They used a MASSIVE shortcut... 

In my opinion, one of the best examples of this is early Santana. He's got so many instrumentals that are very lyrical and emotional. That and his command of dynamics speak of emotions in most things he played.

I taught myself guitar by writing songs. I read all the guitar magazines, back in the day, but for the inspiration of the artist, not to copy them, although I picked up a few chords & scales, here and there. Whenever I attempted to learn someone else's songs, I would invariably stumble onto something cool, which I would then explore, rarely getting more than a few bars into anything before wandering off on my own. I realized that a major theme expounded by most artists was to develop your own style, and not copy anyone else. I soon realized that there are millions of guitarists who can play all the great classics note for note, down to the proper setting of effects, with better "ears," and steeped in theory... But there is only one me, and I am the best at that. Not the path for everyone, but art should be about the artist.

Brian May often talks about his guitar as his voice, that he imagines it singing "with something to say" that is as valid (and as lyrical) as the singer, that a guitar solo is actually a duet... Listen to Bijou by Queen to understand this idea precisely; it is an inverted song, where the guitar has the verses, and the singer gets the solo.

Frank Zappa was explicit about this. He stated that his guitar solos were derived from human vocal speech patterns.

I worked for many years in a guitar store, and I had this one customer who was a middle aged man who was mad on Dave Gilmour. One day he came in and started ranting about the fact that he’d bought all this gear off us that was the exact same gear that DG was using at the time, but he still didn’t sound like DG! I kid you not. I said to him, “if Dave Gilmour came into this shop right now (he never did but he would send his tech in to purchase old Millard valves we had), and he picked up a Strat copy and plugged straight into a little 15w Squier amp and he started playing, who do you think he would sound like?” He didn’t reply 😂

One of the things that makes me wonder about guys like Jeff Beck, Gilmour and Lukather is also the fact that they often alternate between playing on the grid and floating in time. This skill used at the right time, makes the solo more organic. It’s really beautiful

This reminds me of how once I was listening to Miles Davis’ rendition of “I Thought About You”, and it suddenly occurred to me that he was “singing” the lyrics with his horn.

I've always said when you're playing a lead break you're telling a story, with a beginning, a middle and an end.

You're the first RU-vidr that I've ever seen that "gets it". This is a truism for any instrument, any genre, any time. You're not only telling a story with your instrument, but you're also having a conversation with it. I like to point to Duke Ellington's "The Mooch" to illustrate the point. But any good music will also serve. But not only that, get the breathing patterns into your phrasing to drive home the point. People naturally tune into the Human voice, that's also why we're attracted to the mid range instruments as much as we are. It's relatable on a real visceral level.

You nailed an important phenomenon David... I think it applies to every creative endeavour. Writing, painting, engineering etc. The concept of education being a ladder where you start at the bottom, learn everything that has gone before. Have your progress monitored and affirmed by people higher up the very same ladder. Dissect and regurgitate established tropes, then after all the study, suddenly become original and creative... Not likely! You need to keep the playful childlike inquisitive experimentation alive. Not knowing that their are rules and conventions makes it easier to just do whatever seems good to you. And if it seems good to you, it will appeal to some other people. Music has always seemed like a conversation to me. A phrase has a response which in turn necessitates a further retort. Sometimes all the technical clutter can get in the way of turning inspiration into sound.

I think to be a little more specific, when it comes to getting that more melodic sounding Gilmour and Brian May style, it mostly comes down to 1. Actively listening to everything in the music and not just playing once you know the key 2. Leaving space for the music to breathe and for your notes to stand out more ( since there are less of them, each one means more). 3. Using notes from whatever chord is being played at the moment

Watch the video by Barney Kessel - Jazz guitar improvisation : progressive concepts. He talks about all of this and more. He was a member of wrecking crew!

