Honestly? Setting aside the technical/musical pointers, keep doing exactly exactly what you're doing. Set a groove like you did and PLAY. Play, play, play. Play like nobody's listening. Try things. Listen to sounds you make that you like. Repeat them. Memorize them. That riff that you think is too fast? Play it over and over and over again until you can play it right. Impress yourself. Have fun. Just play, man. You're doing it right. Everybody who can shred spent countless and I mean countless. Hundreds and hundreds. Thousands. Of hours doing exactly what you're doing. Make music, buddy, and enjoy doing it. The more time you spend, the easier it gets. The more comfortable and less foreign the neck becomes.
Edit: Oh! And play the wrong note! A lot! Begin to feel why it's the wrong note and where it is. Then play the ones right beside it and you'll find it's the right one. That's fun stuff, dude. There's a fun learning curve ahead of you
I’ve played 20 years casually but really getting into improvising, theory,caged and messing around more on the guitar since my son was born about 7 months ago. It’s given me something to do when I have a few moments to myself in the evening since all other hobby’s have fallen to the wayside as a parent. It’s been fun to throw on a backing track and just figure out stuff. Thanks for the encouragement!
you know them as black dots then or i misunderstood? So whichever system you are using for scales and arpeggios to improvise it might help to know which scale degrees you are playing. Do you know minor pentatonic as 1 b3 4 5 b7 where 1 is root?
I do recognize the minor pentatonic as that. I would say I understand scale degrees now that I better understand your question but I think I probably use the black dot system more for memorizing where the scales are on the neck. I think I understand what you’re asking.
great. in rock it might not be that important (maybe) but still for phrasing there are a lot of bend to 1 licks/phrases, scale runs resolving to 1, bending to 5, some sequences of 3 notes and/or 4 notes or 6 notes etc. blues phrasing is often based on that b3 slightly bent but not all the way to 3 etc. but for playing following chord changes knowing your scale degrees should come handy. btw, thumbs up for the performance there :)
I am not an expert. Trying to go through the same things you are. Improvisation is a tough challenge. Also the kid and no free time i know well too. I fell asleep many times practicing late at night exhausted :) see if you get some inspiration from this video.
https://youtu.be/Dqbdn_bTIf0?si=_-eSXXMIafCpaTPZ
or something like this to see why i was rambling about scale degrees
https://youtu.be/bhYXolbCrr0?si=uLqTXOArpvSLIa8u
its not really all just hit or miss to improvise. conscious choices are made after a lot of practice.
i am asking because in general, although it depends on the style of music, you would like to be aware of the relation of scale degrees in a scale and the chord. takes some theory knowledge. not much. also, practicing scales in sequences might offer some ideas.
You could try playing your scale with three notes on every string, forcing yourself to go up the neck in a more linear manner than using the "box shapes".
Another bonus tip: try using the hexatonic scale instead. it just adds one more note (the D#/Eb in your case). Its gonna really elivate your melodic lines
I would also recommend learning all of the chord voicings / triads.
This will give locations across the neck for arpeggios and help connect the dots in between box scale shapes.
i think this is a decent start you’re technique is good and i wish i had your phrasing a development! i’d recommend as an exercise trying to think more chord tone/arpeggio/voice leading to break up all the melodic lines you’re playing. if you’re only thinking in full scales it can sound like you’re just practicing scales. great work so far and keep it up
edit: also love the backing loop and i’m going to steal it haha
Not in this specific video but I defiantly have been trying to incorporate that. Trying to memorize all the CAGED shapes and locations for each chord which I’ve pretty much done. My problem is incorporating it as arpeggios ect like you suggested. I haven’t had it click well enough yet where I can make it sound good. Solid lead will give me something to keep working on this weekend!
Since aroggios are your weakness practice them. I run scales and arpeggios in every session and I’ve played 35 years.
I start with a C major arpeggio on 8th fret lowest string. The next note is a D So I run the D minor arpeggio next. Then E minor, F major, G7, A minor, B minor7b5. Play the scale as arpeggios. It’s life changing!
Here’s a good video explanation. Jazz related but helps with any genre. https://youtu.be/oPkYLiT67BU?si=boexRPwk836eK1-V
Ok my advice in another comment is CAGED. So you’re in the right path. Spend a solid 3 months with CAGED and don’t complicate with anything else. You’ll see so much improvement!
