At 1/12/08 05:52 PM, FUNKbrs wrote:
When you learn by studying others, you end up sounding like them. Guys who pay for lessons always end up sounding lame and stock for this very reason: they buy their way in, steal a bunch of riffs, and sit around acting like pompous know it alls even though they haven't played gig one.
Okay, that's just a bunch of bullshit. There's absolutely nothing wrong with getting lessons on an instrument. I don't give a fuck if you're a mod or not, but you're wrong. Sometimes people just can't learn by themselves, Mr. Virtuoso. I'm taking lessons on the clarinet and sax, that doesn't mean I'm stealing all my ability and technique from them. It's important to have someone show the ropes to a new player, otherwise they'll sound even worse. I'd be total shit on the sax/clarinet if it weren't for my teachers, especially my jazz sax. If it weren't for my teacher, I wouldn't know how to use all the jazz techniques I've learned about.
The blues is a perfect example, where all of the genre was broken down into the pentatonic scale and an eight bar chord progression, with "fill in depressing story here" for lyrics. Do you want to see metal broken down into minor scales with powerchords over a blast beat? I know I sure don't.
First off, the blues scale isn't pentatonic. Secondly, blues isn't always eight bars. It's often 12 bars, or 16. Thirdly, it wasn't "broken down," that's just the way blues is. That's how musical theory is, at the heart of every genre is a certain chord progression, a certain way of doing things. If a classical composer decides to do jazz while still using that jazz mentality, it will fail because classical and jazz are completely different at their core. I know what you're saying here, but the truth is is that blues is the blues scale and a chord change taking up a certain amount of bars.
So that's what's great about experimental, and that's why i listen to it. They say "fuck it" and basically eschew the general standard way of doing metal/blues/jazz/rock, whatever.