Book review: "How to Become a Guitar Player from Hell: Tips and Advice for the Modern Guitarist" (bit.ly/2q2yYwB ) is an instructional guitar book that lives up to its title. Written by an experienced guitar player with 20 years of experience, this book provides a wealth of knowledge and tips for guitarists of all levels. The author's passion for the instrument is evident throughout the book and it's clear that the author wants to share his knowledge and help others become better guitar players. The book covers a wide range of guitar techniques, such as arpeggios, finger tapping, artificial and muted harmonics, exotic scales and chords, modes, "outside" playing, and more. The author explains these techniques in simple terms that anyone can understand, and provides extensive musical examples in tablature form, so no traditional music reading skills are necessary. The book also covers topics that are tangential to guitar playing but still of interest to guitarists, such as how to find band members, taking care of your hands, how to get gigs, and more. The author's "insider" information is particularly valuable, as it includes techniques and strategies that have never appeared elsewhere. One of the most interesting parts of the book is the author's "never before published methods" such as the "wah-wham" technique, unorthodox tremolo bar manipulations, and out-of-the-box thinking exercises. These techniques are not only challenging and fun to learn, but also add a unique and personal touch to the guitar playing. Overall, "How to Become a Guitar Player from Hell" is an excellent instructional book for guitarists of all levels. The author's passion for the instrument and wealth of experience shine through in the book's comprehensive coverage of guitar techniques and strategies. The inclusion of tangential topics such as how to find band members and get gigs is also a nice touch. This book is a great resource for anyone looking to take their guitar playing to the next level. bit.ly/2q2yYwB
At age 18 I read a great article on John McLaughlin in Guitar World magazine, and soon afterward I realized how hard it was (pre-internet) to actually get ahold of Mahavishnu and Shakti albums because of the small town in which I lived. After getting depressed that I would never hear Mahavishnu, I managed to find a way to order 'Birds of Fire.' When it arrived it was even better than my expectations (which rarely happens). I listened to Birds of Fire repeatedly for months and practiced my guitar to it. I loved McLaughlin's playing because he always sounded like he was desperately searching for something on a higher spiritual plane that was just out of his reach; plus his extremely fast phrases sounded fiery and passionate to me.
Thanks for the views (over 9400!). If you are interested in electric guitar, please check out some of my other videos that have guitar tablature (just search my channel for 'tablature') and perhaps you will learn a new lick or riff. Also, here are links to two of my guitar books that you may find helpful: How to Become a Guitar Player from Hell bit.ly/2q2yYwB #guitar #book Underground Guitar Handbook tinyurl.com/h3ngusx #guitar #book
Also my absurdist/sci-fi novel 'Red Zen' was taught for 4 years at Virginia Tech University. Here is a link where it can be found (scroll down):www.lulu.com/spotlight/jasonearls
Below is an excerpt from my book, "Underground Guitar Handbook." Become a Mystic on the Electric Guitar [..Two intro paragraphs not included. This chapter is basically an “outside-the box” thinking lesson..] To explain mysticism a bit further using different words, we could say that certain religious people seek after divine attributes of God; and some claim they experience mystical states while doing so; and the people who engage in such activities can be dubbed “mystics.” Note that some logicians and philosophers (Wittgenstein, for example) have claimed that mysticism is really not so “special” or extraordinary. Instead they see it as this: certain objects or things exist in the world, yet simultaneously these things are inexpressible - i.e. they cannot be talked about in a way that makes sense - and this alone constitutes what is “mystical” in the world. Personally, I believe in mysticism only in this way: I know that man’s senses are limited and that there are things we cannot experience as a result. Yet I also realize there are certain “sensitive” individuals in the world who do experience things other people cannot, due to their having a certain hypervigilance or a heightened senses of awareness. These hyperaware individuals, if they focus enough of their energy or attention on striving for mystical experiences, may indeed be able to attain something of the “divine” experiences they seek. The skeptic usually denies the mystic’s claims and says that mystical states do not exist. But these doubts are only possible since mystical experiences cannot be put into words and because most of the time they defy common reason. But what does mysticism have to do with music? Or playing the electric guitar? Music is a powerful medium. Many people consider it to have certain “spiritual” properties. And almost every individual in the world likes some type of