>I was never traditionally taught. I learned the basic chords and after that paid no attention whatsoever. I go completely on feel, and most of the time I have no idea what chord forms I am playing. My only bottom line is that it sounds good. My advice for young players is to tear up the rulebook and explore a guitar as if it is something completely fresh and new to them, so new ideas and concepts can emerge.
I was never traditionally taught. I learned the basic chords and after that paid no attention whatsoever...
Cameron Martin
Daniel Clark
Yeah I'm thinking he's based
Grayson Price
Broadrick is consistently good at every genre he attempts, it's quite impressive
Logan Sanchez
There's only 12 notes. This shit ain't rocket science
Evan Adams
tear up the rule book and create masterpieces like this
Robert Powell
Or this
youtu.be
Michael Ramirez
or this youtube.com
Elijah Rivera
NOO YOURE SUPPOSED TO LEARN THEORY I DIDNT GO TO SCHOOL FOR NOTHING
Joshua Perry
Gay and bluepilled
Alexander Parker
this is pretty neat, but not neat enough that i would take advice from this guy to avoid learning things
it definitely doesn't sound like it tears up the rulebook, it follows the rules pretty well
Wyatt Thomas
what about this youtube.com
Nicholas Powell
>Don't learn shit bro
>he is not aware that he already learned shit by absorbing years of pop and rock music
>plays things that are about at the level of varg "my illegitimate daughter fucks lower class black men" vikernes
If you don't know the rules, you can't break them.
Juan Howard
The intro is dissonant and stuff, and there aren't many "rules" about what makes good dissonance I guess, just that it's there and it's something you can use, right? I mean all the music theory nerds have been actively using dissonance since the 50s at least.
The parts after the 2 minute mark are really good, but way less rule breaking. It's pretty strict diatonic harmony it sounds like? Which is the most common stuff in pop and all that shit. But it sounds good, so who cares if the rules are broken.
Napalm Death and Godflesh and Jesu are good, but they don't seem to be an argument that you'll be more outside the box if you don't learn. The biggest outside the box stuff that's happening is timbre, but music theory fucking sucks for learning about timbre.
Jonathan Collins
but at the same time, even the dissonant intro follows patterns that have been established in making dissonance sound palatable, like using simple repetitive rhythms with a pedal point can make any note combination over the pedal point sound good.
John Brown
>actively using dissonance since the 50's at least
At the very least you can take it back to Mozart writing in two keys at once in Don Giovanni (1787), if you're willing, Wagner's Tristan und Isolde (1865); almost certainly to Debussy's Prelude a l'apres-midi d'un faun (1894). The 1910's it's already taken the sharp turn into absolute dissonance.
Jonathan Reyes
Is that Justin Broadrick? I mean, I enjoy Godflesh and Jesu, so I guess that was enough for him. He’s not making modal jazz here.
Benjamin Hughes
>music theory fucking sucks for learning about timbre.
Only if you're overemphasizing anglophone sources, because instrumentation and the characteristics of timbre are some of the most important elements of music theory.
Isaac Reyes
It can be more complex than rocket science at times. t. Astrophysics major, music minor.
Benjamin Parker
DON'T HOLD ME BACK
THIS IS MY OWN HELL
Aiden Baker
>NOOO YOU HAVE TO BE TRAPPED IN A CREATIVELY BANKRUPT BOX LIKE MEEEEE
Alexander Diaz
>ywn get your song covered by young fangirl
youtube.com