Even The Beatles started as a cover band playing the music of other artists. And guess what… the didn’t try to sound like the originals. They INTERPRETED the originals using their unique style…

Hey David, I really like your videos and your approach to the subject. The "secret" you mention here is exactly what I think and what in my opinion seperates playing music and express yourself from just doing what is "the right thing". I learned autodidactic and was driven to the guitar when I heard (probably 5 or 6 years old) "Samba pa ti" and "Europe" by Santana, surely not the most gifted player on earth, but his tone and "storytelling" was (and is) sooo mesmerizing. And who drove it to perfection for me is Frank Zappa with his ourstanding way of telling the weirdest stuff with his guitar. Keep it up, and live long and prosper! Greetings from old Germany

I love your guitar philosophical videos. It’s different than anyone else and they always make me think outside the box

You only need to be good enough to play YOUR music.

Brilliant that all three are from this side of ‘the pond’! Just been listening to Rick Beato’s fantastic interview with Brian May (if you haven’t seen, it’s a ‘must’) and he says he sees his guitar solos as an extension (continuation) of the vocals. Freddie had the solo then he has it for a while before handing it back… Dave Gilmour’s ‘Comfortably Numb’ solos brings tears to my eyes - so beautiful. PS Just discovered your channel. Love it. And I have subscribed! 😉

Brian May is an incredibly unique player. Great solos, great riffs and great tone.

👍 I started to play out of The Bible.. AND just WOW!!! Started with " Gen 1:1 In the beginning God created the heaven and the earth ".. I think it was one of UR vids, when you talked more of this consept that made me just trying it!! so THNX!! AND BLESS U!! Hope you feeling better now, from all things that happend to you? Take Care man! KB

Asinine. Waste of time watching.

You're right. I often was blown away by a guy in music store who had monster chops. I'd invite them to come and sit in.. Almost always, they would show up and be sterile or clueless in a REAL gig! Couldn't improvise, listen to get clues from band, try to lead into new themes or kicks. Just NO IMAGINATION left after learning all that theory.

This is what separates david gilmours from yngwie malmsteens.

Always thought guitars were designed to get the babes / wait.. is that no longer pc? Guess it’s time to transition into expressive playing.. 😮😅😢

we learn all they rules and then they break all the rules .thats why its so difficult to copy them i think

I just did it with Mary had a little lamb in my head. Blimey this does make a huge difference!! 😅

I think you either have it or you don't . Anyone can learn to play well but only a few will be creative

Emotion. Yes. Exatally. _"Goodbye Pork Pie Hat."_ - Jeff Beck, at Ronnie Scott's. Stuck it in and broke it off. Best DVD EVER !!!

I get what your saying , but it's no short cut , you have to be able to play first , mistakes are ok if they are on purpose,but you need to know it's a mistake first.

Excellent vid, David. To paraphrase a well known action star : "Emotional content; don't think, feeel. It's like a finger pointing at the moon. Don't concentrate on the finger or you'll miss all the heavenly glory."

The feeling from within is a gift for sure funny thing is I've been playing for over 30 years I don't know what scales are I mean I do but I don't know I can't read music I write my bass player is a music scholar says that I play in thirds I said what is that he said don't worry about it just keep doing what you're doing LOL I have no idea what I'm doing but it feels good it feels great and I'm very blessed to play music

Excellent job of explaining your theory..!.. I always start my Solo, Theme run, hook with a simple lullaby type melody that you can hum. Everyone can hum and when you activate that part of the brain and use the melody/theme to build on it opens so much and gives you a good base of operation..!.. Well said lesson amd valid real life hacks/cheats/points, Great Video..!.. 🔥 🔥 🔥

That was actually a very useful video. The "cheat" to telling a story with the guitar was aperantly under my nose for almost 3 years now and I feel like I can implement it right away. Thanks man!