music. Furthermore, certain logicians and philosophers have claimed that mysticism concerns itself with what IS and IS NOT expressible. To reiterate Wittgenstein’s basic opinion (in his “Tractatus period”): certain “things” in the world show themselves, yet that cannot be put into words, and these are mystical things. So the common denominators here are: silence and nonsilence (music), and spirituality; and where these themes overlap we can hopefully extrapolate their qualities and make them more effective. Because I want to state my overall purpose in this chapter as clearly as possible, I will say this: By choosing to become a mystic on the guitar, you will strive to have “divine” mystical experiences as you perform; and if you achieve any, you will use your guitar to convey these experiences to others through the music you create with your guitar. So, as you can probably guess, I cannot give you any exact formulae, or even any specific exercises using guitar tablature, to allow you to convey any mystical experiences you might have (if any). This chapter is concerned with an experimental quitar technique in which you’re pretty much on your own. Nevertheless, here is an outline of an algorithm you may want to follow: Strap on your guitar. Meditate or concentrate on the power inside, outside, and OF the universe. Seek to have a mystical experience (ecstasies or visions or knowledge imparted) while playing your guitar. Translate those feelings into your music. Then share them with your audience. Make them feel the mystical states you experienced. That is probably as far as we can go. Most mystical experiences will be inexpressible, but perhaps music is the proper vehicle for them. Silence? There is no silence, which John Cage proved. At the risk of repeating myself, I will list a few more sentences and questions for you to contemplate, since the exact ideas in this chapter are difficult to relate and may be hard to absorb or understand. 1. The mystical guitarist uses his dedication to esoteric spirituality to inspire himself and transcend the boundaries of what a more “normal” guitarist could achieve. 2. Inspiration to compose and perform music comes from states of the mind (and other areas) that are not fully understood. Perhaps it is possible for a musician to go into these areas and other realms that may be inaccessible to others and pull music from them. Wouldn’t this be considered mystical? 3. The mystical guitarist’s main goal is to make powerful music so they can share their “divine” experiences with others and transport people’s consciousnesses to other planes more beautiful and extraordinary. 4. Because many people identify music as being spiritual in some way, and since music IMPACTS people’s emotions in a myriad of ways with no known method of describing exactly how the process works, is this not a case of the mystical? 5. The mystical guitarist nurtures the spirituality within them, continually focusing on it as they play, striving to feed their devotion to becoming one with the “metaphysical realm” because they know it will elevate them to greater levels of playing. 6. If a mystic strives after union with the forces of the universe, and they are a virtuoso musician, and they do in fact have a GENUINE mystical experience, can the same religious or mystical qualities they feel be PASSED ON to members of an audience? I realize the chances of someone being a mystic and a virtuoso musician simultaneously, and then experiencing something divine as they are performing, are all very slim, but with six billion people in the world, surely someone somewhere could be able to do it. Can someone have a divine experience while playing a musical instrument at the same time? Or would it take most of their concentration to simply play the music? If you have a mystical experience while playing your guitar and then share those feelings with members of your audience, I believe you will be the first musician to ever accomplish this. One more thing: It’s actually easier to become a “monk” on the guitar than a mystic. When I was 16 many people would have probably considered my behavior to be similar to a monk’s. I would do nothing but practice my guitar for most of the day, usually around 8 or 9 hours. I had few friends at the time and I would read and study guitar magazines for hours, using them for both entertainment and learning purposes. I abstained from alcohol and tobacco and lived on a diet of cola, omelets, and egg rolls. I did not have a girlfriend and rarely attended parties or social gatherings. If I would have been a more spiritual or religious person during that period, I could have definitely been considered a genuine monk. The only thing that mattered to me then was practicing my guitar as much as possible. When I finally got a girlfriend a year or two later, she was jealous of the time I spent with my guitar and once said, “You love your guitar more than me, don’t you?” “No,” I lied. After that, nearly all of my girlfriends have claimed that I preferred my guitar over them. Sometimes it was true and sometimes it was not. Although I believe it’s easier to become a monk on the guitar, I think it’s more important to strive to become a true mystic. I hope you can do it.
