The question is: do they work?

Guitar Exercise

Well, my first question would be: which muscles are you strengthening with these devices, and are they the same muscles that you use to play guitar? Obviously we want to build up the right muscles for guitar playing- otherwise there would be no point!

Guitar Economy of Motion

Well, when you’re using grip strengtheners, you’re actually strengthening the muscles that help you make a fist, rather than the ones that help your fingers move independently. Again, this comes down to the idea of “economy of motion”, or “economy of effort”. You should only be using the muscles you need for moving your fingers, not the ones that live in your arm and move your whole hand.

The muscles of your arm are great big, powerful muscles- and you don’t need all that strength to fret a string on guitar! The motion of holding down a guitar string is almost the same that you would use to tap the top of a table when you’re bored- not the ones you would use to punch someone! So therefore, I would be careful about using grip strengtheners for guitar playing.

Guitar Finger Weights

These are little weights that you strap on your fingers when actually playing the guitar. If you choose to use these, you must remember that correct guitar technique is more important than guitar speed, or force! Finger weights won’t improve your guitar technique, only the strength you have in your hand/fingers.

Again, it comes down to whether or not you’re using the correct muscles in the first place. Obviously, if you’re using the muscles of your arm to move your fingers, then finger weights will just make bad technique alot worse! Whereas, if you’re already using the muscles of your hand, then you will obviously strengthen them- but neither of these things will improve your actual technique.

Correct Guitar Technique

How do you know which muscles you’re using? Well, when you play something -legato (hammer ons) is best-, is your hand having to move along with your fingers? I mean, when you actually fret a note where does the power come from? Look closely. If you’re using a hand movement to fret the note then the action is coming from your arm, but if your hand stays still and only your finger moves, the motion is coming from where it should.

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Rob.

I know, I know! I haven’t been updating this blog as much as I should be recently! I’ve been busy teaching and working on my band, “Frosthammer”…oh and playing my guitar of course

I hope to get back to regular posting soon (and- of course- I won’t stop posting altogether!), but I’ve been focusing on the band side of things (as well as actual one-to-one tuition).

As you can see in the picture for this post, my band has a gig on the 22nd of may 2010 at The Point in Fleet. It will be the bands first gig, so I hope to see as many people as possible coming down to rock out with us! If you can’t make it, don’t worry about it- there’ll hopefully be lots more chances to see us live. The important thing is that when you do see us, you have a great time!

You can also visit the Frosthammer Myspace page and have a listen to some rough recordings there.

For guitarists (as musicians) there’s always been a need for a way to write music on computers. You probably find yourself in the same position- there are a million and one programs designed for “word-processing” (writing words), but very few seem to be created for “notation-processing” (writing out musical notation- yes, I made that word up), or “guitar-tab-processing”. Of the programs that are out there, not all of them are particularly user-friendly. Some even want you to almost program the score yourself as MIDI…

So I thought it was about time to find a decent, dedicated program for writing music!

What Do I Currently Use?

For the last 8 years or so, I’ve been creating guitar tab using Power Tab Editor, which- at first- was good enough for my needs. It’s not a bad little program and has the main advantage of being free (which is the first thing you consider when you’re a student!). Power Tab has features that enable you to write the tab for any stringed instrument (and if it doesn’t already exist in the program, you have the option to create it). I kid you not: I’ve even written violin “tab” using Power Tab Editor when I needed a violin part for a song!

I’m sure you’re starting to see the huge drawbacks of such a program: the whole thing is based on tablature, so you can’t really use it to write for any other instrument than guitars. So after a few years of using this program, I began to search for something that would enable me to write purely in standard notation (when I wanted other instruments- drums, piano, keyboards etc…). Also, Power Tab Editor can’t create drum tab- or any kind of percussion notation.

Standard Notation

You may have read my post on reading standard notation, in which I talk about how important it is to be able to read musical notation (even if you’re not fluent enough to “sight-read”). I’ve recently started using a program called MuseScore for most of my musical notation needs. The disadvantage here, however, is that it’s not built with guitarists in mind- so no guitar tab!

