Just posted a new Lesson on my YouTube Channel.
It's in the same vein as a previous video I posted on Scales.
In my personal experience there are many musicians who don't have a great relationship with music theory and I was definitely one of them in my early years of learning music. For me this was because of the way in which it was taught, I was given songs and scales to learn, and some theory lessons, but never were they put together, each was taught in isolation and therefore the value and use of the scales and theory were totally lost, useless to me. It wasn't until I found a teacher who put them all together that I could fully appreciate it all and actually start becoming a musician.
So with that in mind and coming off the foundation of my other videos, this is my introduction to arpeggios where I discuss some reasons why they are helpful (if not vital) to know as a musician and some ways you can start getting them under your fingers on the guitar.
I'm sure I'm preaching to the choir here, but thought I would share for anyone who might find it useful or interesting maybe someone that's passing through or searching, and of course to ask the regulars for your feedback and discussion!
·
Comments
You are indeed preaching to the choir with me, but from my own experience, I think just using words like "music theory", "diatonic", "major scale forms" etc. etc. causes a lot of people to switch off. I guess if you can somehow find a way of tricking people into learning this stuff, without realising they are doing something "academic" then I reckon that's probably good from a popularity point of view. Perhaps a bit less demo-ing the exercises, and more stuff showing how arpeggio-derived phrases can sound cool in actual soloing/musical situations.
Speaking for myself, I am one of those people that like the thorough, understand everything fully, kind of approach, and I've never been put off by academic language or music theory. But a lot of people are - I know a superb jazz keyboard player who tells me he hates it when I start "going on" about scales and stuff, and yet if you heard him play... It's weird anyhow!
I can easily see you as strong competition for that Justin chap - he seems to have a certain knack with presenting things in a non-intimidating, light on the theory, kind of way however - I'm sure that's behind a lot of his success. So maybe
nickadapt some of his approach for your own videos is kind of what I'm saying, just a thought. Saying all this, you can never please all the people all the time, and it is a great lesson video, and there will be an audience out there for this I'm sure - I do wish you well with the whole video lesson/reviewer career, and you certainly have the friendly professional presenter thing nailed.You make a good point in that the teaching of theory often falls down when it excludes any demonstration of the practical aspect of it - and in particular how it benefits your musical creativity.
Creativity being, for me, the most important part of playing music.
If I encounter a lesson that just tells me exactly what to do from a technique point of view, but doesn't give me a feel for the musical benefits, I just lose concentration and switch off.
You manage a good trick of being informative while not intimidating the viewer with hard to understand concepts.
2012: Washburn WJ130EK
2014: Masterbilt AJ-500RCE | Faith Neptune HiGloss | Faith Neptune Honeyed Sycamore
2015: Epi EJ-200SCE
2016: Masterbilt AJ-45ME | Masterbilt EF-500RCCE | Masterbilt DR-500MCE | Masterbilt Century DeLuxe Classic
2017: Faith Blood Moon Neptune
I can't believe I hadn't responded to you guys! I really appreciate both the feedback and the very kind words it's very encouraging.
I'm trying to figure out how to continue my channel really, I love making these videos, especially when they're received so well but ideally I need to figure out how to monetise them to really keep it going At the same time keeping up the videos means more community growth and options can open up, it's a bit of catch...
As for music theory, I'm completely self-taught. At age 10 I got my parents to buy me a book, "Rudiments and Theory of Music", which was well above my head at that point (I was learning to play the descant recorder!) but which has stood me in good stead over the years and which I still have and occasionally consult. The rest of my music theory education is more recent and has come from Wikipedia. So if I can teach myself, so can you. Just don't be afraid of the technical terms; like any specialism, you need to get to grips with the terminology!
This is for nerds.
(With respect to Rea)
At least you all know I don't rely on a spell chequer.
None of my heroes are the studious types.
Scales and arpeggios are for people of lesser gift. That they might be able to emulate spontaneously one day.
You'll also find every single classical musician who ever lived highly adept at scales and arpeggios.
If you have an innate ability you don't need to study at all. If you want to know your instrument better than people who just play by ear, you need to play scales.
Forty years on and I've never regretted "learning" music.
I know that it's about bettering playing by ear but it's meant to be fun.
Grade 8 scales and arpeggios literally killed my passion for guitar.
Knowing where scale notes are, so that you can play by ear and explore the fretboard and try to spontaneously create something musical, is a joy.
The fun part for me is knowing that they're useful. Looking forward to looking back at all that hard work!
I think the really productive part must come when the modes are mastered but I don't learn anything easily and life is just too darn short. I let someone else do it and enjoy the show.
I'd rather listen to an eager Punk guitarist than a highly polished scalesmeister any day.