There's a new guitar book on Amazon titled "Geeking Out on Guitar Tab: Advanced Techniques Uncovered." tinyurl.com/2pfde5sw The book has some decent lessons, but it's not perfect. There are a few chapters that focus on Sonny Sharrock licks, Allan Holdsworth licks, John McLaughlin licks, plus a few mentions of Slonimsky's famous 'Thesaurus of Scales and Melodic Patterns.' The lessons cover a wide range of topics that involve mostly advanced soloing techniques. Plus there's a second half of the book that has some pretty wild fictional stories and poems that are music-related, but they're pretty mature and have some adult language -- just a heads up in case that's not your thing. The author is not a professional transcriber or anything, but the 8th and 16th-note patterns are solid and you can interpret them any way you want. The book's divided into two parts and the lessons are pretty short and to the point. They don't follow any particular order, but they give you what you need to get better at playing guitar. In the introduction, the author explains he's a big fan of geeking out on technical guitar licks given in tablature form, so he's included some rare licks and musical phrases. If you're an intermediate or advanced guitar player looking to improve your rock, metal, or fusion soloing skills, you might want to give "Geeking Out on Guitar Tab" a try. It's not a perfect book, but it's got some great material in it.
If you're interested in guitar-related material, "Fretboard Adventures" (tinyurl.com/5ep39j9t ) on Amazon might be worth checking out. It's a unique book that combines guitar lessons with fictional stories. The book is divided into two parts, with the first part offering concise lessons aimed at intermediate and advanced players. The lessons cover a range of guitar techniques and styles, from hybrid picking to finger-tapping, and are presented in a clear and easy-to-follow manner. The author draws on his experience as a guitarist to offer practical advice and tips that will help you take your playing to the next level. But "Fretboard Adventures" is not just a guitar lesson book. The second half of the book features fictional stories that revolve around music and the guitar. The stories are written in a minimalist style similar to that of Hemingway and Bukowski and are sure to entertain; but they might also shock you with their adult themes and language. While the stories may not be for everyone, they provide a unique insight into the world of music and the magic of the guitar. Personally, I found the stories to be more enjoyable than the lesson sections. However, both parts of the book are well-written and offer something different for guitar enthusiasts. The lessons are concise and informative, while the stories provide a creative and imaginative escape into the world of music. "Fretboard Adventures" is a great book for anyone interested in guitar-related material. It's a unique combination of guitar lessons and fictional stories that will entertain and inspire you. Just be aware that the stories contain adult language and themes. tinyurl.com/5ep39j9t
Thanks for the views (over 8000!) and comments on this video. While I'm here, I would like to provide a guitar related fact about John McLaughlin. He once mentioned an unusual scale in an interview, which I later figured out was a Phrygian Dominant scale with the flat-6 omitted. Here is tablature for it in the key of C: - 8 9 12 - 8 11 - 9 10 - 8 10 11 - 8 10 - 8 9 12 Throughout his career, McLaughlin has written many compositions influenced by classical Indian music and I'm sure this is one of the scales he employs in those types of instrumentals. Here is a video I made that uses this scale: ua-cam.com/video/sU9rDNQVw14/v-deo.html
Book review: "The Underground Guitar Handbook" by Jason Earls (tinyurl.com/h3ngusx ) is a comprehensive guide that is destined to become an indispensable resource for guitar players of all skill levels. The book is filled with cutting-edge and avant-garde techniques that are presented in a clear and concise manner, making it easy for readers to understand and put into practice. The author delves into a range of innovative methods, including four-finger licks, diminished licks, tremolo bar flutters and gurgles, the wah-wham method, tritones and flatted fifths, Shawn Lane's "impossible" chord, speed-picking licks, pedal point phrases, unusual scales, new hardware ideas, atonal patterns, mysticism, finger-tapping licks, and many more. These techniques are sure to expand the musical horizons of even the most experienced guitar players. In addition to the technical information, the latter half of the book contains fictional stories that center around guitar or music. These stories provide a refreshing break from the technical side of things and add an extra layer of enjoyment to the learning experience. In conclusion, this handbook is a must-have resource for anyone looking to learn the newest and most innovative guitar methods. The clear and concise explanations, combined with the wealth of technical information, make this book an excellent resource for guitar players of all skill levels. tinyurl.com/h3ngusx
Book review: "How to Become a Guitar Player from Hell: Tips and Advice for the Modern Guitarist" (bit.ly/2q2yYwB ) is an instructional guitar book that lives up to its title. Written by an experienced guitar player with 20 years of experience, this book provides a wealth of knowledge and tips for guitarists of all levels. The author's passion for the instrument is evident throughout the book and it's clear that the author wants to share his knowledge and help others become better guitar players.