Why I like Guitar Pro

What you really need is a program that can create guitar (and bass) tab- with the corresponding  stave, notate chords for guitar, write scores for keyboards, and write out drum parts. After trying the trial version of Guitar Pro, I think I’ve found such a program.

At first, I thought I would try Guitar Pro because so many tab sites on the Internet seem to prefer it, but after trying it I can see why they like it. The stave is much clearer than in Power Tab Editor, and more musical symbols are available (such as legato marks for hammer-ons etc,). In fact the music score can be read if you take the tab away (something that isn’t true of other programs).

There are also options to write for guitars, basses, drums, and keyboards! Which is everything you need really, because under “keyboards and synthesizers” you have the option of creating a single-line stave (as in, just treble clef), and it allows you to label it whatever you want (therefore you can theoretically write parts for any instrument!). Guitar Pro also has the ability to export to many different formats, including MIDI, and .pdf- which is a huge bonus if you want to print out/distribute your music over the Internet to people without Guitar Pro.

What I didn’t like…

One of the few downsides to Guitar Pro is that it’s almost trying too hard. There is a whole part of it dedicated to creating realistic guitar sounds, which is really the job of a MIDI sequencer or synth. The idea that you can write out a tab and arrange what guitar effects you want and hear them played back to you is fun…in a novelty sense…but it’s really unnecessary…

I guess the idea is that you can create backing tracks and play along, but I can’t help but think that this really isn’t needed in a tab/musical notation program (and possibly adds to the price-tag!).

Overall Value

I would say that Guitar Pro is definitely worth it- even if it does try to do more than it should. It’s also a great tool for learning the guitar, learning songs or musical notation because you get to see the song played right in front of you. There is also a chord-finder tool (for creating chord diagrams) and when you add a chord to a guitar part the chord is automatically tabbed out (once you’ve added the chord diagram), which can help you to learn chord shapes.

Overall, Guitar Pro is well worth the $59.95 price tag (about £40, or 47 euros…currently…). Visit their site here.

If you like my blog, please don’t forget to subscribe.
Rob.

I’m constantly trying to emphasise how vital these devices are when working on your timing, yet I still find people who refuse to use them! Are you one?

Common complaints about metronomes include:

• “The constant clicking “throws me off” when I try to play in time!”
• “I have great timing when playing on my own, but I can’t play with others!”
• “The clicking is so annoying, I would rather not have listen to it!”
• “I don’t understand how to use the thing!”
• If you feel there is anything I’ve missed off this list, there is a comment section below…

Well, I’ve already answered the last point in my previous post “How to Use a Metronome”, so if you haven’t read that yet I suggest you do that first. Now, lets tackle each complaint individually.

The Constant Clicking “throws me off”

While I would agree that the clicking on it’s own can get pretty annoying -but that’s on it’s own! What you should realise is: the metronome isn’t just some random, inane click; the metronome is keeping a constant beat- which means you’re playing WITH it, not just at the same time with the click in the background!

Try this as an exercise: put the metronome on and count the clicks. You should be counting like this “1…2…3…4…1…2…3…4…etc…”, each number is a click. Can you keep in time? When you say each number it should be at the same time as each click- just as if you were counting beats. Is the metronome click just something happening “in the background”?

Your answer should be: “No, the click is the thing I’m counting”. It’s actually a part of what you’re doing. In fact, to take this further, when playing your guitar to a metronome and you’re perfectly in time, you won’t actually hear the click at all!

I cannot play with others

Have you ever thought this? You feel fine and “in time” when you play just by yourself, but when you try to play with others you can’t seem to fit in with them? Well, I’ll give you a clue…it’s never the case that “everyone else in the whole world must be wrong!”.

