How Do You Break This Musical Barrier?

[Tone Junkie]

Songwriting is a skill that most guitar players never focus on.
I have seen smoking killer shredders that can play almost anything with ease but can’t put a half assed song together.
It’s all about the rhythm. 99.8% of music is just that. Chord progression. The groove. Name almost any band you can think of and it’s about the song. Not the lead guitar. Unless you’re talking the extreme end if things.
Even guitar virtuoso players like Satriani have a song structure.
From death metal to country to top 10 pop.

Practice to a drum rhythm and work on writing a song without leads. The leads are the icing on the cake.

 

[Uzi Nein Millimetah]

My songwriting skills jumped bigly when I started playing bass and especially the drum kit (not a drum machine, although ok to start out by triggering the drum machine keys live). Sometimes I'll record only a 1/3 sketch of a song just so I don't forget it, than it's available to Frankenstein with something else later.

Learn multiple great songs by others. You don't have to learn all of them, just pick out two for starters and learn every major part, enough that you could play them on stage, guitar, bass, and drums.

That will keep you busy for a while, and with a sense of purpose.

People who write great songs base them on interesting experiences or perspectives or ideas. Go have some experiences (i.e., live life, don't just exist) and contemplate those you've already had or that others have had. Were any lessons learned, was any perspective gained?

 

[Metalhex]

every time I come up with something cool, it get lost trying to find that right note to add or trying to get the chord voicing I want to hear.

I am not help to you, but this happens to me so much. I get an idea I want to hash it out quickly so I can record it or jot it down. By the time I tune my strings, the idea is gone, or it has become a watered down version of it

 

[Techdeth]

Play as much as possible . Always go deeper in theory . As a teacher I will say this , technique comes down to science . Period . Distance equals time . Your hand shoukd be held like a classical player at all times on fretboard . It should look like fretboard hand never is leaving the neck its so close . The right is same . The edge of the pick should be a tiny point always . Pick Hand rshould only move with almost like a tiny flicker in the wrist . The physical things are jet to make any solo easy technique wise .
It’s like being a machine physically . And after muscle memory kicks in you can play fluid old with soul and ease . And just flow

 

[MistaGuitah]

Play as much as possible . Always go deeper in theory . As a teacher I will say this , technique comes down to science . Period . Distance equals time . Your hand shoukd be held like a classical player at all times on fretboard . It should look like fretboard hand never is leaving the neck its so close . The right is same . The edge of the pick should be a tiny point always . Pick Hand rshould only move with almost like a tiny flicker in the wrist . The physical things are jet to make any solo easy technique wise .
It’s like being a machine physically . And after muscle memory kicks in you can play fluid old with soul and ease . And just flow

That's exactly the kind of things I've been working on. I started with my pinky anchored to the body loke MAB, then changed to a forearm movement, then finally rested on something between the two but holding the pick with the pads of my index and thumb. This allowed me to play very fast and articulate for runs across 2 or 3 strings but hindered my overall movement for consistent picking. I also had a bad habit of gripping my thumb over the fretboard. I had a lot of bad habits. Oh yeah, I also insisted on playing everything note-for-note and strict alternate picking.

I got fairly proficient that way but was always hiding my flaws and avoiding playing the things I couldn't pick cleanly. Finally, a few years ago, I got serious about fixing my technique, posture, etc. I ended up developing a wrist movement with my pinky touching the body. I wasn't anchoring my pinky, and I wasn't relying on index/thumb movement, but once my pinky touched the volume control, I'd get tripped up. No matter how disciplined I tried to train that out of me, it's instinctive to react to something getting in the way.

Then, after a year of trying to fix things, I finally caved in and decided to incorporate economy picking. Learning economy picking actually helped me fix my alternate picking because I don't start with an up or down stroke so I can get the economy situated, so I still alternate pick crossing the first string or two until I can naturally keep that direction with economy.

However, about a year ago, I adopted a much more proper technique with strict wrist movement. I'd still go back to keeping my pinky as a feeler for fast, articulate stuff, but kept trying to rely on wrist movement more and more.

That wasn't the end though because my final breakthrough came by watching this Black Dahlia guitarist Brandon Ellis. The guy plays really well, and with great articulation. I didn't even realize all these years until I heard him say he uses economy and legato as needed to play fats stuff. That blew my mind so I started incorporating that. Whenever I'd get tripped up changing direction on a lick or something, I'd use a pull off then continue alternate picking. Every now and then, I'd practice that lick slower with alternate picking as sort of a self-check, being very careful not to use that technique as a crutch for faulty picking technique.

