Check out my band's latest single: ua-cam.com/video/q_w4iZmRClU/v-deo.html Check other videos in English: ua-cam.com/play/PLTJSChzkQIEuHIiTnXxmIP8UjqsD6eGD2.html&si=qOg3APWFPG1UVwok Support this channel by buying something from Thomann store with my reflink! bit.ly/43nwhGp Chcecie tłumaczenie - sporo roboty, zrobię jak ustrzelimy coś w przedziale 300-500zł na Patronite patronite.pl/egitarzystatv ➡ Najnowszy Kurs All In One! www.jaroslawnyckowski.pl/all-in-one/ ➡Sprawdź moje kursy gitarowe: www.jaroslawnyckowski.pl/kursy-mojego-autorstwa
Isn't it great how Northerners a great at articulating, getting their point across but feeling like they are talking too much. You're not.... It's so enlightening. So helpful. So relaxed. Tom has become a master of examining what is required but also relaying information. Great great video. You are the MAN Tom, and you get that status because you are so analytical and have put in the hours. It is perfect.
If this guy isn't the modern day Holdsworth I don't know what is what. We need this level of devotion. We need this for the sake of fusion but also for music in general. You don't need to be Tom Quayle but you should know what you are doing.
Great rock fusion player, but his teaching method of "interval thinking" for navigating the fretboard while improvising results in very unmusical playing in most people.
In my case is quite opposite. I am choosing the notes that I play more consciously. That allows me to create melodies that I want to play from my head easier, because there's less thinking to do. I also don't have to think about note names as much in various keys, I don't have to think A major is A B C# etc, and E major is E F# G# etc, they are in both cases just 1 2 3 intervals. I think this method is genius and make things a lot easier
@@Sebastian_Mroczek Thinking is cancer. That's the issue many guitar players have. They are searching for an efficient way to "think" about where the notes are on the fret board when the ideal situation is not to think at all when you are improvising. Instead they should be "hearing" and guiding the melody by ear rather than how they "think" or "visualize" the fretboard.
@@orangeblue3531 I can agree with you that people could be focusing more on hearing and feeling the notes, but I think you have slightly put everyone in the same box. For example I am using this intervalic visualization to help me map out the fretboard in terms of how the notes sound and what emotion they express. Because I know for example that 2 frets to the right from the root I have a 2nd and I can listen the relation between that note and the root. That creates a sound imprint. To me it means that if I change the chord and play the 2nd from that chord it's almost going to have the same feeling as that first chord I played. I wouldn't know that if I was looking for scale position or arpeggio or tried to do everything "by ear", it would take too much unnecessary time. I could tell you more but it will take forever to explain everything what I have in mind now😄😅. I actually think this system helps people to be more musical, you might simply not like fusion playing😆😄. I'm Gilmour fan, which means mostly melodic playing and Tom's system helped me a lot to create better melodies, because it allows me to do more things instinctively
@@Sebastian_Mroczek I should clarify my point. While thinking has its place in the practice room-especially when learning the locations of notes on the neck through systems like three notes per string, CAGED, and intervals-each of these methods has its pros and cons. I don’t discredit these systems during the learning phase, as this stage is crucial and often requires years of dedication. The problem arises when many guitarists fail to realize that they need to audiate the notes while simultaneously learning their locations using these systems. As a result, we often see a lot of aimless, unmelodic playing-similar to typewriter-style music-prevalent today. This isn’t the musicians’ fault; rather, it’s an issue with how these systems are taught-or, I should say, marketed. These systems are easy to teach, learn, and sell, while ear training and audiation are not as straightforward. Ultimately, when playing, performing, or improvising in real time, all conscious thought must be transcended. You should be able to hear the note and its sound in your mind's ear, allowing your hands to reproduce it instantly and accurately, much like speaking your native language. This is true for any style of improvised music whether it's jazz, fusion, blues or rock etc.
Check out my band's latest single:
ua-cam.com/video/q_w4iZmRClU/v-deo.html
Check other videos in English: ua-cam.com/play/PLTJSChzkQIEuHIiTnXxmIP8UjqsD6eGD2.html&si=qOg3APWFPG1UVwok
Support this channel by buying something from Thomann store with my reflink! bit.ly/43nwhGp
Chcecie tłumaczenie - sporo roboty, zrobię jak ustrzelimy coś w przedziale 300-500zł na Patronite
patronite.pl/egitarzystatv
➡ Najnowszy Kurs All In One!
www.jaroslawnyckowski.pl/all-in-one/
➡Sprawdź moje kursy gitarowe:
www.jaroslawnyckowski.pl/kursy-mojego-autorstwa
Isn't it great how Northerners a great at articulating, getting their point across but feeling like they are talking too much. You're not.... It's so enlightening. So helpful. So relaxed. Tom has become a master of examining what is required but also relaying information. Great great video. You are the MAN Tom, and you get that status because you are so analytical and have put in the hours. It is perfect.
