Matteo rocking out.

[Achilles]

The most mind blowing technique going today imo.

https://fb.watch/pquLe8q6Ac/

 

[Stone]

Tim Henson Who?

 

[State of Epicicity]

Jim Henson who?

I've not tried to listen to Tim Henson, but this Mancuso is killer.

 

[Achilles]

Tim Henson and Scott LePage are no slouches....

Love these 2 guys.


It's just a very different thing. 21st century and all.

 

[State of Epicicity]

Tim Henson and Scott LePage are no slouches....

Love these 2 guys.


It's just a very different thing. 21st century and all.

Ah, thanks for that. I hated it. Glad you found some players you like and whose music you endorse in this century. I'm going back to Jim Henson.

 

[Achilles]

Ah, thanks for that. I hated it. Glad you found some players you like

I've never bought or actually own anything by them. Never even listened to an entire album.
Just like seeing a couple of young guys taking the guitar to weird new places.

Love the attitude.

 

[Sascha Franck]

I usually hate the music Polyphia is coming up with, but say whatever you want, especially Tim Henson is pretty badass. I wouldn't even want to play like that if it came without practising, but the way the dude is generally pushing all things guitar forward is quite impressive.
A little similar with Mancuso, but he's playing *way* more traditionally (apart from his stunning picking technique of course).

In the end, for my taste, Mr. Govan is still taking the crown in being a kickass player, also pushing things quite a bit forward while at the same time being an excellent allround musician and apparently an incredibly nice guy.

 

[Stratzrus]

I think Mancuso's technique is astounding and sets the bar for that type of playing today.

But I can only listen to so much of it before turning it off.

I find players who play real fast with no rhythm or volume dynamics, and hit you with an endless string of 32nd notes at the same volume and tempo, boring pretty quickly no matter how sophisticated their note selection and right hand technique is.

Still, his playing is truly impressive and I love listening to it for a minute or two.

 

[la szum]

I think Mancuso's technique is astounding and sets the bar for that type of playing today.

But I can only listen to so much of it before turning it off.

I find players who play real fast with no rhythm or volume dynamics, and hit you with an endless string of 32nd notes at the same volume and tempo, boring pretty quickly no matter how sophisticated their note selection and right hand technique is.

Still, his playing is truly impressive and I love listening to it for a minute or two.

I had an old dude once tell me if people talked or sang without every stopping to take a breath.

I immediately knew what he was trying to tell me in a very kind way.

 

[Eagle]

The most mind blowing technique going today imo.

https://fb.watch/pquLe8q6Ac/

The left hand and note choice is pretty run of the mill though. Nobody would be remotely interested in him if not for the right hand. The independent finger picking is not utilised in a way that makes any difference to the actual music. Ultimately not very interesting music not taking any potential advantage of the left hand difference.Max Ostro is way better.

 

[Eagle]

I think Mancuso's technique is astounding and sets the bar for that type of playing today.

But I can only listen to so much of it before turning it off.

I find players who play real fast with no rhythm or volume dynamics, and hit you with an endless string of 32nd notes at the same volume and tempo, boring pretty quickly no matter how sophisticated their note selection and right hand technique is.

Still, his playing is truly impressive and I love listening to it for a minute or two.

It’s only boring if it’s a boring note choice. Long passages of 32nd notes exist all over classical music and it’s very far from boring. This is just empty simple music filled with scales not music.
This is the standard;

Not on the same planet.

 

[aivoryuk]

It’s only boring if it’s a boring note choice. Long passages of 32nd notes exist all over classical music and it’s very far from boring. This is just empty simple music filled with scales not music.
This is the standard;

Not on the same planet.

Yeah I agree having great technique doesn't always translate to the compositional element of music. There are loads of players on Instagram etc that have great technique and I like to watch them play in short snippets but when they release something it doesn't do anything for me.

 

[Stratzrus]

It’s only boring if it’s a boring note choice. Long passages of 32nd notes exist all over classical music...

Not on the same planet.

Of course what you find boring or not boring may differ from how I feel, classical or not. I do like Stravinsky whose Rite of Spring caused a riot when it premiered due to his use of syncopation.

I really like Fives. Its a great piece with great playing and he exhibits dynamics, not just an endless string of 32nd notes...

...except from around 1:45 to 2:30 where there's 45 seconds of fast playing with no dynamics whatsoever and while I respect the accomplishment of developing the technique that allows him to do that, playing that fast with no rhythmical variation for that long is just not my cup of tea.

To me, that kind of playing exhibits athleticism more than artistry, I find bursts of 32nd notes more tasteful than really long strings of them.

But it's all a matter of opinion and personal tastes, I know that style of playing (shredding?) appeals to some and is aspired to by many players. My son loves Govan and Fives is his favorite piece by him. It's all good.

 

[aivoryuk]

Of course what you find boring or not boring may differ from how I feel, classical or not. I do like Stravinsky whose Rite of Spring caused a riot when it premiered due to his use of syncopation.

