MANRING MICHAEL, THONK. Chitarra (Steve Morse e Alex Skolnick) e basso.
SHEET MUSIC BOOK WITH TABLATURE
SPARTITI PER CHITARRA E BASSO.
Well, it's finally here. This is going to be my last monthly article for a while. After more than five years of writing this column, it's time to take a break. I need to recharge my batteries and escape from the wonderful but daunting task of coming up with a new instructional guitar article every month. However, I'm dreaming up lots of ideas for the future, and in all likelihood I'll return before you know it with loads of fresh ideas. In the meantime, a lot of things are going on which require more attention than I can give while still maintaining the quality you expect in this column. I'd like to take this opportunity to describe what's going on, then leave you with some closing advice. Right now I have a bunch of things in the works. My latest project features guitar, saxophone, bass, drums and percussion, and it's a far cry from anything I've done before. It's raw, funky instrumental music, a lot of it inspired by '70s crime/suspense theme songs. Although it is energetic enough for rock fans, the grooves make it perfect for jazz improvisation, with a lot of interplay between the instruments. It's a great opportunity to put to work a lot of the ideas I've presented here over the years. Will it become a national act? Who knows, but at the very least, this project has been getting a very positive response by those who have seen it so far. Even if it's destined never to break out of the Bay Area here in California, it's so enjoyable that it's still worth it. Current plans are to record a high-quality demo and release it independently. Keep an eye out for Alex Skolnick & The Skoltones you'll see an update with information and a mail-order address in these pages soon enough. The other thing going on, which may or may not come as a shock, is that I've been attending college part time. Now, before you think I'm giving up on music, relax. In fact, going to college is probably the best thing I can do for myself for several reasons. Many of you may be relieved to know you can earn a decent living from teaching and doing guitar clinics, but there's still the harsh reality of the music business: Many musicians are forced to get regular jobs that force them to scale back their practice schedules or quit their instruments entirely. I'd hate to be in that position, but as my name recognition subsides and the music industry becomes increasingly hostile toward serious musicians, there are no guarantees I will be able to continue making a living at this level. Of course, I hope I can, but at this point I have to be realistic. An advantage of going back to school is that it opens up a lot of possibilities; it's tough to get hired without a degree, no matter who you are. I'm taking formal music studies, which is new for me since I learned guitar through self-teaching and private lessons. I'm also studying literature and creative writing. Creativity comes in many forms, and writing this column has instilled in me the desire to expand this knowledge. (l hope it's done the same for you.) I've got some great ideas for stories and insight on the music business, as well as instruction books. So in the meantime, whether I end up with a record deal for the new project, a degree, or both, it feels like I'm on the right track. For the first time I'm making the most of myself as an artist, and I'm much happier than I've ever been. I'd like to close with some parting advice for all of you. Here are three fundamental problems I have noticed in students, whether at clinics or in private lessons. If any of these apply to you, you might want to consider my suggestions.
Bad Pitch
In many ways, the guitar is like the human voice. There are many references to making the guitar "sing," and it's a fitting analogy. And just as it is unpleasant to listen to a vocalist who is off key, the same is true of guitarists. One of the worst habits of guitarists is bending notes and chords out of tune unintentionally. Try holding a single note or a chord, and look at the strings. The space between them should be perfectly even, as ifyou weren't touching the guitar. When bending a note intentionally, you should always have a target note you're shooting for, matching the pitch of that note exactly. Practice by playing the target note first, and keep the pitch ingrained in your mind. It helps to play over a chord that is played by a friend or that you recorded on tape. It also helps to play along with an album, especially one with a good guitarist. Always make sure the guitar is in tune before practicing your bends.
Excess Vibrato
This one drives me nuts! Even many advanced players are guilty of it. Like pitch, vibrato applies to guitar in much the same manner as the human voice. The purpose of vibrato is to enhance a note that is held. In general, it is best not to vibrate a note as soon as it is struck, but to wait until it has had a chance to ring, even if for only a split second. If everything you play is laced with vibrato, it sounds ridiculous. For an exercise, play some licks with absolutely no vibrato, keeping all the notes in perfect pitch. If this is hard to do, you need to break the habit of excess vibrato. Vibrato can be an excellent way to enhance your notes, but you need to be in control of it.
Poor Sense of Timing
This point can't be emphasized enough. Many players spend countless hours practicing scales and licks, only to get stuck because they haven't developed their sense of timing. Metronomes, drum machines, and albums are all excellent sources of a pulse, and it helps to use them when you practice. Even if you can tap to a metronome perfectly, it is important to have an understanding of the possibilities that lie in between the basic 4/4 beats. It is a challenge to play eighth notes, 16th notes, triplets, quintuplets, and sextuplets with good timing. If you practice without a pulse, you may be playing incorrectly, and it is harder to gain control of your playing. Try analyzing the timing of the licks you learn, and make sure that you have them right before trying to use the licks in a song. Hopefully this advice will come in handy. I can't thank you enough for the support you've given me over the years. Your letters and kind words have been more than appreciated.
1. Big Fungus
2. Snakes Got Legs
3. Monkey Businessman [Live]
4. Disturbed
5. On a Day of Many Angels
6. My Three Moons [Live]
7. Cruel and Unusual
8. Bad Hair Day
9. Adhan [Live]
10. You Offered Only Parabolas
11. The Enormous Room [Live]
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