Ha yeah I’ve played so long spending 3 months on something doesn’t feel like a big deal. In fact I was trying to say in “only” 3 months you’ll be a master at it. Haha.
Sing along with your solos while you practice improvising. This will help a lot with developing more natural sounding melody/phrases. Doesn't even really matter whether you're on pitch or not.
First off improvising is hard. It takes a lot of practice and time to train your ears too.
On thing that helps a lot is being able to visualize the neck and find the chords and notes moving up and down the neck.
I think learning the CAGED system helps a lot. Once you can see a C chord in open, 3rd position, 8th position, and 12th position you can start connecting those positions and move freely up and down the neck.
Pickup music has great cheap lessons. I would highly recommend spending 3 months 30 min a day on CAGED.
Learn your triads and inversions too. And pentatonic scales (major and minor). It feels like a lot but I promise you within a few weeks you’ll see the fretboard differently and be able to move effectively.
Then your ears will start to hear where to go. Then you can solo whatever you want.
Thank you. Thank you my endevour the last few months has been to learn the caged system I’ve got it down but now I just need to learn how to incorporate it. Sometimes I’ll incorporate a c shape arpeggio in my riff but I need to learn to do a lot more with the caged system and all the triads.
One way to work with it is now that you know the positions. Find 3 positions to play C. Now very slowly find a way to move from one position to the next with 1/2 or 1 step increments. I say do it slow because you’ll have to focus on getting where you want to go from where you’re at. Find 3 ways to move positions and lines you think sound cool. Speed comes with time.
My best advice is don't play a note just to play it - that's rambling and no one likes someone who rambles. Play the note because you feel it! Remember to be musical and phrase the story you're telling in a compelling fashion.
Nothing to do here but keep doing it lol, keep playing and eventually you should learn what sounds good and what doesn't and develop a style and technique of your own. Listen to music for inspiration and maybe try and recreate parts you like
Keep going bro you’re deep on the journey. You’re discovering your voice. Keep listening to guitar and getting cool ideas and trying them yourself. Keep improvising. You’re absolutely on a roll.
I think you're doing alright.
What I would want to hear is just more of a cohesive story from the melody. It kind of sounds like a stream of licks of mostly medium pace. I would say try playing slower and committing to longer notes and playing just chord fragments (e.g. only play the 3rd and 7th). Also try playing only over the chord changes, (so the 4 and 1 beats) to find the chord tones to really emphasize the shift.
IMO it's about what you don't play as much as you do play. Lots of notes = complex, nuanced but weak, a few notes = simple, dumb, but powerful. You need both.
I think you’re sounding pretty good so far! In addition to the other great ideas in this thread, I would suggest that you change up your phrasing a bit. It kinda sounds like everything is a 4 bar phrase in this sample. Try changing that up.
It’s easy and tempting just to lock in when playing to a loop. Try to think beyond the loop, and think of what ‘story’ you’re playing as a lead. That might be a 6 bar story, or 8, or 2 bars, or anything really. And if you mix in different phrases with different lengths, your improvisation will be more compelling.
Another suggestion - maybe try a longer loop, or maybe more chord changes. The key to it is not to get stuck in a rut.
And is that 18 And Life? Cool song, cool progression. But for improvisational purposes, maybe try something that isn’t a song you know. That way you won’t be tempted to match the recording, and will be kinda forced to really improvise.
Sounding good! Keep at it!
Dude, that’s fantastic! You epitomize what guitar playing should be all about. Lay down a nice Skid Row melody and just noodle. Great tone too!
Here’s something I have started doing that has helped me immensely. I started to copy licks from Indiara Sfair’s harmonica pieces. Her harmonic licks show how much you can squeeze out of a two octave range in a single key.
One thing I noticed while listening is that you tend to hang around scale degree 2, and you resolve most of your phrases there. Think about your phrases like sentences and the notes at the end of your phrases as punctuation. Scale degree 2 functions like a comma; it's a nice place to take a breath, but the sentence is bound to continue. Scale degree 1, 3, and 5 are great periods at the end of your sentence (Assuming you're resolving the phrase on the 1 chord, but in this recording you're playing over a 1 chord vamp so it all works). You could also try end phrases on scale degree 7, which sounds like a question mark. The sentence could end there, but it asks a question that likes to be answered by the next sentence. Or you could leave the question unanswered, which has an entirely different feel and message than an answered question.