You're definitely onto something here. If I try and solo, I devolve into a blues scale pattern, with no feeling. No soul. Its rubbish. I might just try and add feel and not worry about which notes I hit for a while, and see what happens. I'l be on my own during this experiment haha

Yes it's just a artistic tool to express through and it's really hard to express through when you're just copying other people's music. You have to ask yourself the questions and solve them in music and most of all outside of music which is within.. but I watched a few of your videos you're on the right path no doubt about the speech you have to know Harmony phrasing no value.and why say David gimour makes you crave his solo.becuse he nos tension resolution.master of... And don't think you have to use everything you know to show your good that's the young immature player as you know keep up the good work. It's all in your concepts approaches and personal traits.and musical questions ask solve them. plus a lot more I know about.. I'll give you the answer for $1,000 haha just kidding you...

It's the difference between playing 'with' feeling and playing 'from' feeling. The former can be copied and replayed as dynamics. The latter is a far more complex psychological process of learning to label emotions and their nuances and connecting these to motor skills. Most people never achieve more than a rudimentary understand of this and musicians are no exception. The story method is very good but it's not a cheat - you're really going much deeper but haven't realised it's potential. For those really stuck, working with an art therapist or music psychologist can help. Keep exploring!

Seems a bit like the guitar equivalent of method acting... "Laurence Olivier famously expressed his disdain for method acting when filming the 1976 film Marathon Man. Exasperated with the lengths his co-star Dustin Hoffman was going to for his role, he asked: "My dear boy, why don't you just try acting?"" I feel a bit the same about this, but then I love Dustin Hoffman... P.S. I should have said I enjoyed the video, thanks!

I think Trey Anastasio said it best one time. He said, "Play the music or melody that's in your head." That's always stuck with me. I think your channel does a great job channeling a very central and important message: *Be Yourself*

So, the “shortcut” of what made those guys great is to solo with “old mcdonald” in mind?

David, you're awesome.👍👍

Good stuff but the missing element Is the team. Nobody cheated or took a weird shortcut necessarily but they worked together as a team not just the band but the engineers and the producers. Another huge advantage they have is their recording ideas and then moving on to new ideas. When you write and record you are forced to do something new and different. Most amateurs never write and record so they keep doing the same thing over and over again.

I can never remember what I was thinking when I'm playing my best. It's literally being in the moment and reacting. What you're doing here is separating yourself from the dogma of rules and tapping into your subconscious.

B B King plays fairly simple licks. But, he MOVED us, whether on record or, even better, live. As Bruce Lee said about mastering the Martial Arts, “Emotional content”. technique is important, but without Soul, it’s just notes.

In other words, it's all about phrasing.

My thing always was when either composing an entire piece or playing over a track, I imagined what I would sing over the track and played that. Works alot of the time. Of course if you're covering a song and want to sound like the record you have some practice to do. But if you're jamming or playing an original piece, making your guitar "sing" is a way to go.

Most My music comes from books I read. I don't try anything....I play what I hear. 🤷‍♂️

I learnt classic Royal School of Music stuff for the violin as a kid. I found it clinical, technical, all about the nuts and bolts of music. I didn't stick with it. When I started playing guitar a short while later it was also classical, and I started to get that same feeling of it being a chore. I did the usual progression thing, enjoyed a short time with a major lable, but after ten or so years life circumstances changed and it was not a biggy to let it all go and drop the playing altogether, I went the other side to FOH and took up live sound. I kept one instrument, a quality Spanish acoustic, and after twenty five years of it gathering dust, and with a sense of guilt for this lovely instrument sat behind the sofa being neglected, I popped into a local guitar shop for some decent strings for it and chewed the fat with the lovely guy running the place explaining my situation with guitars. It was there I learnt about the existence of DAW's and how the scene had moved on. Not wanting to get embroiled in the frustrating scene I'd left I decided to have another go, but to use the tech that was now around to work solo and not be dependent on others. I've set myself a personal mission, and have made a point of staying away from the sterile route of theory and formula and my stuff sounds, and more importantly, feels, right to me. It's working for me. I'm enjoying it more than I ever have, and expression is coming to the fore. Sure, the nuts and bolts matter, but mostly as a means to communicate music. And with me being the audience, and with little need to communicate it to others, I'm chilled about it, grinning about it, and my internal locus of approval is strengthening. I put no effort into sounding like anyone else, but have picked up on the telling a story thing through that, much better than widdly diddly pyro stuff where the locus of approval seems largely external.

go watch George Benson - he was a master , able to sing every one of his notes, in perfect sync with his playing. go watch Affirmation (live), Take 5.