Now I've settled in with my technique enough to where I can start playing stuff without having to practice every lick I make before I can even play it so I want to start making music. That's where I'm at in this thread.

Oh yes, by the way, I recently discovered a small flaw in my playing. It's at a certain bpm. I developed this issue because once I can play something cleanly at 110 or 120 bps, I just shoot up and play it at 150 or 160. So even when improvising, around that 120 to 140 range, I still stumble here and there. Now back to the woodshop!

 

[Techdeth]

That's exactly the kind of things I've been working on. I started with my pinky anchored to the body loke MAB, then changed to a forearm movement, then finally rested on something between the two but holding the pick with the pads of my index and thumb. This allowed me to play very fast and articulate for runs across 2 or 3 strings but hindered my overall movement for consistent picking. I also had a bad habit of gripping my thumb over the fretboard. I had a lot of bad habits. Oh yeah, I also insisted on playing everything note-for-note and strict alternate picking.

I got fairly proficient that way but was always hiding my flaws and avoiding playing the things I couldn't pick cleanly. Finally, a few years ago, I got serious about fixing my technique, posture, etc. I ended up developing a wrist movement with my pinky touching the body. I wasn't anchoring my pinky, and I wasn't relying on index/thumb movement, but once my pinky touched the volume control, I'd get tripped up. No matter how disciplined I tried to train that out of me, it's instinctive to react to something getting in the way.

Then, after a year of trying to fix things, I finally caved in and decided to incorporate economy picking. Learning economy picking actually helped me fix my alternate picking because I don't start with an up or down stroke so I can get the economy situated, so I still alternate pick crossing the first string or two until I can naturally keep that direction with economy.

However, about a year ago, I adopted a much more proper technique with strict wrist movement. I'd still go back to keeping my pinky as a feeler for fast, articulate stuff, but kept trying to rely on wrist movement more and more.

That wasn't the end though because my final breakthrough came by watching this Black Dahlia guitarist Brandon Ellis. The guy plays really well, and with great articulation. I didn't even realize all these years until I heard him say he uses economy and legato as needed to play fats stuff. That blew my mind so I started incorporating that. Whenever I'd get tripped up changing direction on a lick or something, I'd use a pull off then continue alternate picking. Every now and then, I'd practice that lick slower with alternate picking as sort of a self-check, being very careful not to use that technique as a crutch for faulty picking technique.

Now I've settled in with my technique enough to where I can start playing stuff without having to practice every lick I make before I can even play it so I want to start making music. That's where I'm at in this thread.

Oh yes, by the way, I recently discovered a small flaw in my playing. It's at a certain bpm. I developed this issue because once I can play something cleanly at 110 or 120 bps, I just shoot up and play it at 150 or 160. So even when improvising, around that 120 to 140 range, I still stumble here and there. Now back to the woodshop!

That’s awesome af . I economy pick everthing lead wise . That’s all I do .

 

[CoreyW]

That's exactly the kind of things I've been working on. I started with my pinky anchored to the body loke MAB, then changed to a forearm movement, then finally rested on something between the two but holding the pick with the pads of my index and thumb. This allowed me to play very fast and articulate for runs across 2 or 3 strings but hindered my overall movement for consistent picking. I also had a bad habit of gripping my thumb over the fretboard. I had a lot of bad habits. Oh yeah, I also insisted on playing everything note-for-note and strict alternate picking.

I got fairly proficient that way but was always hiding my flaws and avoiding playing the things I couldn't pick cleanly. Finally, a few years ago, I got serious about fixing my technique, posture, etc. I ended up developing a wrist movement with my pinky touching the body. I wasn't anchoring my pinky, and I wasn't relying on index/thumb movement, but once my pinky touched the volume control, I'd get tripped up. No matter how disciplined I tried to train that out of me, it's instinctive to react to something getting in the way.

Then, after a year of trying to fix things, I finally caved in and decided to incorporate economy picking. Learning economy picking actually helped me fix my alternate picking because I don't start with an up or down stroke so I can get the economy situated, so I still alternate pick crossing the first string or two until I can naturally keep that direction with economy.

However, about a year ago, I adopted a much more proper technique with strict wrist movement. I'd still go back to keeping my pinky as a feeler for fast, articulate stuff, but kept trying to rely on wrist movement more and more.