The book covers a wide range of guitar techniques, such as arpeggios, finger tapping, artificial and muted harmonics, exotic scales and chords, modes, "outside" playing, and more. The author explains these techniques in simple terms that anyone can understand, and provides extensive musical examples in tablature form, so no traditional music reading skills are necessary.
The book also covers topics that are tangential to guitar playing but still of interest to guitarists, such as how to find band members, taking care of your hands, how to get gigs, and more. The author's "insider" information is particularly valuable, as it includes techniques and strategies that have never appeared elsewhere.
One of the most interesting parts of the book is the author's "never before published methods" such as the "wah-wham" technique, unorthodox tremolo bar manipulations, and out-of-the-box thinking exercises. These techniques are not only challenging and fun to learn, but also add a unique and personal touch to the guitar playing.
Overall, "How to Become a Guitar Player from Hell" is an excellent instructional book for guitarists of all levels. The author's passion for the instrument and wealth of experience shine through in the book's comprehensive coverage of guitar techniques and strategies. The inclusion of tangential topics such as how to find band members and get gigs is also a nice touch. This book is a great resource for anyone looking to take their guitar playing to the next level. bit.ly/2q2yYwB
At age 18 I read a great article on John McLaughlin in Guitar World magazine, and soon afterward I realized how hard it was (pre-internet) to actually get ahold of Mahavishnu and Shakti albums because of the small town in which I lived. After getting depressed that I would never hear Mahavishnu, I managed to find a way to order 'Birds of Fire.' When it arrived it was even better than my expectations (which rarely happens). I listened to Birds of Fire repeatedly for months and practiced my guitar to it. I loved McLaughlin's playing because he always sounded like he was desperately searching for something on a higher spiritual plane that was just out of his reach; plus his extremely fast phrases sounded fiery and passionate to me.
Thanks for the views (over 9400!). If you are interested in electric guitar, please check out some of my other videos that have guitar tablature (just search my channel for 'tablature') and perhaps you will learn a new lick or riff. Also, here are links to two of my guitar books that you may find helpful:
How to Become a Guitar Player from Hell
bit.ly/2q2yYwB
#guitar #book
Underground Guitar Handbook
tinyurl.com/h3ngusx
#guitar #book
Also my absurdist/sci-fi novel 'Red Zen' was taught for 4 years at Virginia Tech University. Here is a link where it can be found (scroll down):www.lulu.com/spotlight/jasonearls
Below is an excerpt from my book, "Underground Guitar Handbook."
Become a Mystic on the Electric Guitar
[..Two intro paragraphs not included. This chapter is basically an “outside-the box” thinking lesson..]
To explain mysticism a bit further using different words, we could say that certain religious people seek after divine attributes of God; and some claim they experience mystical states while doing so; and the people who engage in such activities can be dubbed “mystics.”
Note that some logicians and philosophers (Wittgenstein, for example) have claimed that mysticism is really not so “special” or extraordinary. Instead they see it as this: certain objects or things
exist in the world, yet simultaneously these things are inexpressible - i.e. they cannot be talked about in a way that makes sense - and this alone constitutes what is “mystical” in the world.
Personally, I believe in mysticism only in this way: I know that man’s senses are limited and that there are things we cannot experience as a result. Yet I also realize there are certain “sensitive” individuals in the world who do experience things other people cannot, due to their having a certain hypervigilance or a heightened senses of awareness. These hyperaware individuals, if they focus enough of their energy or attention on striving for mystical experiences, may indeed be able to attain something of the “divine” experiences they seek.
The skeptic usually denies the mystic’s claims and says that mystical states do not exist. But these doubts are only possible since mystical experiences cannot be put into words and because
most of the time they defy common reason.
But what does mysticism have to do with music? Or playing the electric guitar?
Music is a powerful medium. Many people consider it to have certain “spiritual” properties. And almost every individual in the world likes some type of music. Furthermore, certain logicians and philosophers have claimed that mysticism concerns itself with what IS and IS NOT expressible. To reiterate Wittgenstein’s basic opinion (in his “Tractatus period”): certain “things” in the world show themselves, yet that cannot be put into words, and these are mystical things. So the common denominators here are: silence and nonsilence (music), and spirituality; and where these themes overlap we can hopefully extrapolate their qualities and make them more effective.