Throbbing Gristle talked about this - by learning standard chords and scales you're already molded to be like everyone else who learns the same.

Fascinating.... Similarily, I've often hummed my leads as I improvise them.... it makes them way way better. Will experiment with using words instead.

I seen a old interview with Clapton saying this is exactly what he did . Interviewer tells Clapton he is guitar genius. Clapton says no, All I do is play the words in the song

Man, all the video I waited for 'drugs' beeing the secret cheat. But I like your suggestion better. :-D

I don't know what it is about your videos, but it feels like I am watching an old 90s video recording on a roll in TV in my classroom! Not a bad thing at all.

What is all this convoluted nonsense? This guy is oriented in conventional, commercial music, making a lot of very limited statements. Check out Derek Bailey, Fred Frith, Sonny Sharrock, Dave Fiunzynski, Julien Desprez... David Gilmour & Brian May are quite predictable & bloody boring.

Some tips to become "more melodic" when playing. 1---Sing, hum or whistle the solo, record it then try and copy what you just did. 2--Play everything on 1 or 2 strings. This automatically forces you out of predictable boxes, patterns and cliches. 3---"Pretend" you are one of your heroes and try and lay down a solo that sounds like that player on purpose....Then do it with a couple more heroes. See what comes up. Then mix them altogether. 4---Practice playing melodies. Seems obvious doesn't it? If you want to play more melodic,....then play melodies. Anything will do. Happy Birthday, National Anthems, Christmas Songs, Commercial, those charming folk songs we all learned in Hal Leonard and Mel Bay books....all good. ........I know you can play all that stuff,...BUT....when was the last time you did? On command, just one memorable melody after another, that everyone knows and can sing to, without having to think about it or fumble around. It trains your ear, melodic sense and helps you with your own phrasing. (Then try it in different keys and tempo.) ...Also you will be a real hit around the campfire with an acoustic. Good Luck. Cheers!

Very good insight. I'm not sure I would call it a cheat, more like a revelation on how to connect with your subconscious mind & let go of all the technical chatter about music theory in your conscious mind. I made up this crazy exercise of creating solos on just 1 string. I would play different solos on each string ,but I'm not allowed to use any other string.It really helped me instinctively learn the fretboard & not think so much during solos.Anyway,great channel & so many thanks for taking the time to pass on your wisdom.

I've been in a rut and a block... and yeah it's all a bunch of repressed crap I'm not dealing with I'm sure 🤣🤣🤣. Thanks for the motivation this morning.

A great video for newbies. I have the opposite challenge; I am mature and very musical but lack the skills necessary to pull it off. What you're describing in your "discovery" is called being musical. Give me B.B. King over Joe Bonamassa any day. Joe Bonamassa simply strings together licks of other guitarists, and does it very well, but he's not musical to my ears. Give me Count Basie over Oscar Peterson, etc...

Actually, I've always just went right to the music. Never learned no stinkin' scales, none of that. 'snot a cheat. It's just music. Feelings.

You have to be great for one. Sure! Anyone can. But not everyone can have a creative team of people with the same vision and sound. That's the difference! When a bunch of unique and creative individuals get together to create music, they create magic. That's what people are missing. Because it's hard to get! You are right, they cracked the code by doing it their own way whilst crafting their sound with others as a group. Never alone

Reminds me of Clapton playing Blue Moon to start the solo in Sunshine Of Your Love. I'm not sure if that was intentional.

