each time. The song is at 120 ...


12

The important thing is to feel the pulse of the tempo in your head as you play. Tap your foot if it helps you. When listening to music, tap your foot, clap or drum on your legs, to reinforce that instinct for rhythm. Do, however, bear in mind that when playing unaccompanied, it's not always vital to keep a rigid tempo. Some pieces benefit from expressive ...


11

Definitely. For one thing it's much easier to memorise a piece if you understand the theory behind it. Imagine memorising a seemingly random sequence of letters. Now imagine how much easier it is to memorise a poem, because you know how the letters fit together to make words, the words go together to make lines, the lines have a rhythm, some of the words ...


11

Playing live is very different to practicing. You will find you get an adrenaline rush, maybe nervousness, perhaps you will have astonishing vibrato (from your hands shaking - this happened to my at my first couple of gigs). You will feed off the audience's energy and responses. So initially, I would say don't worry about knowing them too well - it will ...


10

Walking away from something and letting it "marinade" is a learning technique known as incubation. When conscious, incubation occurs in the sub-conscious mind where your brain will continue to essentially run series of diagnostic tests addressing the problem it has been presented with. When sleeping, incubation occurs in the unconscious mind, and some ...


10

How much time should your son spend practicing piano per week? That implies he doesn't particularly love piano yet. Or you wouldn't be able to tear him away from it. Give him a schedule of 30 mins (broken up into a couple well defined tasks) per weekday starting at the same time every day. Have him show off to you when practice time is -over-. Ask if he ...


10

I don't see why you wouldn't be able to achieve all of your goals within a year - they are a perfectly reasonable. 1.5hrs of practice a day is a typical average of many college musicians, but I digress. Let me address your questions directly: Is it possible, within my barriers, to achieve my goals? What would a weekday excercise (1.5 hours) look ...


9

Leaving out notes is rare; usually you would arpeggiate. In fact, when this piece was written, it was common to arpeggiate smaller chords, too. Here you can hear Scriabin himself play Op.11 No.13. He arpeggiates the big chords and some of the others. None of them are notated in the score.


8

As has been said so many times - get a good teacher - at least for a while. I believe anyone can learn to play an instrument by themselves - if they live long enough !! A teacher will guide you to a suitable sax, be it soprano, alto tenor or baritone (quite expensive). Watching videos and using tutor books is good, but they won't answer a question you ...


8

There are a couple of differences between a metronome and a drum machine. A metronome just keeps a regular beat. Some electronic metronomes give a slightly different click to indicate the start of a bar, but that's all. Drum patterns have lots more elements that help keep you in time -- for a typical rock pattern, emphasis on the first beat, snares on the ...


8

It works both ways. Don't forget that to your mate, you're the better player, mentor, teacher. Often, it can make you play in less complex ways, maybe to not intimidate `lesser players.And complex isn't often best. As Mr The Bard says, teaching something will always make sure you learn it better. To play with far better players can be scary, if you let it, ...


8

As humans, we're not naturally inclined to play music in time. Our speech while rhythmic at times is vastly more complicated rhythmically than the majority of music out there. Just check out this article by Steve Vai in which he talks about polyrhythms. He talks about how one of the toughest challenges he has ever faced in music is transcribing speech. ...


7

The biggest mistake that many starting-out (and professional) keyboardists, including pianists, make is sitting at the piano incorrectly which results in playing with tension. Make sure you learn everything you can about correct bench height (generally, your forearms should be parallel with the keybed), sitting in a relaxed manner and relieving all muscle ...


7

To actually play the bass/accompaniment/melody simultaneously is, as you say, a huge leap. A smaller, effective jump is to use what you already know, but swap it around a bit, to play this like Billy does. Each chord will have basically 3 notes. At the moment, you say you're playing the root with the left hand. That's fine, but if you split the chord notes, ...


7

Sounds like you need to address several issues. You're probably squeezing the guitar neck way too tightly using your thumb more as a vice than a guide. Not necessary at all. You may need to change the angle you hold the guitar at- it could be pulled into your body.Let it out so that your fretting arm has fresh air all around it : too many players have the ...


7

In general, your technique isn't going to be fundamentally different than if you are alternate picking, and general good picking technique will apply: Keep your right hand and arm relaxed Hold the pick loosely Move your hand in parallel with the strings (i.e. don't scoop) Monitor your pick strokes to ensure that there is no wasted motion Monitor the tone ...


7

the basic fragment is just using hammerons and pulloffs. have your first finger on the 12th fret, 3rd on the 15th and 4th on the 17th. Play the 15 with your 3rd finger, hammeron to 17 with pinkie, pulloff to 15, then pulloff to 12. the way to practice this baby is to get a metronome and slooooooow it down. I assume the rhythm is straight 16th notes but ...


7

I think it's a great way to practise. You haven't got time for boredom or tedium to set in. In 10 minutes, as long as the guitar is in tune and you can just get on with it with no interruptions,and you have little tasks to complete in the given time,it's got to work.Longer sessions are hopefully available at some point in the week, but short practices ...


7

I think that the differences you mentioned have more to do with the size of the groups involved than their preference for classical or rock music. Also, I'm willing to wager that there is as much diversity in terms of goals among members of the same category (rock or classical) as there is between the two. You mentioned orchestral music, but that is only a ...


7

Practice Time: There is no ideal length of time for practising, especially for practising any one technique. However, an hour does seem like quite a long time for a beginner to be playing chords. It is quite normal for the ends of your fingers to become a little sore while playing, as you play more your fingers will become stronger and the skin on your ...


7

Learning production is like learning any musical instrument in a lot of ways. You first need to practice a lot to become very familiar with your software. The software is your instrument, you need to know it inside and out to become proficient at creating songs. For instruments, daily practice is the fastest way to improve, and the same goes with digital ...


6

This gets no easier when you get older. I'm 48 and still struggle to find time to practise. Here are some things that help me: Take lessons. It is dead embarrassing to turn up for a lesson having not practised the pieces you are working on. That helps spur me on. Sign up for performances. The orchestra I am in has a concert in five days time. I'm worried ...


6

The Aebersold practice tracks are pretty good, though they fall into the category of those with rhythm sections. The nice thing, though, is that they're in stereo—if you pan to the left or the right, the bass or piano track will drop out. As a guitar player, I used this a lot when working on my trio-style chops, panning to the side that had only bass and ...


6

The good news is that there is nothing magic about this; basically keep working at it and it will come. However its easy to get "stuck" and feel that you cannot make progress. Here are some suggestions to get through this: Break the bar in half. Play the last half first, then the first half. This will get you over the endless repetition of the first few ...


6

I used to play the cajon a lot with brushes, this way I could get a hi-hat, kick and snare sound. When hitting the snare and kick sounds while holding brushes you have to hit with the stick part of the brush to get a fuller sound especially when playing without mic. And the hi-hat sound comes natural from the brushes hitting the box. Without brushes I find ...



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