I just got down during some recordings on these strings, I know they are massively out of tune and they are getting really old anyways. But one of the things that you can do and here is another thing.
Even if you don't know technically what a fret is, like if you are just that basic in your playing. That's okay, because the key to learning how to create music and understanding and improvising, is training. So we are going to get to that, we are going to work on some ear-training exercises too. So you have got to build this library of sounds.
The key is not to even know how to identify a note, like that's a G, and that's an A. The key isn't that. The key, I mean, that's one thing, you can do that. That doesn't make you better in your session. But the key is the way to look at any note on a fret board without touching it and know instantly what it is going to sound like. With a little bit of practice and training, you can do this. And what that means is that when you are improvising, it is like no-brainer. You do not even have to think about it. And you really shouldn't if you are the kind of person who is thinking about what's the scale of mergering when you are improvising, then you are really limiting what you can expand upon. You will just be playing the same things over and over again.
But some tricks to get you started and I still use these today and I mean I improvise at a more advance little, but I still use the simple things like this, it is to whatever note that I am starting in, like if I do start in my J to know what are the octaves. Because if you know where the octaves are, even if you play bad notes in between, it's really this whole thing about where do I end and how does it stop, and where is the safe corner to receive, these things, landmarks.
So you can conclude on that root. It really does help you because it's kind of a safety, it's kind of like your backup plan.
Another thing is that it helps to build these patterns and see things in terms of shapes, that certainly helps a lot. Triangular patterns and so forth you start to see these things with the notes. Okay and another thing, here is a really great way that I can explain to you how to improvise. And I think and you have to got introduce paying Blues currently, or has studied Blues and is moving to a different style of music, has a bit of an edge. Because guys like Eric Clapton, they jammed literally little, like improvise all the time.
And Blues is a great style of music to start in because it added to a degree, played it for years and it taught me a lot about improvising because there is solely -- Rocks band that you can stay within. You kind of have these little safe -- the octave thing. These things with this.
So it's a safe area in between. And from the Blues it's that a lot of people have branching out. I really had to work hard to distance myself from Blues pattern because they have become addictive, because after a while you can always expand upon the style of music, but they do become easier and easier to play with them.
But what Blues does have is, and what most music has, what people don't really think about, is that there are two parts. I am sure that's you know chorus and bridge and rhythm and all that, but there are two parts in terms of a solo, there is say a note that provokes another passage which is always going to be your first part. If I just left it there, well it seems like something more as you go there.
Alright, so your first part is the provoker. The second part is your conclusion, you need to bring it back. The great thing about the second part, when you use solo, if you break it down to the sections like that, it's even the second part. Even though it's concluding on a note, it also is setup in such an arrangement that it provokes more another person wanting to.
This is very true Blues. But it is true for all styles of music. So stuff like that -- things like that. It's true in all styles of music. And that's what leads you long because it's those waves and so that is the one thing that I am very aware when I am improvising. If you do a lot time ahead, and totally, it's total meditation. I am not thinking about anything, I am not thinking about the technicalities of music, I am totally listening with my ear. So another great thing that you can do.
I leave you with this and we will get into more on these things with our ear training exercises and stuff, because that's really also the very key, it's to not be afraid to play with your eyes closed, especially if nobody is around who is going to care, you can always judge yourself.
So close your eyes and then take a note and play it, and don't open your eyes yet and go to another note. And if it sounds funky, like it doesn't go well with that note, don't open your eyes yet. Pick another note randomly, even though if it's not the same note that you first picked and then try picking another note again. And keep doing that and so it forces you to close your eyes and you have to really listen. And those notes start registering, you start cataloging them in your brain. It makes you a better musician. So it's all about this.
So anyways, stick around and we will get you some really good ear training lessons and so forth so take it easy.
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