Great !
Tom is awesome!
Tom is amazing on guitar! Legato to die for
An ode to chick corea. Tom quayles solo’s on spain are the best!
Tom is so elegant at playing, such a good taste.
Ładnie Tom gra ❤ fajna klinika.
Tom ciśnie jak zły. Rewelacyjne opanowanie instrumentu. Wpadaj też na wywiad - też dużo ciekawego powiedział :)
Thanks so much for sharing!
@@darrenl9355 you're welcome
Allen holdsworth, comes to mind, in the intro tune. Sweet and melodic not rushed.
Overused and nonsense commas in your sentence.
Tom your so go and different , thanks for your music
Coś pięknego, oglądam już drugi raz.
Mądrych rzeczy tyle, że i 10x może być mało:)
prawdziwy geniusz legato
Pięknie:) Wielkie dzięki za ten materiał. Słyszę, że Allan też był z Wami...
Do usług
Co za Gość! Super materiał, dzieki za to!
Proszę bardzo
I dont know why Kirk Hammet look away from Tom, I think maybe he's jealous with Tom's legato.
:D
Dang, it is jerk. Thought it was Scott. But no. Ofcourse.
If this guy isn't the modern day Holdsworth I don't know what is what. We need this level of devotion. We need this for the sake of fusion but also for music in general. You don't need to be Tom Quayle but you should know what you are doing.
I want his tone ughhhh
1:04 przypomina mi melodię z Carier Air Wing Capcom :)
Is this from your album Tom? Hope so.
ma perché sti suoniemmerda !?? perché...
Great rock fusion player, but his teaching method of "interval thinking" for navigating the fretboard while improvising results in very unmusical playing in most people.
Can't agree with it
In my case is quite opposite. I am choosing the notes that I play more consciously. That allows me to create melodies that I want to play from my head easier, because there's less thinking to do. I also don't have to think about note names as much in various keys, I don't have to think A major is A B C# etc, and E major is E F# G# etc, they are in both cases just 1 2 3 intervals. I think this method is genius and make things a lot easier
@@Sebastian_Mroczek Thinking is cancer. That's the issue many guitar players have. They are searching for an efficient way to "think" about where the notes are on the fret board when the ideal situation is not to think at all when you are improvising. Instead they should be "hearing" and guiding the melody by ear rather than how they "think" or "visualize" the fretboard.
@@orangeblue3531 I can agree with you that people could be focusing more on hearing and feeling the notes, but I think you have slightly put everyone in the same box. For example I am using this intervalic visualization to help me map out the fretboard in terms of how the notes sound and what emotion they express. Because I know for example that 2 frets to the right from the root I have a 2nd and I can listen the relation between that note and the root. That creates a sound imprint. To me it means that if I change the chord and play the 2nd from that chord it's almost going to have the same feeling as that first chord I played. I wouldn't know that if I was looking for scale position or arpeggio or tried to do everything "by ear", it would take too much unnecessary time. I could tell you more but it will take forever to explain everything what I have in mind now😄😅. I actually think this system helps people to be more musical, you might simply not like fusion playing😆😄. I'm Gilmour fan, which means mostly melodic playing and Tom's system helped me a lot to create better melodies, because it allows me to do more things instinctively
@@Sebastian_Mroczek I should clarify my point. While thinking has its place in the practice room-especially when learning the locations of notes on the neck through systems like three notes per string, CAGED, and intervals-each of these methods has its pros and cons. I don’t discredit these systems during the learning phase, as this stage is crucial and often requires years of dedication.
The problem arises when many guitarists fail to realize that they need to audiate the notes while simultaneously learning their locations using these systems. As a result, we often see a lot of aimless, unmelodic playing-similar to typewriter-style music-prevalent today. This isn’t the musicians’ fault; rather, it’s an issue with how these systems are taught-or, I should say, marketed.
These systems are easy to teach, learn, and sell, while ear training and audiation are not as straightforward. Ultimately, when playing, performing, or improvising in real time, all conscious thought must be transcended. You should be able to hear the note and its sound in your mind's ear, allowing your hands to reproduce it instantly and accurately, much like speaking your native language. This is true for any style of improvised music whether it's jazz, fusion, blues or rock etc.