Tonight was one of those nights where absolutely nothing went right, but somehow, some way, I managed to get into the studio for a little bit, and make what felt like good progress, all things considered.
I went back through the second half of last night's chapter in The Guitarist's Guide To Scales Over Chords, just to make sure that I had a decent grasp of everything that was covered, and then made the move to the next chapter.
After the theory-heavy chapter I had just gotten through, it was a great relief to have the next one be more music (playing) centered. It was all about putting the scale examples they cited in the early chapters to use in a musical context. I've seen a great number of books try to do this in a successful manner, and end up failing spectacularly, but so far I'm liking what this book is putting forward. They give you "starter" examples, that don't necessarily make the best use of note choices, etc. and then present you with an improved version of the same melody line in the next example. It's basically a "here's why this doesn't work, and here's why this does" approach. Very cool and forward thinking.
Makes me wish I'd had the amount of time I expected to have in the studio tonight, so I could've gotten a little bit deeper into it. Oh well, that gives me something to look forward to tomorrow, I guess.
I went back through the second half of last night's chapter in The Guitarist's Guide To Scales Over Chords, just to make sure that I had a decent grasp of everything that was covered, and then made the move to the next chapter.
After the theory-heavy chapter I had just gotten through, it was a great relief to have the next one be more music (playing) centered. It was all about putting the scale examples they cited in the early chapters to use in a musical context. I've seen a great number of books try to do this in a successful manner, and end up failing spectacularly, but so far I'm liking what this book is putting forward. They give you "starter" examples, that don't necessarily make the best use of note choices, etc. and then present you with an improved version of the same melody line in the next example. It's basically a "here's why this doesn't work, and here's why this does" approach. Very cool and forward thinking.
Makes me wish I'd had the amount of time I expected to have in the studio tonight, so I could've gotten a little bit deeper into it. Oh well, that gives me something to look forward to tomorrow, I guess.
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