Tom Quayle I Hate You

I come away from videos and threads like this, often feeling out of place, and a complete outsider. It doesn't do anything for me. I can totally accept he's a great player, but I don't feel anything. It makes me think I don't even really like guitar.
I guess it depends how you look at it. Do you think you'd like it if the same notes were played on a synth or violin? As much as I love and appreciate the guitar, and the high skill level which players can attain... what truly matters to me is the melodic content and composition. We enjoy the guitar because we like the timbre it produces but like any other instrument it's just a tool to create textures and melodies to convey an emotion.
 
I’ve been checking my tuning the second I pick up a guitar, with an open G chord since nearly day 1, I think tuning the B and E strings any differently would fuck me up way too much. I’m not smart in the head enough to transpose that fast and far too lazy to adapt it.

I’d be curious to hear what the benefits are for those that do it, though.
I've been using the 4ths tuning for around 4 years now.

After playing in the standard tuning for close to 10 years, I switched to P4 when covid hit.

This was mostly inspired by Tom and a few others who play in this tuning. (Alex Hutchings, Ant Law)
Almost all of them play jazz fusion stuff.
Holdsworth has said that he would tune in P4 if he could start over again.

Although this isn't because of the tuning, I had spent my years noodling, working on technique and doing scale runs.
I was physically able to play most stuff but couldn't improvise much.

During Covid, I started learning drop voicings and arpeggios.
And the kink (G/B) in the standard tuning, had me learning different shapes and moving the intervals for those two strings.
Because of this, I just tried P4 on a whim and never looked back.

Pros:
1. Improv is easier.
Intervals and shapes being uniform across the fretboard, once you have the intervals internalised by playing around, moving around is much easier, imo.
I can't fully express how big a deal this is when you switch between lines, double stops and triads as you improv.

2. Chord Shapes
It takes time to learn the voicings for Maj, Min and Dom chords and internalise them.
Add extensions on top of that..
Then there's the other chords m7b5 etc.. their voicings.

And this is just the Major scale.. you still have the Melodic Minor and it's chords/modes to explore!!
All their voicings..
I've not even looked at the Harmonic Minor / Harmonic Major.

This is way more work in Std. tuning vs P4.

Cons:
1. Chord Melody is more difficult.
Major scale diatonic chord melody is easier in standard tuning because of how the notes align.
This isn't as big a deal as the open chords though.

Melodic Minor diatonic chord melody is easier in P4 for the same reason.


2. Open Chords/ Bar chords are tough-er
This is the most obvious downside.
Full bar chords are tough but if you just play the triads on the higher strings, it's not too bad.

The chordal stuff with open strings that one plays in E (in Std. tuning) can be moved around and played in Bb or F.. (in P4)
_______________
Every now and then, I'd switch to the standard tuning and can make it work for single note improv stuff but with drop voicings, I hit a road block.

Now that I can navigate the intervals a little better, I guess I could spend some time and switch back to standard but the only thing I gain is the advantage of cowboy chords. I never play those things anyway and mostly live in closed voicings.

Sorry, tuning is a big deal and it ended up being a long post.
 
I guess it depends how you look at it.

Or your guitar/music foundations. For me it was going from Jimmy Page, Ritchie Blackmore, and Tony Iommi to guys like Al DiMeola, John McLaughlin, and Allan Holdsworth right after I'd first started playing. That led to listening to their influences - first time I got stoned and checked out Charlie Parker and John Coltrane I nearly lost my mind. :oops:

As much as my brain needs straight up heavy stuff it also has to have equal doses of guys like Plini and the occasional 2-3 minutes of Tom Quayle on Youtube - would never buy one of his albums cause he's only good in small doses for me.

Back to the 70s, how can your guitar sensibilities not be shaped by listening to something like this at a very young age?

Solo cued up:
 
if only that unbelievable brain could come up with a piece of music ...
Saying that as someone who bought his his everything bundle or whatever that was called 4-5 years ago.

He's a soloist. Give him a piece of music and he'll weave magical lines all over it. Who cares if he can write?

He's like Holdsworth. I only really liked a handful of his solo tunes. The rest was just alien lounge music imo.
But I could listen to the guy improvise extended solos all day long.
He's trying to have a unique voice in a crowded space.
I think because of that he leans so heavily towards the Melodic Minor type lines..

Listening to some of his early recordings on sound cloud (includes some Pat Metheny covers)..
He is totally capable of playing some 'regular' stuff.





 
Tom is a good dude and a fantastic teacher on top of having phenomenal chops. His podcast (The Guitar Hour Podcast) is worth a listen as well.

He's been pretty open about the challenges of making a living playing guitar and the pitfalls of being a guitar star on social media.
I really used to enjoy that podcast.

And all of them were killer players with beautiful phrasing (Beebee, Dan..)
Some talent in that group.
 
I guess it depends how you look at it. Do you think you'd like it if the same notes were played on a synth or violin? As much as I love and appreciate the guitar, and the high skill level which players can attain... what truly matters to me is the melodic content and composition. We enjoy the guitar because we like the timbre it produces but like any other instrument it's just a tool to create textures and melodies to convey an emotion.
Probably not, no. I don't really enjoy a barrage of notes. I'm more enthralled by texture and timbre, harmonies, and memorable melodies.

I don't really get on with most of the typical guitar heroes either tbh!
 
Probably not, no. I don't really enjoy a barrage of notes. I'm more enthralled by texture and timbre, harmonies, and memorable melodies.

I don't really get on with most of the typical guitar heroes either tbh!
I get that. A steady barrage of notes can be tiresome at times. I prefer more dynamic players when listening. I mentioned Brett Garsed earlier in the thread -- he's a perfect example of a player that can slow it down and bring emotion but then hit you with a blaze of technicality and still manage to keep it very melodic. Holdsworth and Andy Timmons also.
 