The Truth is that the mockingbird we got sings but not good...So papa better get down bringing US Hisreal, and royal Rock and Pronto!...Shema!!!

Calling this ability a 'cheat' is a most unfortunate and deceptive word choice. 'Dislike' from me.

Aside from reintroducing America to its own music, especially black music (which the American media was turning its back on in the early sixties), there is a simple answer to why some of the British bands of the sixties and seventies captured the imagination of American audiences the way they did. I write as someone who was born in the UK in 1961. In America, where I live and play today, there is ‘the song book’. American music is understood by Americans. It is taught in high schools. ‘Band’ is a thing. It has been formalized, categorized and there is an established, ‘correct’ way to play it. Its a part of the American culture. That is what people are taught when they learn guitar in America. The Brits don’t know about that! Or at least they didn’t back then. They listened to mostly old American records, mostly by black American artists, and tried to emulate those. It made for some exciting records but what sounds so fresh to the American ear is that the way it is played is actually wrong! They didn’t know they were doing it wrong at the time, they were just playing by ear, as best they could, and maybe putting their own spin on the top because they wanted to sound distinctive (don’t we all). It meant they were free to experiment in a way that would have been much more difficult if they knew they were breaking so many rules! But actually they didn’t know. Mark Knopler says this of himself. He sounds good by doing it all wrong, but by pure chance getting wrong right! It wasn’t cheating. It was getting it a bit wrong and getting away with it because, wrong or not, it sounded great. It would have been so much harder to do had they known how to do it properly to begin with. That would be taking risks. What they were doing was getting pleasantly lost. Maybe we should all get lost from time to time!

Awesome video Man! I've also found that just ditching tabs and lesson videos or even using guitar videos in order to "spoon feed" yourself a song, and just learning a song by ear can really get you into this type of mindset. Especially if they feature the kind of guitarists you mention in this video. You get into this mode of, how can I use my fingers to make these sounds. You're playing with your ears and your fingers are just a tool. Your ears are calling the shots, so to speak. Not your fingers!! It's like what your fingers are doing are just the raw computer code and what you're experiencing is the video game. Learning old songs that you are super familiar with as a fan can be such a revelation, like. oh that's what they were doing!! By learning super melodic vocal like leads is bound to have an impact on your own playing if you make it your intention to do so.

Ive been telling people the same thing for years, note for note is great for practice but play with feeling and don't worry about anything just have respect for the other musicans and dont be an animal unless it calls for it 😮

yes! Clapton doesn't 'riff'....he tells little short stories with a beginning middle and end...micro compositions with integrating self-referential phrases as he develops the story. Robben ford discusses this concept frequently. I have been working with melody and note character for yeears. I transpose sax leads and thing about the melismatic character of the human voice and it's infinite nuances. Are you whispering or shouting? Why? What are you trying to SAY? Riffs and stock phrases have their place like verb conjugations do in spoken or written language, but these symbols are in the purpose of a composition, be it a simple thought or longer developed statement. A player that is solely focused on masturbatory show-off speed or "mere" technical skill is missing amajor part of the big picture. This "cheat" you are revealing I think is more then a trick. Clapton utilized it from day one. Melody nd composition have always distinguished his uniquely brilliant play. Also his amazing virtuosity. You are most accurate discussing his prodigous skill at nuancing individual notes and there are a vast number of way to accomplish this. he has one of the most expressive and violin like vibrato techniques every brought to guitar, which is but one element of his overarching genius, and that is the word for it. I admire many many musicians in many genres but EC is special and i have been a student of his work for 50 years and have assimilated a lot of his vocabulary. Right you are that in a breakdown of many of his things there are highly recognizable and often derivative patterns from the minor Pentatonic etc, but he inserts pauses in uniquely timed ways. or will go high when you expect a suspension to resolve low, or will not resolve a suspension but fly into another clause that gets resolved later in a different but satisfying way. he creates fragile sound structures, like beautiful snowflakes where no 2 are alike. There are things that unify the very young claton with the current clapton, endoskelatal stuff that has stayed consistent. the man is playing out his DNA right in front of us. Those uniquely constructed phrases that are comprised of deceptively common components, yet are so difficult to replicate, you are right, absolutely transcend technique. You have made a valuable video for people who realize the accurcy of your message. having never met him, I consider myself one of his better serious students. More then almost anyone, he write angelic script, the only language that refers to nothing except its own symetries and beauties, requires no translation, and does nort evoke thoughts or images or pictures, it just suggests and creates a neural/spritual state that refers exclusively to itself. How many people have this enormous gift that transcends skill and technique , which are just the tools to build the house of soul.

