Konu ile ilgili Guthrie Govan'in Creative Guitar 1 - Cutting-Edge Techniques kitabindan bir alinti yapiyorum...Her seviyedeki gitariste bu kitabi okumalarini oneririm, korkunc teknikler vb. yok bircok faydali bilgi ve kisisel tecrube barindiran bir kitap...
Transcribing
I think It's very helpful to keep a notebook of what you're working on so that you can capture chord progressions and licks as they occur to you. Even if you don't feel comfortable with music notation, you can still document your ideas in the form of tablature (the guitar·specific system of notation using six horizontal lines to represent the strings of your guitar as you look down on them from a playing position, with a succession of numbers indicating the appropriate frets!. Accomplished sight-readers tend to sneer at tablature as 'notation for idiots', but it's worth remembering that all of the early composers for guitar and lute used a form of tab as their standard method of notation, so I think it has a certain validity. It also has one advantage over conventional notation in that it shows you exactly where to play everything.
This idea becomes increasingly important when you start pilfering licks from recordings by other players. It's worth honing your transcribing skills so that you can keep a permanent record of everything you learn - after all, there's only so much information your memory can retain. I would suggest documenting individual licks rather than trawling through a whole solo just for the sake of two bars you particularly like, and the most practical approach to this is to note down General Stuff the context of each idea (ie which chord it works over) and to come up with variations of your own. Jazz players are particularly fond of the idea of building up a 'lick library' - they'll categorise each idea in terms of the scale it uses and the chords over which it would fit.
At the beginning of this chapter, I mentioned the concept of having a good ear and of being able to reproduce what you hear, and this is obviously of paramount importance when you're transcribing. Developing a good ear hinges on your ability to recognise intervals (the distances between notes, in terms of tones and semitones) and rhythmic patterns. You'll find plenty of advice on this later on in the book. so I don't propose to go into too much detail here. but I think that a few general pOinters might be helpful.
It's best to start with the overall structure of a piece, mapping out the chord progressions and figuring out how long each chord lasts, in terms of beats and bars. If there's a particularly difficult section, you would start by notating the general rhythmic outline and then marking the most prominent notes (ie those that strike you as being particularly loud or those that seem particularly high or low in pitch) and finally filling in the gaps. If you think that all of the notes in a lick come from the same scale, you should make a note of it.
The other skill to hone is your ability to hit the Pause button on your CO player. Every time you listen to a passage, you should be focusing on a particular note or group of notes; once you've heard the bit you're interested in, you should immediately pause the music - anything you hear after that will only distract you, blurring your mental snapshot of the notes you need to know. In theory, you should be able to work out any lick using a one·note·at·a·time approach - as your ear develops, you'll be able to assimilate the information in larger chunks.
Slowing things down can be a great help, and there are now 'phrase samplers' on the market designed with this in mind (Akai make a popular one) which slow down the music by time·stretching it so that the pitch remains constant. regardless of the speed. If you have a computer, you might enJOY using an Inexpensive and aptly named program called Amazing Slow-Downer, which does the same thIng as a phrase sampler and also features a Karaoke function that uses phase cancellation to remove the signal from a selected part of the stereo image. In English, this means that you can often make the guitar more audible by reducing the volume of certain non-guitar elements in the mix. The easier th ings are to hear, the better, and even if you're using your humble hi-fi, you can still try to optimise the signals you want to hear by experimenting with the pan and EQ controls.
Having said that slowing stuff down is helpful, I should add that it's not the solution to all of your transcribing problems. When you're trying to figüre out where a lick is played on the fretboard, it's important to try the notes in various positions on the neck in order to hear which strings best reproduce the tone of the original, and this is far easier to do when you're listening at the right speed.
By way of a simple example, try playing the open top E string, then the fifth fret on the B string, the ninth on the G, the 14th on the D, the 19th on the A and finally the 24th - if you have it! - on the low E. You'll hear the same note every time, but the tone gets progressively woollier as you move up the neck. With a little practice, you'll be able to tell roughly which string is being used for any given nute. Failing that. you could try the lick in several positions and determine which feels easiest - surprisingly often, this turns out to be the correct one.
As a final note, I'd like to try to sell you the idea of using a MiniDisc player when you're transcribing. When you're rewinding a tape or cueing up a CD over and
over again, you actually spend most of your time listening to stuff that you don't need to hear. While MiniDisc recordings undoubtedly sound a little more plastic than CDs, they allow you to put in lots of track markers. This means that you can cue back to the right part of a piece of music with one push of a button, saving you lots of time and allowing you to get more done before you reach the limits of your attention span.
Benim konular ile ilgili kisel fikirlerim ise su sekilde;
1 - tab vs nota - Bence nota, muzik ogrenmek acisindan mutlaka ama mutlaka ogrenilmeli...Yani 4luk nedir, yarim nota, tam nota, suslar vb. konularin ogrenilmesinde notanin sart oldugunu dusunuyorum...Ayrica notaya bakip calmayi muzigin dili olarak goruyorum...Ancak bu demek degil ki tab ile calismayalim, ben klasik parcalar disinda tab ile calisiyorum ve bundan da hic gocunmuyorum...
2 - guitarpro - BENCE, gitar ogremek, alistirma yapmak, parca calmak icin muthis bir arac...Bkz. Gutire Govan guitarpro olmadan neler onermis, parcayi al, bol, yavaslat calis, bunlarin hepsini yapabilen bir arac...Problem, tablarin guvenilirligi, bunun icinde sadece guitarpro yerine kullamizdan da faydalanma yolunu oneriyorum...
3 - kulak - muzigin belki de en onemli ve en cok ikinci plana atilan unsuru (hic degilse bende oyle) olduguna inaniyorum...
Sevgiler ve saygilar...
