How to rehearse (How to get in a band part II)

Red carpets are essential to hide unexplainable stains

Welcome back!

Last week we looked at some tips on starting or joining a band. This week, we’re looking at one of the most important things a band must do effectively but is often taken for granted – the rehearsals!

All successful bands and musicians follow a well structured and disciplined rehearsal schedule, no matter how ‘rock and roll’ they are on stage. Here’s a few pointers to help you on your way.

Of course, I should start by mentioning about hearing protection.
I have been a professional musician for 12 years and have suffered a little hearing damage which was mainly through not bothering to use ear filters (not plugs) in the beginning whilst out playing 6 nights a week.
I now use in ear monitoring which is the best thing since sliced bread (though sliced bread gets all sticky in your ears) and it will stop me from going deaf.

Rehearse – rehearse, rehearse…
When booking a rehearsal – especially the first one – try to book into a proper rehearsal venue, even if you do this only once, which means - not your house, your mate’s house or the local pig-farm where they’ve “done out a room for bands”.

A professional venue will set the tone for the practice and show you what it’s like to ‘go to work’ as a band and a neutral territory keeps everyone’s mind on the job.
It should also have everything you need and all the things you haven’t thought of – spare strings, ear filters, spare cables, sticks, picks, water, tea/coffee, snacks… try to avoid taking alcohol though as it risks the night becoming a party and a massive waste of time (unless it’s an awesome party, but I doubt it).
If you’re not careful, you will build associations with playing or going on stage and ‘having a beer to calm the nerves’ which is not good professional  practice for a ‘serious band’.
Once you are at the rehearsal, the most important thing to do is to rehearse!!

Rehearse before the rehearsal!
“What??” I hear you crying out with your mouths wide open, aghast at the paradoxical concept I put before you, but be at ease and I shall explain…

There is nothing worse and infuriating than turning up to a rehearsal where any one of the band members have learnt the song or worked on their part and we all have to sit there while you work out the chords to the bridge or ‘quickly go on the internet to find the words to the 4th verse… if you can’t learn them, PRINT THEM OUT BEFOREHAND.
It shows a lack of attention, commitment and respect for the others who bothered to put the time in and, excuses only make it worse.

Do everyone including yourselves a favour and do the work required so you can MAXIMISE the limited time you have together.

Be disciplined!
What this means is to make sure you don’t waste your time messing about playing ‘Postman Pat‘ or focusing on lower priority elements that can be sorted outside of the studio where you might be paying per hour.
If a great idea comes up, it’s not a bad thing to go with it and see what happens  - maybe record it and work on it later (more on that to come). Also, don’t underestimate taking a
5 minute break once or twice – it does wonders for your tired ears and perspective on the music.
It’s going to take a long time to get you sounding anything like a band and there’s a lot of competition out there so let’s not waste time eh?  It’s going to take a little while to get you sounding ‘tight’.

'Toight, like a tiger'

 Record yourselves!
As a band, how do you know what  you sound like?

Pick an answer:
a) you can hear yourselves
b) your friends tell you
c) your mum tells you
d) you record yourselves and listen back

All of the above are good feedback, but the best way to really hear yourselves is to record a rehearsal. Nothing fancy, just a microphone or a phone in the centre of the room and hit record.  Listen to the arrangements, do they work? Is there something missing? Does it excite you or bore you? Does the song work? Is it too long/short?
If you don’t like it, don’t expect anyone else to!

So many questions, but if you start asking yourself these (and only YOU can answer them) you will be well on the way to getting ready for your first gig…

More next week!

JW

How to get in a band

Hi all,

In case you’re not aware, there has recently been some fantastic news from the Musician’s Union for musicians and gig-watchers in the UK.

It involves a change to the strict licensing laws which venues have to adhere to in order to put on live music anywhere – basically, it has become a lot easier, less bureaucratic and cheaper for a venue to put on a gig!
The full story…

In light of this, I have decided to post a few pointers for those of you who want to start a band or join a band and take your first step to local stardom…

Wanted: band member - must be reliable, sociable, level headed. Don't we all?

1) Get out there!!

Now this sounds pretty straightforward, but I get asked quite often
“how do you join/start a band”?

If you don’t have any friends (musical ones at least) and have scoured the local free-ads and internet sites, one of the best places to start is at your local jam night.  These places are brilliant training grounds for new performers cutting their teeth.  A good jam night will usually be run by an experienced musician(s) and will have a full backline (amps, drums) and a PA.  It is also a great place to find local musicians of all levels and a lot of them are looking to join or start a band…! You might even find some pros or ex-touring musos there too, all of them with much experience to share.
You will be pant-wettingly nervous and try to talk yourself out of it, but do yourself a favour and just GO! You don’t have to play. Maybe next time you could, but it’s good to meet everyone first.  These events need supporting as much as possible anyway, so just by being there (and buying a drink) you are contributing to your local music scene (check age restrictions first).