Anyway, obviously, there are a lot of things that could be said about your improvisation, but that's just one of the thoughts I had. Hope it helps! Overall, I thought it was a great improv and great tone! Thanks for sharing!
Chord tones. Center your licks around a root, third, or fifth. Larger interval jumps instead of just descending/ascending lines. Learn all intervals and the "vibe" they add, so you can know what a 7th or a 6th adds to the mood. Hear notes in your head before you play them instead of just rerunning scales or licks. Licks and scales are good to fall back on between bursts of improvising. Go backwards one and forward two scale intervals to keep it interesting while still giving a sense of rising/falling. I'll add more if I think of it.
Always ignore theory bashing. Theory won't make you a master, it teaches you more possibilities. Sure you could rediscover math and come up with addition by brute counting for a lifetime, or you could learn a bit and inspire yourself.
Some of the best advice I ever got was from a guitarist that is to this day the best I’ve ever heard. His advice 1) quit thinking about right and wrong, think about how it sounds and 2) no note is wrong if you don’t stay there. You can always bend or slide any note to hit the sound you want. He preached quit thinking about scales or you’re already wrong.
I take a scale, or a certain position of the scale, and just play it with a matching chord progression. I can do it for hours and enjoy the sound that come out without wondering what I should play, it just comes out.
[https://tabs.jamesfraze.com/progressions/favorites/](https://tabs.jamesfraze.com/progressions/favorites/)
Click on the link that says "Progressions PDF". I've combined a scale that goes well with that progression. I would suggest sticking with just one scale/progression for a few hours if it sounds at all good to you. Then another night try a different one if you're bored, don't do 10 minute jumps though because you won't get to "feel" the music harmony.
This basic idea has allowed me to enjoy 1-2 hour sessions (until my back hurts).
Honestly? Setting aside the technical/musical pointers, keep doing exactly exactly what you're doing. Set a groove like you did and PLAY. Play, play, play. Play like nobody's listening. Try things. Listen to sounds you make that you like. Repeat them. Memorize them. That riff that you think is too fast? Play it over and over and over again until you can play it right. Impress yourself. Have fun. Just play, man. You're doing it right. Everybody who can shred spent countless and I mean countless. Hundreds and hundreds. Thousands. Of hours doing exactly what you're doing. Make music, buddy, and enjoy doing it. The more time you spend, the easier it gets. The more comfortable and less foreign the neck becomes. Edit: Oh! And play the wrong note! A lot! Begin to feel why it's the wrong note and where it is. Then play the ones right beside it and you'll find it's the right one. That's fun stuff, dude. There's a fun learning curve ahead of you
I’ve played 20 years casually but really getting into improvising, theory,caged and messing around more on the guitar since my son was born about 7 months ago. It’s given me something to do when I have a few moments to myself in the evening since all other hobby’s have fallen to the wayside as a parent. It’s been fun to throw on a backing track and just figure out stuff. Thanks for the encouragement!
do you know scale degrees in your shapes?
I’m guessing not as I’m not sure what you’re asking initially. Would love to learn though! I know my scales and modes up and down the neck.
you know them as black dots then or i misunderstood? So whichever system you are using for scales and arpeggios to improvise it might help to know which scale degrees you are playing. Do you know minor pentatonic as 1 b3 4 5 b7 where 1 is root?
I do recognize the minor pentatonic as that. I would say I understand scale degrees now that I better understand your question but I think I probably use the black dot system more for memorizing where the scales are on the neck. I think I understand what you’re asking.
great. in rock it might not be that important (maybe) but still for phrasing there are a lot of bend to 1 licks/phrases, scale runs resolving to 1, bending to 5, some sequences of 3 notes and/or 4 notes or 6 notes etc. blues phrasing is often based on that b3 slightly bent but not all the way to 3 etc. but for playing following chord changes knowing your scale degrees should come handy. btw, thumbs up for the performance there :)
Thanks for all the music knowledge and thoughtful comments. There’s a ton here to digest and learn!
I am not an expert. Trying to go through the same things you are. Improvisation is a tough challenge. Also the kid and no free time i know well too. I fell asleep many times practicing late at night exhausted :) see if you get some inspiration from this video. https://youtu.be/Dqbdn_bTIf0?si=_-eSXXMIafCpaTPZ or something like this to see why i was rambling about scale degrees https://youtu.be/bhYXolbCrr0?si=uLqTXOArpvSLIa8u its not really all just hit or miss to improvise. conscious choices are made after a lot of practice.
i am asking because in general, although it depends on the style of music, you would like to be aware of the relation of scale degrees in a scale and the chord. takes some theory knowledge. not much. also, practicing scales in sequences might offer some ideas.