That wasn't the end though because my final breakthrough came by watching this Black Dahlia guitarist Brandon Ellis. The guy plays really well, and with great articulation. I didn't even realize all these years until I heard him say he uses economy and legato as needed to play fats stuff. That blew my mind so I started incorporating that. Whenever I'd get tripped up changing direction on a lick or something, I'd use a pull off then continue alternate picking. Every now and then, I'd practice that lick slower with alternate picking as sort of a self-check, being very careful not to use that technique as a crutch for faulty picking technique.

Now I've settled in with my technique enough to where I can start playing stuff without having to practice every lick I make before I can even play it so I want to start making music. That's where I'm at in this thread.

Oh yes, by the way, I recently discovered a small flaw in my playing. It's at a certain bpm. I developed this issue because once I can play something cleanly at 110 or 120 bps, I just shoot up and play it at 150 or 160. So even when improvising, around that 120 to 140 range, I still stumble here and there. Now back to the woodshop!

There are very few rules that apply across the board to everyone.. think about the picking hand for a minute.. then go watch a video of Marty Friedman or Zakk Wylde.. neither of them have the "correct" way to hold a picking hand, and it really doesnt seem to slow either of them down. Steve Via is making contact his pinky a lot if not anchored, so does Malmsteen. Alexi Leiho, Pettruci, Paul Gilbert, Jason Becker, Baitio, and many of the super stars in the shred world. the internet would tell you all these guys are doing it wrong because they don't play with a closed fist.

You do sound like you're going through a lot of the problems I am going through.. overthinking a lot of stuff, and a lot of the stuff you're overthinking about isn't a big deal in the grand scheme of things.. I let my overthinking hold me back a lot, and I find myself trying to correct stuff that really isnt a problem for me, and when I can let go and just play I end up playing a lot better than when I try and micro manage what I am doing.

Ive tried a lot of the internet solutions, and I think it really stunted me for a long time. The best thing I have ever done, is get to where I don't have to sit and watch my hands while I play, I owe a big portion of that to @Techdeth. You may need to reach out ot him and hit him up for some lessons, and see if he can get you on a path you want to be on.

 

[Solarflares]

Who else can identify with this present dilemma?

How do you do this stuff and achieve musicality?

It’s easy. Basically I don’t give a flying fuck.
Shove it all up yer arse. Fucking incestuous cliche-infested swamp out there, with everyone desperate for some kind of carefully graduated validation. Well fuck ‘em, up the arse. What do they think? I’m not interested. Fuck ‘em all.
I get up in the morning, have a piss, and say “Fuck ‘em”. Then I scoff a bit of the breakfast the hookers have made for me - checking that they’ve actually fucked off. Spark up a spliff over coffee, and think for 10 seconds what that weird musical dream was about. No? Oh well, fuck it then. No doubt it’ll come up again sometime - only next time I’m ripping that chick’s tits right out of her top. It’s my fucking dream, you teasing whore. Have some respect, and get those fuckers round my cock. Why was I so passive in the dream? Why can’t I just grasp what I want? Well, I’ll be ready for her next time.
So, what to do today? First thing is to confirm the girls are booked again for the night. Aside from the ball-draining efficiency, if they weren’t here I’d probably never eat anything.
I think I’ll walk down to my stream this morning. Check out if the frogs are using the little pond I made.
Jesus, I stink though, and my face looks like it’s got scales on it. Fuck it, I can’t be arsed to wash. I’ll do 30 minutes in the sauna instead.
Couple more joints, it’s time for lunch. Ok, fuck the frogs. They’ll keep.
Country pub was boring. Good beer, good food, but these women keep coming up for autographs - for their stupid fucking kids. I’m sorry, I think you’ve mistaken me for someone else. Nah, we aven’t. ‘Course it’s you. That full floral suit, and that Rolls Royce outside. No lady, you are mistaken. Now fuck off. Good tits though. Did you have a strange dream last night? No? Oh well. Off you pop.
Might just sleep off the beer in the car. Fucking hell, it’s 5pm! I meant to phone my accountant.
Anyway, that autograph thing has positively worn me out. AHA, here’s the girls. Listen you lot. Quick nap, then I’m cutting the ribbon for the new sports centre at 7pm. Got that?
Did I play today? No love, I didn’t. But it don’t matter a jot.
I was fucking born to do this. I’m a fucking force of nature. Why the fuck do I need to actually do anything?

 

[QVonesh]

It's all about finding your voice and practicing what you wanna play. Currently am working on my legato and basically creating different permutations of fingers across the major scale over the whole neck. I try to incorporate different licks slowly, but in time, with a metronome while keeping the fingers close to the fretboard.