DO NOT LEARN HOW TO PLAY GUITAR. None of these guitarists did.

When you first start learning English, no one corrects you... Your parents say ga ga goo goo with you, there is no grammar or things like that taught. You can fluidly speak English long before you learn any of the "theory"... your "ear" for English is developed long before you learn any "theory". When you speak English you don't think about Grammer it just comes out. Victor wooten also teaches this same ideology. Music isn't taught like a language

I agree, guitar & any music is a true form of Art, like painting or theater and is channeled from a divine source. There are thousands of robotic guitar players that can read music, know every chord & theory, and closely duplicate nearly any guitar song. However, these robotic, analytic song duplicators lack the spark to create their own music, and will never be remembered. The creativity of Jimi Hendrix, David Gilmore, and countless other guitar artists did not create their masterpieces out of music theory. Could Hendrix even read musical note scales on paper?

David,, good advice. But here is something else you can ponder on. The emotional part of music comes from the midsection. I say that with much certainty. If you have a child, lets say 7 months old, sitting down on the couch while you are playing your instrument, you'll notice the child's musical rhythmatic energy comes from the their midsection of the body. A talented dancer can also prove that to you. Even one in a wheel chair. Practice that and with a beat, mentally think of a story and put it to the beat of your midsection. No backing track necessary. Good luck. Your viewers just learned something here also.

It's a broad church. A LOT of guitar players are into effects pedals, amps, settings, tech... then there are those who are into vintage models. Others like techniques, shedding, legato, funny tunings... yet more like whammy bars, bottle necks, funny tunings, loops. The internet is filled with silly "music theory essentials" for pop and rock musicians that adds up to scaring off more people than it encourages, and that is a shame. The truth in anything is that cutting edge is too cutting edge/ avant gard to be set into a course. By the time stuff is set texts, it's no longer cutting edge. It's establishment, boring, overthought, revered and the proper way. Where is the fun in music after your initial years learning the few actual things you really need to know?

For a moment I thought you where going to mention the Pick of Destiny ;-) All the best to you, keep up the good work!

I personally never had that problem I taught myself to play by watching my dad listening to music and watching live performances I don’t know what I sound like but I certainly don’t have a clue what I’m doing

I heard David Gilmour used "Old McDonald had a farm . . ." for the whole Animals album. Brilliant!

I've looking at it this way ever since watching Carlos Santana talking about teaching w friend to play and explaining that when you play two notes, try to tell someone to f'ck off with them; literally "f'ck you." The other thing was when I listened to music, I paid way more attention to the singer than the guitar player. Later I'd use the song as a platform to improvise over, but repeat what I heard the singer doing, not the guitar.

Its a dilemma and a contradiction. How do you think your way to not thinking. You are offering an interesting tool. Have you ever considered how to maximize random luck? Sometimes I try to copy something and do it so badly its sounds original but retains some goodness. I believe Gilmour (my hero) recorded solos many times over and then kept the best bits. A little randomness and luck? Its also well documented that he spends an lot of time perfecting his recordings , even he has to work for excellence

I prefer, Patty cake Patty cake bakers man..works everytime.. however, I have noticed a few children during the gig, grimacing, especially kids 5 and over throwing food at me , hollering that im playing it all wrong...