Because I want to state my overall purpose in this chapter as clearly as possible, I will say this: By choosing to become a mystic on the guitar, you will strive to have “divine” mystical experiences
as you perform; and if you achieve any, you will use your guitar to convey these experiences to others through the music you create with your guitar.
So, as you can probably guess, I cannot give you any exact formulae, or even any specific exercises using guitar tablature, to allow you to convey any mystical experiences you might have (if any). This chapter is concerned with an experimental quitar technique in which you’re pretty much on your own. Nevertheless, here is an outline of an algorithm you may want to follow:
Strap on your guitar. Meditate or concentrate on the power inside, outside, and OF the universe. Seek to have a mystical experience (ecstasies or visions or knowledge imparted) while playing your guitar. Translate those feelings into your music. Then share them with your audience. Make them feel the mystical states you experienced. That is probably as far as we can go.
Most mystical experiences will be inexpressible, but perhaps music is the proper vehicle for them. Silence? There is no silence, which John Cage proved.
At the risk of repeating myself, I will list a few more sentences and questions for you to contemplate, since the exact ideas in this chapter are difficult to relate and may be hard to absorb or understand.
1. The mystical guitarist uses his dedication to esoteric spirituality to inspire himself and transcend the boundaries of what a more “normal” guitarist could achieve.
2. Inspiration to compose and perform music comes from states of the mind (and other areas) that are not fully understood. Perhaps it is possible for a musician to go into these areas and
other realms that may be inaccessible to others and pull music from them. Wouldn’t this be considered mystical?
3. The mystical guitarist’s main goal is to make powerful music so they can share their “divine” experiences with others and transport people’s consciousnesses to other planes more beautiful
and extraordinary.
4. Because many people identify music as being spiritual in some way, and since music IMPACTS people’s emotions in a myriad of ways with no known method of describing exactly how the process works, is this not a case of the mystical?
5. The mystical guitarist nurtures the spirituality within them, continually focusing on it as they play, striving to feed their devotion to becoming one with the “metaphysical realm” because they know it will elevate them to greater levels of playing.
6. If a mystic strives after union with the forces of the universe, and they are a virtuoso musician, and they do in fact have a GENUINE mystical experience, can the same religious or mystical
qualities they feel be PASSED ON to members of an audience? I realize the chances of someone being a mystic and a virtuoso musician simultaneously, and then experiencing something divine as they are performing, are all very slim, but with six billion people in the world, surely someone somewhere could be able to do it. Can someone have a divine experience while playing a musical instrument at the same time? Or would it take most of their concentration to simply play the music?
If you have a mystical experience while playing your guitar and then share those feelings with members of your audience, I believe you will be the first musician to ever accomplish this.
One more thing: It’s actually easier to become a “monk” on the guitar than a mystic. When I was 16 many people would have probably considered my behavior to be similar to a monk’s. I would do nothing but practice my guitar for most of the day, usually around 8 or 9 hours. I had few friends at the time and I would read and study guitar magazines for hours, using them for both entertainment and learning purposes. I abstained from alcohol and tobacco and lived on a diet of cola, omelets, and egg rolls. I did not have a girlfriend and rarely attended parties or social gatherings. If I would have been a more spiritual or religious person during that period, I could have definitely been considered a genuine monk. The only thing that mattered to me then was practicing my guitar as much as possible.
When I finally got a girlfriend a year or two later, she was jealous of the time I spent with my guitar and once said, “You love your guitar more than me, don’t you?”
“No,” I lied.
After that, nearly all of my girlfriends have claimed that I preferred my guitar over them. Sometimes it was true and sometimes it was not.
Although I believe it’s easier to become a monk on the guitar, I think it’s more important to strive to become a true mystic. I hope you can do it.
Be sure to check out my playlist of Mahavishnu related tracks:
bit.ly/2Hpn2yC
Unbelievable. Incredible guitar playing.
thanks!
