ilovefuzz.com

Posted: **Mon Dec 27, 2010 5:10 pm**

I wannna learn Stairway, teah me please!

Posted: **Mon Dec 27, 2010 5:17 pm**

What are the names and root notes of these chords?
9 12 14
10 14 15
9 13 14
x 11 x
0 0 0
x x x

and when you give lessons, will you teach the importance of fuzz?

Posted: **Mon Dec 27, 2010 5:20 pm**

Soloing scales and techniques, most bands I've heard (UNprofessional) have great songs and horrible solos, also the importance of timing (ending together especially), and being in tune, and how to keep your guitar in good health!

Posted: **Mon Dec 27, 2010 6:08 pm**

Hi I'm 12 what is this?

Posted: **Mon Dec 27, 2010 6:54 pm**

Fuzzy Picklez wrote:Hi I'm 12 what is this?

whats that sound?
a thread train derailing?

Posted: **Mon Dec 27, 2010 7:24 pm**

smile_man wrote:
hclapp219 wrote:I want to play like John Mayer and Slash combined into one. Teach me plz.

you could have the entire spectrum of bitches.

You have stumbled upon my master plan...

Now for a real question: What ages/skill levels will you be teaching? I've taught voice before, and if they are beginners, they really won't have any questions. You basically have to tell them what to do the whole time and be really specific.

Posted: **Mon Dec 27, 2010 7:56 pm**

I took classes for like 7 years, so I'll tell you about what I liked and disliked about my teachers.

My first teacher was pretty good, the dude could shred and all, and he pretty much started the class with a classical guitar book that we went all the way through. After I had learned how to read music he started bringing in songs that he taught me. The thing I disliked about this was that he brought tabs. I learned a lot of songs, but the tabs were not what I wanted.

I ended up switching teachers, and the next teacher was pretty badass. He could shred, he could play blues, classical, and I definitely noticed a difference in the way he talked about theory and stuff compared to my last one. He asked me to bring some songs that I had wanted to learn, and at the time I was a huge Queen fanatic, so I took quite a few Queen songs to class. What was cool was that he knew most of the songs, and he broke-down everything that Brian May used. He wrote out scales and stuff that we should expect to find in the songs, and we usually did. Throughout the class he would play the song on his radio, and then he'd explain what was going on and then to make sure I was paying attention he'd ask me to explain what was going on in that part of the song, like what notes in what key, scales, etc. This was a big help as I think that really helped me be able to figure stuff out by ear because once you can find where the person is at on the fretboard, if you know your scales then you can narrow it down to where they are going with it. Another thing that he helped with was that at the time I also became crazy with some bluesy stuff, so he would teach me all the chords and positions that would fit for the blues, and he would start playing some chord progressions, and I was supposed to solo over them. Now that I look back on that, this really helped me get pretty good at phrasing and stuff.

I stopped taking classes like one year ago and by far the biggest help for me was learning the theory stuff. I still have all the sheets that he wrote out with all the scales, modes, explanation of triads, and all that good stuff.

Posted: **Mon Dec 27, 2010 11:44 pm**

*shows up with tuba*

is this the right instrument?

Posted: **Tue Dec 28, 2010 5:27 am**

htsamurai wrote:
DarkAxel wrote:I don't get economy picking... it just seems so... unnatural to me

GO

the idea behind economy picking is twofold.
the full name is "alternate economy picking"
alternate because you're still doing the up/down/up/d/u/d/u/d on any given string, reason being; so long as you're on a single string this is the most economical and fastest, most efficient way to do this.
economical because you're killing off all unnecessary movement and effort.