Calling it a shortcut is just not so. My teacher was this dirty junkie(in the true sense not slander). He taught me to sing with every exorcize. He taught caged before it was called that I think. He was also one of the best players I’ve ever heard. Just couldn’t get out of his own way.

Also, try singing a lead first, then play it on yr gtr. BTW, I never knew Vivian Campbell had his own YT channel!

Gilmour learned to sing and play lead guitar at the same time. That’s the cheat. Brain to voice, then transcribe voice to guitar. IDK about Brian May, but John Mayer sings his leads before he learns them on guitar

That's how I play. I still need to learn more theory, but I make my sound, and play what I'm feeling. I'm not that good, but it's my sound.

This really highlights the absurdity of plagiarism suits in music… not the blatant ones like Queen/Vanilla Ice, but the more recent court cases that sue over 3 or 4 note progressions… stupid.

You can't name this "cheat" :-) its another skill - the skill to forget technik. And you have to be very good in technik to be able to forget ist. :-)

Well put sir, thank you. One other thing that helps me: Don't look at. Just LISTEN to it. It Is after all, a Sound Tool.

Playing only on theory without feeling is like writing a book just because you can spell and grammar. Thanks for clarifying a way to transfer it.

Damn you little time traveler! You had a PRS Silver Sky when you were learning guitar? Mind blown!

Bends bbbyyyy it’s the expression within those moments shows the heart of a player

Maybe explains why the greatest virtuosos in classical music rarely ever write anything any good and spend their lives playing other composers works.

Eric Clapton sed that's what he does, he sed I'm really just playing a vocal line on guitar 🎸.

Eric Clapton says he’s singing in a short clip from the south bank show

Les Paul famously said, "you only need one note..." Kind of ironically funny - for him... LOL!

David, you hit the nail on the head. Thanks for documenting this. I’ve understood this way back after I took a couple of guitar lessons. The more I learned and practiced the less I was feeling, I was thinking instead. After 50 years of playing I now read the words of the songs, and decide at that moment what the story is and what feelings I get. I ask the composer (if available) what the song means to them and what sort of feeling it has for them and especially what it was when they wrote the song. I suggest what I feel and if it is what they would like. When we play the song for the first time we record it and then,after discussing how we “felt” about it then listen to the playback. We found the first take was usually the best. But we also discovered that our moods at other times give it another twist. Sometimes better sometimes….well just different. But it’s always good. Thanks for your confirmation that I have been doing this all along.

Joe Satriani discusses this quite thoroughly in his book, and gives an album to album discussion of how he has employed it.

Gradurate What language are you using maybe one of those two earrings is pulling your vocal cords and causing the stress to where you can’t speak I’m used to you not making sense but whatever

Playing with the heart is the way to go. Bringing together the melody, harmony and rhythm takes practice, hours of practice.

Uh, if you're playing a song that has no words then what you're suggesting does make some sense. And if it works for you then go for it! But if you are playing a song that does have words then doesn't it make more sense to play those words instead of trying to play words from somewhere else that have nothing to do with the words of the song that you're playing? In my opinion, what makes a lead guitar part truly great is when it translates the lyrics and message of the song from human language into guitar language and says it using guitar voice instead of human voice.

all the greats on any instrument play their instrument like they mean every word/note w/ their own sound.

I find technically proficient players can be extremely emotionless.

I just play for myself in my loungeroom, no delusions of any career, just entertainment. I jam along to favourite song’s or just go solo, doesn’t matter! For me its not a career, its a hobby and if you turn your hobbies into a chore, theyre no longer fun.

I hate these clickbate thumbs, they are all geniuses, time and technology just pass them by, but relatively, they were without peer.