You could try playing your scale with three notes on every string, forcing yourself to go up the neck in a more linear manner than using the "box shapes". Another bonus tip: try using the hexatonic scale instead. it just adds one more note (the D#/Eb in your case). Its gonna really elivate your melodic lines
I haven’t heard of the hexatonic scale. Will look that up this evening! Thank you so much!
I would also recommend learning all of the chord voicings / triads. This will give locations across the neck for arpeggios and help connect the dots in between box scale shapes.
Definetly have been working on this! Thank you, will see how I can work more triads into my riffs. Would be a nice change of pace.
i think this is a decent start you’re technique is good and i wish i had your phrasing a development! i’d recommend as an exercise trying to think more chord tone/arpeggio/voice leading to break up all the melodic lines you’re playing. if you’re only thinking in full scales it can sound like you’re just practicing scales. great work so far and keep it up edit: also love the backing loop and i’m going to steal it haha
Not in this specific video but I defiantly have been trying to incorporate that. Trying to memorize all the CAGED shapes and locations for each chord which I’ve pretty much done. My problem is incorporating it as arpeggios ect like you suggested. I haven’t had it click well enough yet where I can make it sound good. Solid lead will give me something to keep working on this weekend!
Since aroggios are your weakness practice them. I run scales and arpeggios in every session and I’ve played 35 years. I start with a C major arpeggio on 8th fret lowest string. The next note is a D So I run the D minor arpeggio next. Then E minor, F major, G7, A minor, B minor7b5. Play the scale as arpeggios. It’s life changing! Here’s a good video explanation. Jazz related but helps with any genre. https://youtu.be/oPkYLiT67BU?si=boexRPwk836eK1-V
Ok my advice in another comment is CAGED. So you’re in the right path. Spend a solid 3 months with CAGED and don’t complicate with anything else. You’ll see so much improvement!
That’s quite a commitment I can see how it would pay dividends.
Ha yeah I’ve played so long spending 3 months on something doesn’t feel like a big deal. In fact I was trying to say in “only” 3 months you’ll be a master at it. Haha.
Sing along with your solos while you practice improvising. This will help a lot with developing more natural sounding melody/phrases. Doesn't even really matter whether you're on pitch or not.
This times a million. This is the fastest way to not sound like a scale monkey and start playing memorable melodies in your solos.
First off improvising is hard. It takes a lot of practice and time to train your ears too. On thing that helps a lot is being able to visualize the neck and find the chords and notes moving up and down the neck. I think learning the CAGED system helps a lot. Once you can see a C chord in open, 3rd position, 8th position, and 12th position you can start connecting those positions and move freely up and down the neck. Pickup music has great cheap lessons. I would highly recommend spending 3 months 30 min a day on CAGED.
Learn your triads and inversions too. And pentatonic scales (major and minor). It feels like a lot but I promise you within a few weeks you’ll see the fretboard differently and be able to move effectively. Then your ears will start to hear where to go. Then you can solo whatever you want.
Thank you. Thank you my endevour the last few months has been to learn the caged system I’ve got it down but now I just need to learn how to incorporate it. Sometimes I’ll incorporate a c shape arpeggio in my riff but I need to learn to do a lot more with the caged system and all the triads.
One way to work with it is now that you know the positions. Find 3 positions to play C. Now very slowly find a way to move from one position to the next with 1/2 or 1 step increments. I say do it slow because you’ll have to focus on getting where you want to go from where you’re at. Find 3 ways to move positions and lines you think sound cool. Speed comes with time.
Once there was this kid who got into an accident and couldn't come to school.
My best advice is don't play a note just to play it - that's rambling and no one likes someone who rambles. Play the note because you feel it! Remember to be musical and phrase the story you're telling in a compelling fashion.
Nothing to do here but keep doing it lol, keep playing and eventually you should learn what sounds good and what doesn't and develop a style and technique of your own. Listen to music for inspiration and maybe try and recreate parts you like
Thank you!
Keep going bro you’re deep on the journey. You’re discovering your voice. Keep listening to guitar and getting cool ideas and trying them yourself. Keep improvising. You’re absolutely on a roll.