There's a new guitar book on Amazon titled "Geeking Out on Guitar Tab: Advanced Techniques Uncovered." tinyurl.com/2pfde5sw The book has some decent lessons, but it's not perfect. There are a few chapters that focus on Sonny Sharrock licks, Allan Holdsworth licks, John McLaughlin licks, plus a few mentions of Slonimsky's famous 'Thesaurus of Scales and Melodic Patterns.' The lessons cover a wide range of topics that involve mostly advanced soloing techniques. Plus there's a second half of the book that has some pretty wild fictional stories and poems that are music-related, but they're pretty mature and have some adult language -- just a heads up in case that's not your thing. The author is not a professional transcriber or anything, but the 8th and 16th-note patterns are solid and you can interpret them any way you want. The book's divided into two parts and the lessons are pretty short and to the point. They don't follow any particular order, but they give you what you need to get better at playing guitar. In the introduction, the author explains he's a big fan of geeking out on technical guitar licks given in tablature form, so he's included some rare licks and musical phrases. If you're an intermediate or advanced guitar player looking to improve your rock, metal, or fusion soloing skills, you might want to give "Geeking Out on Guitar Tab" a try. It's not a perfect book, but it's got some great material in it.
If you're interested in guitar-related material, "Fretboard Adventures" (tinyurl.com/5ep39j9t ) on Amazon might be worth checking out. It's a unique book that combines guitar lessons with fictional stories. The book is divided into two parts, with the first part offering concise lessons aimed at intermediate and advanced players. The lessons cover a range of guitar techniques and styles, from hybrid picking to finger-tapping, and are presented in a clear and easy-to-follow manner. The author draws on his experience as a guitarist to offer practical advice and tips that will help you take your playing to the next level.
But "Fretboard Adventures" is not just a guitar lesson book. The second half of the book features fictional stories that revolve around music and the guitar. The stories are written in a minimalist style similar to that of Hemingway and Bukowski and are sure to entertain; but they might also shock you with their adult themes and language. While the stories may not be for everyone, they provide a unique insight into the world of music and the magic of the guitar.
Personally, I found the stories to be more enjoyable than the lesson sections. However, both parts of the book are well-written and offer something different for guitar enthusiasts. The lessons are concise and informative, while the stories provide a creative and imaginative escape into the world of music.
"Fretboard Adventures" is a great book for anyone interested in guitar-related material. It's a unique combination of guitar lessons and fictional stories that will entertain and inspire you. Just be aware that the stories contain adult language and themes. tinyurl.com/5ep39j9t
Thanks for the views (over 8000!) and comments on this video. While I'm here, I would like to provide a guitar related fact about John McLaughlin. He once mentioned an unusual scale in an interview, which I later figured out was a Phrygian Dominant scale with the flat-6 omitted. Here is tablature for it in the key of C:
- 8 9 12
- 8 11
- 9 10
- 8 10 11
- 8 10
- 8 9 12
Throughout his career, McLaughlin has written many compositions influenced by classical Indian music and I'm sure this is one of the scales he employs in those types of instrumentals. Here is a video I made that uses this scale: ua-cam.com/video/sU9rDNQVw14/v-deo.html
incredible!
I usually don't like it when people do a cover and "make it their own", but this upbeat take is really an improvement over the original.
Book review: "The Underground Guitar Handbook" by Jason Earls (tinyurl.com/h3ngusx ) is a comprehensive guide that is destined to become an indispensable resource for guitar players of all skill levels. The book is filled with cutting-edge and avant-garde techniques that are presented in a clear and concise manner, making it easy for readers to understand and put into practice.
The author delves into a range of innovative methods, including four-finger licks, diminished licks, tremolo bar flutters and gurgles, the wah-wham method, tritones and flatted fifths, Shawn Lane's "impossible" chord, speed-picking licks, pedal point phrases, unusual scales, new hardware ideas, atonal patterns, mysticism, finger-tapping licks, and many more. These techniques are sure to expand the musical horizons of even the most experienced guitar players.
In addition to the technical information, the latter half of the book contains fictional stories that center around guitar or music. These stories provide a refreshing break from the technical side of things and add an extra layer of enjoyment to the learning experience.
In conclusion, this handbook is a must-have resource for anyone looking to learn the newest and most innovative guitar methods. The clear and concise explanations, combined with the wealth of technical information, make this book an excellent resource for guitar players of all skill levels. tinyurl.com/h3ngusx