Me Playing My First Gig

I also want to add the guitar I was playing and the songwriting techniques, influences and also riff ideas I had back when I was in the band “October Sixteenth,”

The guitar I was playing lead on is an Ibanez GRG170DX CA Purple, the cleans as shown in the video are very bright and crisp and the distortion really gets you those “Chuggy,” sounding chords (especially when in drop D) and the lead (also as shown in the video) has a gorgeous tone to it in my opinion. The amp I was using was a “Line 6 Line 6 Spider Valve MKII 212 Guitar Amp Combo,” as a Line 6 I knew I could really get into the settings and effects, that’s the unique specialization to the brand in my opinion is that their amps do have impressive effects even without the use of pedals.

These are the settings I used:
– High Mid 9.5
– Medium Treble 7.8
– Medium Bass 6.5

The reason for this is so the Mid can really utilize the distortion and project it with a crunchy yet clear tone (if that makes sense), the medium Treble is so that the audience won’t be put off by what would be a more “Muffled,” tone which every guitarist should stay clear of (High Treble should only be allowed in your bedroom practices)

Well enough about equipment, the song displayed in the video is an original called “Watch It Burn,” and is in 4/4 A major (3 sharps) using the Lydian mode when songwriting I was able to get more happier feel to the song, The general genre would be pop punk and the song/bands main influences we’re “Paramore & YouMeAtSix,” that pretty much sums the up the whole band but the gig was played near Worcester to an audience of 150+

3 Part Harmony Piece

3 Part Harmony Piece

Hey there, I’ve recently indulged myself on writing more difficult parts on Sibelius 7 for practicing purposes (composing & playing) this is the piece and is designed for a guitarists to pick from 3 lines which they can practice to their leisure, hopefully this can exercise the choosing of harmony an latter piece of music if the artist desires this.

The piece itself is in the key of F# Major (6 Sharps) and is comprised of 16th notes, the 3 lines are separated by a major third and perfect 5th harmony. I designed it because the sound of all three combined make a bright and very upbeat sound, also testing the guitarists picking and rhythm knowledge.

The discussion of this piece was in two minds, James Chatfield (Bassist on level 5) suggested that the piece is too messy and too difficult, the solution he suggested was to separate the stave into two treble clefs and strip the third harmony. I felt that this was a good idea but I explained how this is for practice purposes and not a piece to perform as well as playing the lower harmony for him on my guitar to prove that the piece is not too difficult resulting in the problem being resolved.

Homework Assignment (Feb Half Term No.3)

Homework Assignment (Feb Half Term No.3)

Using Sibelius 7 once more, I was given the task of adding a drum beat to the score, quite the task considering that’s my weakest area in music theory (drum notation).
Using the time signature of 7/8 and in the key of D major (2 sharps) I decided to use quite a lot of higher 16th notes making the bass clef follow through route of the key (simple but effective), the drums just follow with kick and snare. The piece sounds light and quite fast but I would’ve preferred researching a bit more into using drum notation to get the full potential out of the song.

Homework Assignment (Feb Half Term no.2)

Homework Assignment (Feb Half Term no.2)

This is the second piece from my assignment for February’s half term, the piece being at 120 BPM (beats per minute) suggests that it’s like your everyday chart pop track. In the key of B major (5 sharps) and using 8th notes as the majority the piece flows quite well, sticking to the piano and bass combination (live would be electric guitar and bass) was my first attempt at getting rests in their best areas to separate the song as best I could.

Homework assignment (Feb Half Term)

Homework assignment (Feb Half Term)

Hey there, I was set homework for the recent half term where I had to create 3 different score ideas, 4 – 8 bars with key changes and also a complex time signature, the first that I have posted is a delightful number called “Hop Skip Frump,” purely created by me, this piece was used on a software called Sibelius 7.

Keeping the piece light like the suggestive title, it’s in the key of E major (4 sharps) and is also in 3/4 hitting some of the criteria I spoke about earlier, using both bass clef and treble I chose the piece to be played (only on software) by piano and bass, when in a live format should be played with electric guitar and bass. Taking rhythm into account the majority of the song is played with 16th notes using appropriate rests to separate the bars, the inspiration was the movement of a mouse and if this is played knowing the stimulus then you will connect the idea to the content.

First exercises with Phi Yaan Zek

Here’s some of my first notes from when the first week I was taught by the brilliant teacher that is Mr. Phi Yaan Zek.

When I first worked with Phi we we’re learning fingering techniques on one string:
3rd string (G) using –2–454–2 / 45-7-54 / 5-7-9-7-5
Also sweeping techniques:
Major 7th sweeps / minor pentatonic sweeps
These excerises help with dexterity/ speed/ stamina/ palm muting/ using all you fingers. My main problem with these excerises was my little finger not being as strong or as fast as the rest which I’d trained in the 4 years of playing, to get this up to speed on the rest would involve constant practice of the playing above aswell as my own designed tapping techniques. These tapping techniques look like this;
Using the E/A and D string I tap the higher octave F# (E string) E (Dstring) and B (A string) whenever I tap I hammer on the same string but using these notes.
The F# = Hammer on the G# – B
The E = Hammer on the F# – A
The B = Hammer on the C# – E
If I didn’t use the tap as a technique then it would be extremely difficult to get to the higher notes when focusing on lower hammer ons, the tapping technique was brought to popular use and worldwide knowledge due to Eddie Van Halen pioneering this way of playing in the 70s.
Practicing the major 7th sweep would firstly be choosing a key to play in, I normally choose the key of E to start with, this process uses the major scaled then arpeggiates through the top 4 strings (D/G/A/E) using these notes:
D = C# – A
G = G#
A = B
E = D# – F#
Using this arpeggio gives the player great knowledge of the top end of the major scale and also results in faster playing, the term “Sweep,” comes from the sound of the desired arpeggio played very fast, if the notes were palm muted and played fast then this would be called a “Rake.” A player who pioneers these ways of playing is Frank Gamballi.