When you are ready, the usual etiquette is to find the ‘jam leader’ and put down your name and instrument(s) you would like to play.  You will then be called out to play with other participants (usually the house band if it’s your first time) and either make something up on the spot, or play a song with a basic chord format so it’s easy for everyone to follow.
Tip – learn the 12 bar blues (in A)

A | A | A | A
D | D | A | A
E | D | A | E

This is more than likely to crop up during the evening and is a great ice-breaker before you get crazy with the funk!

crazy with the funk

 

If you want to solo, wait for…

‘THE NOD’
The NOD is a very important tool in the musician’s arsenal.  It is a simple movement of the head, yet it can mean a myriad of so many different things -
“Your turn”, “are you ready…?” “shut up” “your amp’s on fire”…

basically, it’s a form of communication, and this is extremely important when you are on stage and jam nights are where you learn things like this.
You’ll also learn that onstage volumes and mixes are COMPLETELY different to what you hear as an audience member and it might throw you at first…

It may take a while, but if you attend regularly, talk to people and respect everyone’s abilities you will make some good friends, some of which might end up being your bandmates, and when you do, it will be time to rehearse… 

More on that next week!

JW

Timing is everything…

There are some of us in the guitar playing community who just enjoy a strum every now and again (who doesn’t?) and then others who like to put a more formal structure around their playing – neither of which are better than the other.

I do however, think that there is one detail that everyone should pay a little mind to, and that is… timing!!

So, what is timing?

(definition from google)

  • The choice, judgment, or control of when something should be done

So, the important words in there are choice and judgement and control.

When we’re playing a song to ourselves or are round the table with our friends at a party having a sing-song, the timing (as long as it’s roughly in the right place) doesn’t overly matter, does it? – I mean, it’s more about the fun, right?

Well, maybe – but if you are playing with other musicians or along to a track, or you just want your music to flow timing is EVERYTHING!

If all the musicians have inherently good timing, it allows everyone to settle into a groove, where everyone’s rhythm is aligned and the song just flows – have you ever heard a song where you just can’t help but nod your head or tap your foot?

That my friend, amongst other things, is a groove and of course, your audience gets sucked in too – and that is when you have them – nodding in agreement with your music – look at them in the video!!
Timing and FEEL.

Of course, you might say “But John, I’m a LEAD guitarist – I don’t care for any of that RHYTHM nonsense – what are you chatting about, fool??”

My answer would be that you’re the fool -

He will pity you

Music is primarily about the rhythm as far as I’m concerned, the rest comes after that.
Chords, melodies, solos, drum beats, bass lines… it’s got to groove, feel right and of course, be in time.

Next time you practice, put on a metronome, or even better a drum beat and try playing along with it. Listen to the overall picture – are you in time? Does it groove?

JW

 

 

 

Music lessons for Merriment!

Hi all!

Xmas is coming up sooner than we all want to admit and soon you may be pondering over the perfect pressie for your beloved or befriended.
If you are thinking of something musically inclined, you might be pleased to know that your town (Felixstowe!) has a ‘smorgasbord’ of professional talent bursting to share knowledge, experience and maybe even tea/coffee!
Have you considered buying… music lesson gift vouchers?
More and more, I sell vouchers for guitar lessons throughout the year because they are such a thoughtful and unique gift!
You can start with a 30 minute taster session, or purchase a whole 10 week course – it’s up to you!

For more information, please feel free to give me a call.

JW

John Wilmshurst is a professional guitar tutor and has taught literally hundreds of students of all ages since 1999.
Visit him online at www.johnwilmshurst.com

Qualified to play music?

“Can you be ‘qualified‘ to make music?” asks guitar tutor John Wilmshurst.

While most people studying an instrument are happy just to learn for fun, some of you will be thinking about taking music exams.
There are pros and cons to this, you decide which is which:

  • Exams enforce structure in your study
  • You get official recognition and satisfaction for your efforts, if you pass
  • Grades count towards UCAS points
  • Exams and books increase the financial commitment to your lessons
  • Studying from books can make your playing more clinically correct
  • An exam date adds deadlines and pressure

A grade 8 student is always applauded for their discipline and commitment to study, but few can also play with the ‘feel’ of a dedicated musician who practices all night trying to get ‘that sound’ which turns them on.
There is no ‘right’ way to learn, but I do follow one golden rule:

Remember why you wanted to learn to play in the first place.

John Wilmshurst, Guitar Tutor

Review – Rotosound British Steel Strings

Review of Rotosound British Steel strings

To start this review, I strung up two very different types of guitar – one is a Fender Stratocaster (Mexican Deluxe, 1997) and the other is a Custom silverburst Gibson Les Paul (2008). I played through a Fender Hot Rod deluxe ‘Texas Red’ Ltd edition all valve amp. The cable was a Pete Cornish HD cable.
The strings I had on these before were Rotosound R10 (yellows).

British Steels hark back to the days when a lot of the strings you could buy were only stainless steel and were used by guitar legends like Brian May and Jimi Hendrix to name but a few.
These strings have appeared on some of the most famous recordings on this planet!

I couldn’t wait to hear them!