If you find that you have trouble staying in time with others then it’s more likely that you’re timing isn’t so great. Of course, it could also be their fault…but- guess what? It’s never going to be the metronome going out of time. A metronome can’t have a bad sense of time (by design). So, when you play with that metronome and “one of you” is out…it’s you…sorry

I can only play in a musical situation

Ha! Now, this one is interesting. Many people believe they can’t play in time to a metronome because it’s “unmusical” or “unnatural”. Well, did you ever think that when you play with others, they are actually also playing to you?

That’s right! When you play with someone else, they are also adjusting to your timing- therefore it’s much easier to keep in time with each other. One of you speeds up slightly, the other speeds up also; one of you slows down, so does the other. The metronome, however, cannot and will not adjust to you- it can only stay perfectly in time.

Listening to the Sound of a Kit…

Usually, this is a great sound to hear, because it means something (you or anyone) is about to rock! For practice purposes, however, it’s not so useful.

For one, the sound of a kit ads in a natural resonance (which can cover up any slight mistakes). When you’re playing to a click you only have the one “click”- no reverb, no tone, nothing else, just a “click” exactly on the beat. This is why, when you play exactly on each click you don’t actually hear the noise from the metronome at all. This is known as “burying the click” (kind of a funny expression that…)

Learning to Count

So, as I’ve explained: metronomes are a great tool to help your timing, and (if you get the ones with just a simple “click”) you have to actually count in your head (rather than just relying on the snare/high hat/bass drum that’s being played on the beat you’re listening for…). I’m sure you’re able to count, right?

If you like my blog, please don’t forget to subscribe. Any comments? Please leave them below
Rob.

For those of you who don’t know, what I’ve been doing is arranging “classical” music in a rock style (i.e. playing it on guitars/bass/drums instead of orchestra/chamber quartet/piano). If you haven’t heard this already, here is the widget that used to live on the homepage:

I will be adding more songs (maybe even with a few of my own compositions), and eventually I may all you to buy the Mp3 files. The whole idea seems to be quite popular…

If there are any songs you would like to see covered in this way, please let me know- I’m ready to take any suggestions (but that doesn’t mean I’ll agree or record the piece :p ). Please leave comments below.

Rob.

Notice he mentions taking lessons!

Click here if you can’t see the video

To be honest, I’m a little confused about the apparent lack of a microphone (and in case you hadn’t realised Jimmy Page is the dark haired boy on the left). Either way, I’m glad he decided to join Led Zeppelin in the end…even though him finding a cure for cancer would also have been good!

I hope this footage inspires you to keep up the guitar practice, as you never know how far you might go or where you’ll end up!
Rob.

Don’t get me wrong, the quality of writing and -to some extent- the factual content are accurate and well presented. So what’s wrong with it? Well, the article title is “How to Play Metal Guitar”, suggesting the question in the readers mind “How do I play Metal Guitar?”. Now, I have a bit of a problem with this, because it almost assumes that playing guitar in a Heavy Metal style is completely different to all other genres (hint: it’s not!).

In fact, I have a better question: not “How do you play heavy metal guitar?”, but more “What is metal guitar?”…just what is “metal”? How is it defined? You see, I was originally going to write this post teaching you how to play metal guitar (hence the title), and I could do that, but first I want us both to be clear on what “heavy metal” is.

What is “Metal”?

Metal is a very wide area of music, and everyone seems to have their own definition of what it is- www.guitarlearninglessons.com included. I’m really not up for bringing the above-mentioned post down (and I don’t feel the need to), so I’m just going to point out where I disagree with their definition, and how this can help you really play “metal” guitar.

How does guitarlearninglessons define metal? Well, simply that it’s usually in a minor key, with a fast tempo (high speed), and uses chugging rhythms. This definition includes all the most popular metal bands today- influenced by Metallica, Iron Maiden etc; essentially metal with a punk influence (thrash, NWOBHM, Motörhead…). I don’t disagree that this counts as metal, but it is metal with a punk influence- you can take away the punk influence (i.e. the speed) and it would still be “metal” in my book. Anyway, what about Black Sabbath? They almost created heavy metal, and there was no punk influence in sight…

Encyclopaedia Metallum

The second source I looked at for a definition of “heavy metal” was the Encyclopaedia Metallum. This certainly looks like a credible source! After searching through their pages I found a set of conditions that a band needs to meet in order to be accepted, along with examples of bands that don’t meet the criteria.