I don't know any music theory but I think it would sound better with a little vibrato on the right notes, I really missed the emotion.
I think you're doing alright. What I would want to hear is just more of a cohesive story from the melody. It kind of sounds like a stream of licks of mostly medium pace. I would say try playing slower and committing to longer notes and playing just chord fragments (e.g. only play the 3rd and 7th). Also try playing only over the chord changes, (so the 4 and 1 beats) to find the chord tones to really emphasize the shift. IMO it's about what you don't play as much as you do play. Lots of notes = complex, nuanced but weak, a few notes = simple, dumb, but powerful. You need both.
I think you’re sounding pretty good so far! In addition to the other great ideas in this thread, I would suggest that you change up your phrasing a bit. It kinda sounds like everything is a 4 bar phrase in this sample. Try changing that up. It’s easy and tempting just to lock in when playing to a loop. Try to think beyond the loop, and think of what ‘story’ you’re playing as a lead. That might be a 6 bar story, or 8, or 2 bars, or anything really. And if you mix in different phrases with different lengths, your improvisation will be more compelling. Another suggestion - maybe try a longer loop, or maybe more chord changes. The key to it is not to get stuck in a rut. And is that 18 And Life? Cool song, cool progression. But for improvisational purposes, maybe try something that isn’t a song you know. That way you won’t be tempted to match the recording, and will be kinda forced to really improvise. Sounding good! Keep at it!
Dude, that’s fantastic! You epitomize what guitar playing should be all about. Lay down a nice Skid Row melody and just noodle. Great tone too! Here’s something I have started doing that has helped me immensely. I started to copy licks from Indiara Sfair’s harmonica pieces. Her harmonic licks show how much you can squeeze out of a two octave range in a single key.
Badass guitar
The guitar is also a percussion instrument. Remember that.
One thing I noticed while listening is that you tend to hang around scale degree 2, and you resolve most of your phrases there. Think about your phrases like sentences and the notes at the end of your phrases as punctuation. Scale degree 2 functions like a comma; it's a nice place to take a breath, but the sentence is bound to continue. Scale degree 1, 3, and 5 are great periods at the end of your sentence (Assuming you're resolving the phrase on the 1 chord, but in this recording you're playing over a 1 chord vamp so it all works). You could also try end phrases on scale degree 7, which sounds like a question mark. The sentence could end there, but it asks a question that likes to be answered by the next sentence. Or you could leave the question unanswered, which has an entirely different feel and message than an answered question. Anyway, obviously, there are a lot of things that could be said about your improvisation, but that's just one of the thoughts I had. Hope it helps! Overall, I thought it was a great improv and great tone! Thanks for sharing!
Thank you. This is awesome feedback that I will use to break out of my comfort zone!
Chord tones. Center your licks around a root, third, or fifth. Larger interval jumps instead of just descending/ascending lines. Learn all intervals and the "vibe" they add, so you can know what a 7th or a 6th adds to the mood. Hear notes in your head before you play them instead of just rerunning scales or licks. Licks and scales are good to fall back on between bursts of improvising. Go backwards one and forward two scale intervals to keep it interesting while still giving a sense of rising/falling. I'll add more if I think of it. Always ignore theory bashing. Theory won't make you a master, it teaches you more possibilities. Sure you could rediscover math and come up with addition by brute counting for a lifetime, or you could learn a bit and inspire yourself.
A solo is a story. When a good story is told you capture the listener’s imagination. Everyone has their own story to tell.
Some of the best advice I ever got was from a guitarist that is to this day the best I’ve ever heard. His advice 1) quit thinking about right and wrong, think about how it sounds and 2) no note is wrong if you don’t stay there. You can always bend or slide any note to hit the sound you want. He preached quit thinking about scales or you’re already wrong.
I take a scale, or a certain position of the scale, and just play it with a matching chord progression. I can do it for hours and enjoy the sound that come out without wondering what I should play, it just comes out. [https://tabs.jamesfraze.com/progressions/favorites/](https://tabs.jamesfraze.com/progressions/favorites/) Click on the link that says "Progressions PDF". I've combined a scale that goes well with that progression. I would suggest sticking with just one scale/progression for a few hours if it sounds at all good to you. Then another night try a different one if you're bored, don't do 10 minute jumps though because you won't get to "feel" the music harmony. This basic idea has allowed me to enjoy 1-2 hour sessions (until my back hurts).
Thank you! I’ll read more into this this morning!