Stratocaster
On first inspection, they add great punch and ‘twang’ instantly to my Strat and I can hear top end harmonics singing away that otherwise struggled to be heard.
The sustain seemed to have increased too, which I suspect is due to the high iron content which gives them increased magnetic property so your pickups can ‘keep them ringing’ so to speak…

I played them on stage at a function gig and I found they cut through a mix perfectly well without the need for EQ/pickup adjustment so I could keep my bluesy ‘neck pickup’ sound and still be heard – though I found they were very lively during rhythm playing – I guess the bonus of this is that I can use my volume pot more effectively rather than ‘river-dancing’ on pedals all night.
When playing functions, you need a versatile array of sounds at your fingertips and these strings performed particularly well on the Blues/Country numbers but were a little too forward for rhythm in the rock numbers.
Until I brought on the Les Paul…

Les Paul
The British Steels can really brighten up an otherwise ‘middley’ sounding pickup like a humbucker so when I switched my Les Paul to rhythm, I could back off and still be present enough to fill the sound.  When it was time to lead, I switched to ‘Treble’ and I instantly came forward to the front of the mix.

Summary -
Bright, ‘twangy’ and grippy strings which really add a true vintage tone and impressive response.  If you’re not careful, they can be a little harsh on a Strat (or Tele) unless you are playing country then you will appreciate the new trebles you can hear.
They really add a ‘bite’ to your tone and for humbuckers, they add a new toppiness which helps your solos soar to the top of a mix.

Rotosound are always manufactured to the highest standards and that is why I trust them night after night – the British Steels are solid, dependable and now my new favourite string!!

They are available in the following gauges:
BS09 09 / 11 / 16 / 24w / 32w / 42w
BS10 10 / 13 / 17 / 26w / 36w / 46w
BS11 11 / 14 / 18 / 28w / 38w / 48w

JW

Learn twice as fast – Practice at half-speed!!

Hi all,

I know this sounds weird, but it’s true -
“if you practice at half-speed, you’ll learn twice as quickly”

Now of course, no-one’s measuring precisely but surely you would think that practising at a slower pace would take up more of your precious time and in an effort to get it all in you will have to cut corners…

Well the first approach is to prioritise.
It is much more useful having the ability to play a few things well, instead of having about ten things you haven’t quite finished or can play ‘sort of’.

Think about it this way -
“if you practice slowly and accurately, you’ll develop your skills properly over a certain period of time.
If you practice something badly, you’ll never learn it over ANY period of time”

This is just pointing out the obvious really (it’s only obvious once you know) but just stick to one thing, learn it and master it as best as you can. Take your time. Chill out!

Start at a comfortable pace, accept the fact that it is going to take a little while and set yourself a short term goal:
“By the end of this week, I’m going to be able to play the first few bars of that riff/that scale/those chords etc…”
Then you can add to it and within a few weeks, you will have it (depending on what you’ve chosen to learn of course – be realistic!)

I’ve had people come to me for lessons who’ve been playing longer than I’ve been able to wipe my own bottom and they’re angry, god they’re angry.
A pent-up bubble of rage is swelling inside them: “Why can’t I play this ***** thing?!?”
As it goes, they’ve been playing the same things over and over, full speed and trying to mask bad habits or just putting up with that bit that isn’t quite right but “it’ll do…”

My first port of call is to get them to chill out, play it slowly and accurately to a metronome (or with me playing the chords slowly)
If they can’t do this, then that’s the problem – they’re running before they can crawl – if they can, then I keep speeding it up incrementally, 5-10bpm until I find their limit, which is usually 20-30bpm slower than what they’re trying to play it at – running before they can walk.

When you’ve finished reading this, pick one thing you’ve been trying to learn and tap along to this metronome to find the speed – then cut off 30bpm and try it again – I’ll be interested to see after a week or so of solid practice if it helps :)

JW

Applying the dots to the guitar neck

Hi all!

This post is for you guys who can read music and want to apply it to the guitar, or those who want to get started. I’ve posted up a worksheet which illustrates exactly where to find the notes written on the stave, on the neck.

This is not a comprehensive guide but just a pointer.

Any feedback/questions, let me know and I’ll update.

Click below for the sheet.
Applying the notes on the stave to the guitar neck.

JW

I want to play guitar faster, FASTER!!

Q – How important is it to be able to play fast?
A – it depends on how fast the piece you’re playing is.

That pretty much sums it up really.
ALL styles of music rely on their speed (tempo) for feel, but it really depends on what vibe you’re trying to put across – fast isn’t always appropriate.

Take two very different styles – Metal and Reggae.
Neither is better than the other but they both portray the whole vibe of their music and culture perfectly – ROCK ON!! or Chill…

So if you meet a speed freak who can shred 200bpm scales with their fingers in a blur and their eyes rolled back into their head – respect them for their dedication to their genre, technique and fondness for black.
If you meet a chilled out, chord chopping Reggae lover who can relax, sit back on a groove and know when NOT to play (possibly also with their eyes rolled back in their head for different reasons!) then give massive respect for their attention to space and portraying their relaxed vibe.

I totally get both.

There’s enough room for everyone and we all have something to offer, so do yourself a favour – next  time you get all panicky worrying about how fast you can play (or not), just go and stick on a Bob Marley record and get Jammin’…

JW