To my shock and surprise listed among the bands that wouldn’t be classed as “Metal” were: Metallica, Led Zeppelin and Deep Purple! OK, maybe Deep Purple I can forgive for being labeled “Classic Rock”…but Metallica?! Under the rules that they set down for acceptance, Black Sabbath wouldn’t get in here either (or if it did it would be on “historical importance” only). Although they don’t actually specify what “Metal” is, I can gather by these examples that I’m at least unsure about their definition.

Heavy Metal as a Genre

So what is my definition? Well first, most of the songs are in a minor key, with dark themes and heavy sounds (usually created by the bass). To me, “Heavy” means just that- heavy. Like the sound of a giant, or a heard of elephants- a heavy moving object. This implies lots of bass to me.

Bands that I would consider “Metal”: Black Sabbath (of course!), Metallica (again, no surprise!), Black Label Society, Pantera, St. Vitus, Iron Maiden, Motörhead, and anything by Ozzy Osbourne. All of these bands have what I would call a “Heavy” sound, which I would say is the idea behind “Heavy Metal”. I can see a few heads shaking…

Discuss

The truth is, given the wide and varied definitions for “Metal” I can’t say what exactly it is -I’m not sure anyone can! Do you have the answer? What defines “Metal” for you? Are Metallica still a metal band? What About Motörhead? Or are you as confused by all this as me?

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Rob.
Confused :s

Although this swap happened months ago now, I hadn’t had the chance to listen to this new guitarist play the Ozzy set. I know that he has the technical ability and a “metal” sound from listening to his other band, Firewind.

Click here if you can’t see the video

I think the above video proves that Gus has great technical prowess on guitar, but it doesn’t show anything of his ability to fill the role as the Ozzy guitarist. I mean, it needs the right attitude and sound to play with “The Ozzman”, much more than just some clean alternate picking and sweeping! So what I’ve decided to do is to look at each guitarist separately, playing the same song with Ozzy and comparing their playing ability and tone.

Gus G. with Ozzy Osbourne

Click here if you can’t see the video

The above video was taken from Blizzcon 2009, and is the only live example I could find of Gus playing the guitar on an Ozzy song. If you watch you’ll see that he’s clearly able to play the song…even if he is occasionally copying Zakk’s style of pinch harmonics and alternate picking. I assume some of that is a requirement of the job (especially being able to play the songs!). I would never have doubted his playing ability knowing what songs he has to play.

What disappoints me, though, about this performance is the tone of the guitar. While it is true that you could compare his playing approach to Randy Rhoads’, I find his guitar tone quite thin and digital sounding. It might be because all Ozzy’s guitarists before have used Marshall amps (which produce a more natural tone with the use of valves). I don’t know what amps he uses but I find Gus’s tone on these recordings thin, lifeless and flat!

Maybe you think that’s unfair, so (in the interest of fairness, and also to fully explain where I’m coming from), lets look at other axemen that have filled the role.

Zakk Wylde and Ozzy

Click here if you can’t see the video

There’s something about this performance that should jump right out at you. I don’t know if it’s because Zakk and Ozzy have been playing together for about 20 years, but you should be able to feel alot more energy from this video. Zakk’s tone is heavier and bassier than Gus’s; whereas Gus’s guitar sounds clean, crisp and clear, Zakk’s sounds like a herd of elephants. Of course, that’s not a bad thing for either guitarist, just a difference. Each man plays the song technically perfectly and cleanly.

If I’m honest, I much prefer Zakk’s sound here, it’s heavier and just rocks more (along with his style of playing). Zakk plays with power and energy, whereas Gus’s playing is more focused on accuracy. This may be down to experience with the material, but (listening back to the Firewind video above, and also to live Black Label Society gigs), it would seem consistent with each man’s style.