Nuh got rid of the screaming hyenas years ago, the girl friend been chill so far (7 years).

But funnily the last one was a session singer that always complained the guitars were to loud, even when muted.

Singers are like, "I can't hear myself until all you can hear is themselves." :LOL:

In fairness, there is enough narcissistic self-indulgence and volume wars emphasizing
all the "Me's" involved to go around. :beer

If I could change one thing about all the variety of musicians I have played with it would be more
skillful use of "active listening" to the entire group, and not just to one's self. It is Sooooooooooo rare.
Maybe more rare than actual technical ability. So few learn to sacrifice their need to be "out front"
and serve the song/band first. :idk

Or they just don't give a fuck!!! :lol
 
I come away from videos and threads like this, often feeling out of place, and a complete outsider. It doesn't do anything for me. I can totally accept he's a great player, but I don't feel anything. It makes me think I don't even really like guitar.
Nothing? I'm not too much into this kind of music and to the extent that I am, its rarely to put on a listen to as music. But I'm also not really into sports AT ALL and can still not just appreciate, but have a feeling of "whoa, humans are impressive" when I see some sort of super skillful athletic display in a highlight reel. I'm not gonna sit through a basketball game anytime soon, but I still get the feels just from the human-accomplishment perspective.
 
Nothing? I'm not too much into this kind of music and to the extent that I am, its rarely to put on a listen to as music. But I'm also not really into sports AT ALL and can still not just appreciate, but have a feeling of "whoa, humans are impressive" when I see some sort of super skillful athletic display in a highlight reel. I'm not gonna sit through a basketball game anytime soon, but I still get the feels just from the human-accomplishment perspective.
Yeah but I can get that feeling scrolling down instagram and checking out hot Korean models. So I don't really see how it is anymore impressive than that.

Simply put - the message and emotion behind a piece of art is infinitely more important to me than the form.

More or less I regard this kind of playing as the Jackson Pollack of guitaring - it just isn't what I'm after.

Give me three chord punk over this any day of the week.
 
@Boudoir Guitar

Bear in mind, this is the sort of shit I fall asleep to!! :rofl



I really don't belong to the guitar community! Particularly the UK one!

¯\_(ツ)_/¯

I get that. My analogy was an attempt at "I'm not at all a part of the sports community, but I can still feel something watching specific feats of human achievement that I know took a lot of hard work, dedication, combined with raw talent." Like anything, one gets numb to just sitting there scrolling youtube watching the stuff for sure. :beer

I'm trying to think of any "community" I feel like I belong to beyond just, like, my personal physical community. Can't really think of any. Professionally? Bleh. I'm part of a team doing specific things to some extent feel like I've got a community amongst some direct colleagues that I've been in the trenches with, but big meetings within my industry, etc., are the worst -- I just wind up making snide comments under my breath the whole time like I'm on a damn gear forum or something, with zero desire to network/have drinks afterwards. Music? Meh. the only "community" I've ever felt like I belonged to there was, like, local folks that I've played with and helped build something with. Skateboarding? Blech. A subset of a local skatepark community that I have skated with and built relationships with, but not like just a "show up, instant bond because community". Same with any other hobby. Maybe I'm just a distrusting asshole. Seems likely :guiness
 
¯\_(ツ)_/¯

I get that. My analogy was an attempt at "I'm not at all a part of the sports community, but I can still feel something watching specific feats of human achievement that I know took a lot of hard work, dedication, combined with raw talent." Like anything, one gets numb to just sitting there scrolling youtube watching the stuff for sure. :beer

I'm trying to think of any "community" I feel like I belong to beyond just, like, my personal physical community. Can't really think of any. Professionally? Bleh. I'm part of a team doing specific things to some extent feel like I've got a community amongst some direct colleagues that I've been in the trenches with, but big meetings within my industry, etc., are the worst -- I just wind up making snide comments under my breath the whole time like I'm on a damn gear forum or something, with zero desire to network/have drinks afterwards. Music? Meh. the only "community" I've ever felt like I belonged to there was, like, local folks that I've played with and helped build something with. Skateboarding? Blech. A subset of a local skatepark community that I have skated with and built relationships with, but not like just a "show up, instant bond because community". Same with any other hobby. Maybe I'm just a distrusting asshole. Seems likely :guiness
Yeah I get you. Really, my "community" is my family and friends here in London.
 
If I could change one thing about all the variety of musicians I have played with it would be more
skillful use of "active listening" to the entire group, and not just to one's self. It is Sooooooooooo rare.
Maybe more rare than actual technical ability. So few learn to sacrifice their need to be "out front"
and serve the song/band first.

This!
 
Singers are like, "I can't hear myself until all you can hear is themselves." :LOL:

In fairness, there is enough narcissistic self-indulgence and volume wars emphasizing
all the "Me's" involved to go around. :beer

If I could change one thing about all the variety of musicians I have played with it would be more
skillful use of "active listening" to the entire group, and not just to one's self. It is Sooooooooooo rare.
Maybe more rare than actual technical ability. So few learn to sacrifice their need to be "out front"
and serve the song/band first. :idk

Or they just don't give a fuck!!! :lol
Truth. When I was playing with Steve Kimock he insisted that there was no need for monitors on stage.
It was him on gtr/steel, drums, bass, organ, me on fretless No vox.

The stage set-up and volumes were genius every one heard what they needed.
Can’t argue with that and he did 800-1000 capacity places.

As for singers the aforementioned session singer ex wife actually literally once had a melt down about the guitar volume when I was flying blind cause there was one less monitor then needed and she heard the guitar out of the other guys monitors.
Btw, my name on the marquee on that not hers.

In her gigs sure. 😂
 
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