The 1980s were an interesting time to be learning to play rock guitar, specifically in the hard rock (or "hair metal") sub-genre. As the music itself began shedding the more jam-based cliches of the '70s bands, two budding superstars began coming to prominence: Randy Rhoads and Eddie Van Halen. When Rhoads was killed in a plane crash in 1982, with only two albums under his belt that featured exceptional, innovative playing, that cemented his status alongside Hendrix, a "what else might he have done" type of thing. Van Halen, of course, kept plugging away, and by 1985 was easily the most heralded player of his generation.
At the same time, the pedagogy changed dramatically, as tabulature became more standardized, and instructional magazines and books were everywhere. No longer did you have to sit around while your stoner cousin showed you the wrong chords to Stairway to Heaven, and tried to dope his way through a poor approximation of the solo. You could just read along and figure it out -- and after learning a couple dozen songs that way, would have enough ear training to do tabs on your own.
This quickly turned into some of the more adept students taking standard scales (major and harmonic minor, and their respective modes), graphing them in patterns across the fretboard and up and down the neck, and then "sequencing" them, much like you would find in the J.S. Bach violin partitas and sonatas, which he composed primarily as learning tools for his children.
I switched from bass to six-string in 1984, and by 1987 was neck-deep (pardon the bad pun) in these magazines and scale manuals. It was not unusual for me to call in sick to work, and spend the entire day with a stack of material, drilling and practicing relentlessly. The results paid off, and I was playing some pretty top-drawer stuff for the time. But more and more, it started to feel somewhat like a fourth-grader drilling on multiplication tables. You definitely learn the process and the theory, and can become wonderfully quick at it, but it doesn't take you very far in applying it.
So in 1989, King Crimson guitar wizard Robert Fripp comes along with a column in Guitar Player magazine, and it was notably without the requisite "here's how you play three-note-per-string Locrian mode patterns all the way up the neck" tabs. In fact, Fripp's first column culminated in the wonderfully gnomic advice to just sit there in a chair, without a guitar, and do nothing for thirty minutes or so, ignoring the involuntary thoughts and fidgets that will occur during that time.
Doing nothing, Fripp advised, can be very difficult. It's much harder than it seems.
Boy, was he ever right. Being a twenty-two-year-old galoot in a hick town with no concept of meditation or anything of that nature, this was beyond perplexing to me. And difficult. And it took a long time to get where I felt like I could see the benefit and the point of that advice.
But he was right.
At the same time, the pedagogy changed dramatically, as tabulature became more standardized, and instructional magazines and books were everywhere. No longer did you have to sit around while your stoner cousin showed you the wrong chords to Stairway to Heaven, and tried to dope his way through a poor approximation of the solo. You could just read along and figure it out -- and after learning a couple dozen songs that way, would have enough ear training to do tabs on your own.
This quickly turned into some of the more adept students taking standard scales (major and harmonic minor, and their respective modes), graphing them in patterns across the fretboard and up and down the neck, and then "sequencing" them, much like you would find in the J.S. Bach violin partitas and sonatas, which he composed primarily as learning tools for his children.
I switched from bass to six-string in 1984, and by 1987 was neck-deep (pardon the bad pun) in these magazines and scale manuals. It was not unusual for me to call in sick to work, and spend the entire day with a stack of material, drilling and practicing relentlessly. The results paid off, and I was playing some pretty top-drawer stuff for the time. But more and more, it started to feel somewhat like a fourth-grader drilling on multiplication tables. You definitely learn the process and the theory, and can become wonderfully quick at it, but it doesn't take you very far in applying it.
So in 1989, King Crimson guitar wizard Robert Fripp comes along with a column in Guitar Player magazine, and it was notably without the requisite "here's how you play three-note-per-string Locrian mode patterns all the way up the neck" tabs. In fact, Fripp's first column culminated in the wonderfully gnomic advice to just sit there in a chair, without a guitar, and do nothing for thirty minutes or so, ignoring the involuntary thoughts and fidgets that will occur during that time.
Doing nothing, Fripp advised, can be very difficult. It's much harder than it seems.
Boy, was he ever right. Being a twenty-two-year-old galoot in a hick town with no concept of meditation or anything of that nature, this was beyond perplexing to me. And difficult. And it took a long time to get where I felt like I could see the benefit and the point of that advice.
But he was right.