Randy Rhoads

I couldn’t do a comparison of guitarists playing “Mr. Crowley” without mentioning the original, as played by the legendary Randy Rhoads (R.I.P.).

Click here if you can’t see the video

As this is the original recording, you could argue that it’s the definitive version of the song. I think Randy’s playing style lies somewhere in between the above two- very focused on technical accuracy, but without neglecting how much the tune needs to rock. The balanced approach is what is needed, I think, but if I had to chose one aspect…rocking out beats technical proficiency hands down (within reason…you need to have someone that can play the song!).

Discussion

In my opinion, the best guitarist of the three is definitely Randy, followed by Zakk. Gus, for me, doesn’t even come close (at least from what I’ve heard) but I want your opinion. Which of the three versions do you like best? Maybe you Prefer Jake. E. Lee? If you could pick a new guitarist for Ozzy, who would that be?

I know I can’t tell you who is really best, so I would really like to hear your opinion
Rob.

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Well, I say somehow, it was kinda careless of me now I think back to it. It was about a year ago, just after Christmas. I remember not long before that I had written the riff to “Gallows”- a Frost Hammer song- which I had written in Drop D tuning on my Black Les Paul Studio, and the band were just about getting to the stage where we were forming all our influences into one unique sound.

In fact, when the band started we had such a wide range of influences (I say a wide range, it was all rock and metal!), we couldn’t yet see how it would gell together as a band. There was still an element of mystery to the project; it was a time when everything seemed just around the corner and nothing could go wrong…

That was until I -rather stupidly- placed my Les Paul up against my Randal Warhead X2, 300 watt amp (it actually has a sticker on it that says “Warning: Do not turn the gain all the way up”- with no hint of “tongue in cheek” humour…). Anyway, standing my guitars against the speaker cab wasn’t unusual for me at the time- but nor was it very safe, as I found out!

Smashed!

The full extent of the damage that happened next wasn’t something I realised right away. Maybe I hadn’t stood the guitar up securely, maybe something (or someone) had bumped into it; All I know is: my beautiful Les Paul Studio came crashing to the ground! Having been around guitars for years, I’ve seen a few fall over- so I just stood it right back up. Although this time things were different.

What I had forgotten was that the room with all my guitars in used to be a garage- and that means hard, unfriendly, concrete floor!

Picking up the Pieces

So my guitar stood back up against my amp, and I didn’t think more of it…until, hours later, I saw something strange on the floor. I leant down to take a closer look at this odd object- I have known students to leave picks, bubble wrap, and all sorts of random things everywhere, so this wasn’t a new experience for me.

On closer inspection, it appeared to be a machine head, and right away I was reminded of the guitar that came crashing to the ground- which was now missing the back part of the machine head and only the shaft with the string attached was hanging from the head of the guitar.

I was devastated. This guitar has cost me over £600, and Les Pauls really are my dream guitars. All I could keep thinking was “I’m never going to be able to play her again”.

A New Start

Don’t ask why it’s taken me just over a year to sort out a new tuning peg (a combination of money, time, and shops not having the right ones!), but here it is: my Les Paul, back from the grave!

…or at least back from standing on the stand in the corner of my room getting dusty…

I will always use a guitar stand in future; I’ve learnt my lesson!

Click here if you can’t see the video

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So I was quite surprised to read this article about a guitar teacher in Vermont, USA who actually uses the game as an educational aid.

Hopefully my post made clear where I stand on the subject- that it’s a fun game, but is no substitute for the real thing. To be honest, I’m not so sure where I stand on the idea of using a computer game to teach guitar. It sounds fun, but is it just a cheap way to get kids to pay for lessons?

I don’t agree that “what kids are really accomplishing via “Guitar Hero” — largely without realizing it — is learning basic music theory”, and surely learning to hit buttons in time to lights on a game is not going to bring out musical talent?

I may not know what to make of this, but I do know that playing guitar well is about more than just playing a set of notes accurately! I think this is something alot of people forget: it’s never about what you play, but how you play it. Something that experience on a computer can never teach you.