Know your notes!

Learning guitar gives one the opportunity not only to learn how to play a great, widely utilized instrument, but also how to read music notation and tablature.

In my experience, a lot of guitar players are reluctant to learn how to read standard, western-classical music notation. A tool that would expand the player's skills, ability to create, and general knowledge. A typical guitar student wants to go immediately to tablature as it is rather easy to understand and read.

On the other end, some educators/teachers are reluctant to teach their students about tablature, and only want them to know western-classical music notation, because tablature is often regarded as "impure" and is less descriptive in notation.

I think that western-classical notation offers the best representation of the music one is about to learn/play. It shows rhythm, intervals, chords, dynamic and accent markings, range, and can be much better interpreted by musicians especially, but also non-musicians.

Typical tablature can show you where your fingers should go, and some basic playing notes such as slurs (hammers/pull-offs), glissandos (or slides), bends, and some ties. Tablature also has the problem, that a lot of it is created by amateur players whose ears are not fully developed, leading to mistakes in the notation. However, most new or experienced guitarists could pick up a piece of paper with tablature on it, and attempt to play it with little training.

There is a common misconception that tablature is a modern invention. The truth is that tablature has been around since the middle ages, originally for Organ music, and then used for lute and vihuela. Much of the Renaissance era tablature was written as it is today, but featured rhythmic notations above the tab, similar to how some publishers now put both staff and tab notation together.

My advice is to learn both types of notation, expand yourself. You should also study lead sheets and chord charts which will be easy to pick up after studying staff notation. Not only will you be better educated in the area of note reading, you'll be a better musician overall, and can have far more fun. You will be able start picking up random songs and playing on the spot with far less struggle.

Beat Foundation

I have created a Finale score of 6 basic drum beats. Starting with a simple quarter note pattern in the high-hat, bass drum, and snare, and then adding in eighth note parts in the snare/bass in the later beats. These are beats you will hear in almost any rock/pop/hip-hop/r&b/metal, etc tune. Especially, the very first one which has been used brilliantly throughout the careers of Lars Ulrich (Metallica), and Phil Rudd (AC/DC). These guys took a simple beat that not only stood out while they played it, but really kept their band's groove in tact.

It is important that when you are practicing, whether you are advanced or beginner, to start slow. Our muscle memory can be unforgiving, and even a minor goof while playing can stick with you for some time. First, look at what you are about to play. Second, think about how you will play it. Third, start playing slowly. Finally, when you are comfortable you can pick up the pace. Use a metronome to keep time accurately, too!

How It Came To Be (part 1)

My origin.

A never ending cycle.

Reincarnating with every step.

I am before I was.

But I will, before all.

In 2002, I was introduced to many incredible things. One of those things was, "Giant Steps". The song first, then I went to Tower Records and purchased the album. Never had I heard such a fantastic sound. Prior to the great Coltrane tune, my only real Jazz experience was with Miles Davis's "So What". An equally hypnotizing work, but in a completely different way. While Miles drew me in with his cool blue fervor, Coltrane got my attention through his blazing fast intensity. "Giant Steps" had everything I looked for in music at the time. It was fast, smart, virtuosic, and with all the technical aspects it presented in itself, it was completely human, soulful and beautiful. Of course, that opinion is where I have come today. At the time of introduction I cared only about one thing. SPEED.

To me, Jazz was a slow and old genre. Sure, it was not as bad as I initially thought (as "So What" proved to me), but I still didn't believe it was interesting or worth my time. It was Rock or die for me. But what is a kid to do with himself when something like "Giant Steps" makes its way into a steady diet of Metallica, The Damned, and Pearl Jam? Clearly, the answer is to go buy the album (Giant Steps), listen to it, and then put it on the shelf for mild amusement every now and then for 4 years. As interestingly speedy as it seemed, "Giant Steps" did not make me fall in love with Jazz as I thought it would.

Khan

Two notes, many rhythms.

Syncopation rising.

All the time the player,

resolving.

Ending the idea with new

Contrasting, dynamic heights.

Dark and moody the timbres growl.

Taking oxygen from the scene,

manipulating.

Freeing.

Determining the next conscience.

Concise improvised situations

Imposed on every ear.

Droplets flourishing not much longer than

they decay.

An Ultimatum.

The silence is not an end, but a new.

Tradition updated.

Tradition revisited.

Tradition to transcend the times.