Such a great piece of music
I came across this a few months ago - a guitar version

 

[Sascha Franck]

...except from around 1:45 to 2:30 where there's 45 seconds of fast playing with no dynamics whatsoever

Well, I'm far from saying you have to like it, but it's a different kind of dynamics and rhythm. The patterns he's playing are varying all throughout, establishing a form instead of being just mindless noodling. I will however agree that this very passage is a tad too long for my taste as well.
But then, it's really just one of the aspects of Govan's playing.
There's a series of jams for Jamtrack Central that got me hooked into Govan quite a bit. In fact, I was "WTF?!?"-ing all over the place - and not because of his (more than excellent) technique but because of his phrasing, articulation, note choices and very deep general musicality.
This is one of the first things that I heard:


And then this kinda southern rock thing, which just blew me away (should play at the proper position, 1:09):


Last year I then found what for me is *the* guitar solo of the century so far, on Steven Wilson's "Drive Home". Starts at 5:00 or so (should play from there), but if you can deal with that kinda music (I can), it's worth listening to the entire song - which will also make you understand why Govan is allowed solid 2 minutes of soloing. It's simply as dramatic a climax as it gets. I have no idea how often I have listened to this, but it was VERY often. IMO it's also quite amazing that they left some "yellow" notes in it. And apparently they planned to fade things out (the ending defenitely doesn't sound composed/planned), but Govan was just so incredible they kept it that way.


Btw, one of the comments on that solo:
"Guthrie Govan's solo at 5:07 should be protected by UNESCO."
Couldn't say it any better.

 

[Stratzrus]

Well, I'm far from saying you have to like it, but it's a different kind of dynamics and rhythm. The patterns he's playing are varying all throughout, establishing a form instead of being just mindless noodling. I will however agree that this very passage is a tad too long for my taste as well.
But then, it's really just one of the aspects of Govan's playing.
There's a series of jams for Jamtrack Central that got me hooked into Govan quite a bit. In fact, I was "WTF?!?"-ing all over the place - and not because of his (more than excellent) technique but because of his phrasing, articulation, note choices and very deep general musicality.
This is one of the first things that I heard:


And then this kinda southern rock thing, which just blew me away (should play at the proper position, 1:09):


Last year I then found what for me is *the* guitar solo of the century so far, on Steven Wilson's "Drive Home". Starts at 5:00 or so (should play from there), but if you can deal with that kinda music (I can), it's worth listening to the entire song - which will also make you understand why Govan is allowed solid 2 minutes of soloing. It's simply as dramatic a climax as it gets. I have no idea how often I have listened to this, but it was VERY often. IMO it's also quite amazing that they left some "yellow" notes in it. And apparently they planned to fade things out (the ending defenitely doesn't sound composed/planned), but Govan was just so incredible they kept it that way.


Btw, one of the comments on that solo:
"Guthrie Govan's solo at 5:07 should be protected by UNESCO."
Couldn't say it any better.

All of that is much more to my tastes. Govan is a very dynamic player with monster chops. I wish I was half as accomplished.

 

[FuzzyAce]

It’s only boring if it’s a boring note choice. Long passages of 32nd notes exist all over classical music and it’s very far from boring. This is just empty simple music filled with scales not music.
This is the standard;

Not on the same planet.

What makes Guthrie awesome to me -- his phrasing, note choice, use of chromaticism and his compositions are interesting. Obviously his speed and accuracy are on a whole other level.

I've only listened to about 4 or 5 tracks from Matteo. He has an incredible technique and a great energy, but I don't connect with him musically or tonally like with others in the genre.

 

[Sascha Franck]

What makes Guthrie awesome to me -- his phrasing, note choice, use of chromaticism

Add to this his impeccable sense for "drama", if you will. Yeah, Tim Henson would possibly think of it as another boomer thing ("boomer bends"), but seriously, the way Govan builds up things and takes them to whatever climaxes (seemingly) effortlessly is just from another planet. There's very little players where I tend to think of their instrument being a straight extension of themselves. Govan for me is one of them.

 

[OrganicZed]

Tim Henson and Scott LePage are no slouches....

Love these 2 guys.


It's just a very different thing. 21st century and all.

I don't like their music. I respect that it takes a lot of skill to play and I couldn't cover one of their pieces if I wanted to. The fact that they've taken electric guitar centric music to a new place is commendable as well. It seems to take a lot of inspiration from pop and hip hop (neither of which are genres I care for). It just doesn't connect with me on an emotional level in any way. I think that's probably a generational thing. Their antics were pretty funny though.

It’s only boring if it’s a boring note choice. Long passages of 32nd notes exist all over classical music and it’s very far from boring. This is just empty simple music filled with scales not music.
This is the standard;

Not on the same planet.

Guthrie Govan is just astounding. Not only can he absolutely melt your face with cleanly played shred, but he can also play almost any style as though it is his native musical vocabulary. What really sets his playing apart are his phrasing and note choices. Even in the fast portions of Fives he's not just playing repetitive patterns that fit under the hands easily; he's making interesting musical choices that add to the composition in a tangible way. I really need to go see him play the next time he's in the area.

 

[Achilles]

The title of the thread yesterday was ROCKING OUT. Here's a few more clips to consider.