basically issues arise in strict alternate picking, when going to a string either above or below the one you're already at.
a quick example would be something like playing a C (3rd fret) on the A string 4 times, then playing an A on the E string (5th fret) twice before coming back down to the A to play the C note a two more times.
so you're playing this
E]------------5-5-------
A]--3-3-3-3------3-3--

with alternate picking you'd be playing d/u/d/u/d/u/d/u
what happens is that when switching strings you're putting in extra, unneeded effort into hitting the next note by raising your hand above string to pick it down.
you're playing C 4 times so you're doing this
CCCC
DUDU
the next motion to pick down, so you have to bring your pick up above the E string to play the A. So this is what you're doing
CCCCAACC
DUDUDUDU
that is to say; because we're so used to going strictly up/down/up/down we will continue to do so even when it requires more effort.

what alternate economic picking teaches is that it's more profitable to do this
CCCCAACC
DUDUUDDU

so instead of raising your hand up and wasting whatever effort and time it requires, you're simply doing the most economic and, really, ergonomic thing to do.
Your hand is already coming up so instead of using two motions to hit two notes, just use the one that you're already executing.
your right hand (assuming you're right handed) is coming up to hit the fourth C, as your pick hits the string and the note sounds keep the pick going in this direction to hit the first A. Once you hit the A you'll hit it the second time with a down stroke, upon hitting it you would keep the pick going to hit the next C and after you've hit it your next move is an up stroke

make sense?
if not, tell me whats unclear and I'll fix it :D

THE REST OF YOU DID NOT ASK QUESTIONS.

you sir are a scholar

yeah, i see the problem very clearly... but i don't know why but it's really hard for me to switch from strictly alternate to alternate economy... :idk:

but thanks!

Posted: **Tue Dec 28, 2010 7:44 am**

Hey, this is great! Explain the New Standard Tuning and not only its merits but also the possible shortcomings from using it.

Posted: **Tue Dec 28, 2010 7:48 am**

Bassus Sanguinis wrote:Hey, this is great! Explain the New Standard Tuning and not only its merits but also the possible shortcomings from using it.

oh that one's good

Posted: **Tue Dec 28, 2010 12:31 pm**

The4455 wrote:Soloing scales and techniques, most bands I've heard (UNprofessional) have great songs and horrible solos, also the importance of timing (ending together especially), and being in tune, and how to keep your guitar in good health!

That's just nature's way of telling you that NOBODY WANTS TO HEAR YOUR LONG ASSED, OUT-OF-PLACE GOD DAMN WIDDLY WIDDLY SOLOS.

LOOK AT ME. I'M AWESOME. I PLAY SCALES REALLY FAST SO THAT ONE DAY KIDS CAN TRY TO PLAY MY SOLOS ON GUITAR HERO.

FUCK.

Posted: **Tue Dec 28, 2010 3:19 pm**

McSpunckle wrote:
The4455 wrote:Soloing scales and techniques, most bands I've heard (UNprofessional) have great songs and horrible solos, also the importance of timing (ending together especially), and being in tune, and how to keep your guitar in good health!

That's just nature's way of telling you that NOBODY WANTS TO HEAR YOUR LONG ASSED, OUT-OF-PLACE GOD DAMN WIDDLY WIDDLY SOLOS.

LOOK AT ME. I'M AWESOME. I PLAY SCALES REALLY FAST SO THAT ONE DAY KIDS CAN TRY TO PLAY MY SOLOS ON GUITAR HERO.

FUCK.

Ladies and Guitar Heroes, let me introduce to You: the Voice of the crash with Harsh Reality :lol:

Posted: **Tue Dec 28, 2010 11:03 pm**

McSpunckle wrote:
The4455 wrote:Soloing scales and techniques, most bands I've heard (UNprofessional) have great songs and horrible solos, also the importance of timing (ending together especially), and being in tune, and how to keep your guitar in good health!

That's just nature's way of telling you that NOBODY WANTS TO HEAR YOUR LONG ASSED, OUT-OF-PLACE GOD DAMN WIDDLY WIDDLY SOLOS.

LOOK AT ME. I'M AWESOME. I PLAY SCALES REALLY FAST SO THAT ONE DAY KIDS CAN TRY TO PLAY MY SOLOS ON GUITAR HERO.

FUCK.

Thanks, confusing, but thanks. :omg: