You’re standing at the front of the crowd, the support act have long since left the stage, the roadies have finished setting up the equipment and you wait with anticipation for your favourite band to take the stage. When the house lights drop the crowd roars and the band step out confidently and launch straight into one of your favourite songs.
The next two hours seem to just get better and better and as the band leave the stage you’re left both satisfied and exhausted. Songs you’ve never really listened to suddenly seem amazing when seen live, each song has a big impact on the show and you’re left cheering for more.
When a band performs live a great deal of consideration needs to go into how the set list will flow. When you watch your favourite bands live you may not even notice how they’ve built their set list to give each song the maximum impact it can have but believe it or not there is a hidden art to choosing a great set list.
For this article I’ll assume that you’re in a band with your own material and you have a good grasp of what your ‘hits’ are and what generally gets crowds going, or quietens the mood. You’ll need to have a good grasp of how your songs will affect the audience and what emotions you want to convey with each of them. The reason for this will become clearer later on.
The most important parts of any set list and live show are the start and the end. First impressions are everything, and you want to leave on a high note to give everyone something to remember you by. With this in mind pick out what you feel are your best songs and reserve them for the beginning and the end of your show.
So, first things first. You’ll want to open your show with something from your most recent album/ep/recording. Generally when playing live, bands are promoting their most recent material and so you want to reinforce the new songs. You’ll want to pick one of your better songs so you make a great first impression and get people into your show. The song doesn’t really have to be your best song as such, but it most definitely needs to be one with a big start and a really catching intro. You need to show people just what your band is about during this song and bring up the energy of the show.
Remember that people are there to see you play, and if you disappoint them with the first song it is almost impossible to make up for it later in the show. A lot of bands will write songs with the specific idea of using it as an opening number when playing live, and it is something you may want to consider doing. The opening song can be considered the most important and so making a statement of intent is vital.
So after you’ve made your big entrance where do you go next? I would recommend carrying on with another new song and keep the energy going. Don’t pause between the first few songs as you want to keep the flow. In terms of how you structure your set from here it depends on how long you have to play. I would generally try to split your set into segments and then play enough songs for each segment to fill your set.
Once you’ve opened it is important to keep the momentum, so pick songs that are in a similar vein to your first one. For the third or fourth song I would play an old favourite and something that everyone will know. The reason for doing this is that after your big entrance you’ll need something to pick up the pace again and make it seem like your show is getting better as it goes along.
After the opening salvo of songs you’ll want to start thinking about playing something different. Remember that there is only so long that people can listen to rock and it still have impact as being fast and heavy. You’ll need to change it up to keep the show interesting. Play a quieter, more laid back song in this slot. Doesn’t have to be really mellow just yet, but certainly something a little different. You’ll need to give the audience a break from the energy of your opening salvo and give time for a breather. It’s important to do this as it will give your songs more impact when you pick up the pace again in the middle of the set.
By playing something quieter you’ll give your audience something slightly different to listen to and you’ll affect them differently. Have you ever watched a band play a set and every song was fast and heavy? After an hour you’ve had enough and by the time they’ve finished you’re glad they’re gone, make sure you avoid this and change it up when playing your sets.
After resetting and chilling out for a song or two it’s time to build back up for the middle of your set. Here you can do anything you like really and how long this section lasts is entirely dependent on how long you’re playing for. You’ll want to sprinkle in your hits and new songs together here, remember not to play your best couple of songs just yet, you’ll want to save those for the end.
The middle of the set is a good place to plan some audience interaction, maybe introduce the band and have a chat, that kind of thing. It is also the best place for experimentation in my experience. Remember to keep the energy flowing and keep the gaps between songs down to a minimum.
After you’ve passed the bulk of your set I always find it best if you ‘reset’ the show again. Heading into the last section head back to something quieter, maybe an acoustic song to change the mood again. However here I would concentrate on ramping it up constantly to reach the big finale. Starting quiet you’ll want songs that will build over time back into the full force of your opener. Songs that start quiet and end heavy are perfect to put in here.
After resetting and building back up you’ll want to play out your best songs to finish the set. This is the last memory that people have of you so make sure it counts. Every band I’ve seen always reserves their biggest crowd pleasers for the end, it makes people stay to see the whole show and most importantly, leaves people wanting more.
You can use these points as a general guideline when writing sets for your band, but bear in mind that rules are always there to be broken, especially in music. The start of the show is probably where you have most creative freedom, and I’ve seen some bands do really interesting things with the start of the show. Remember that if your audience is expecting a big overblown entrance then sometimes something more low key can have more impact. The Smashing Pumpkins and Steve Vai are great at doing this and every show I’ve seen from them has had a really memorable opener.
Good luck writing your sets and playing live, it certainly isn’t as easy as it looks as I’m sure you’ll find out.
If you’ve just joined your first band or are thinking of starting a band up then there is certainly a lot to consider. What kind of music will you play? What instruments do you want in the band? Who do you want to play in your band? These are some of the most important things you’ll need to think of and decide for sure.
I’m going to assume you’ve worked all these things out, so I thought with this article I would point out some of the things you can do during band practise to help the process go much more smoothly and make you a better musician when playing with other people.
It is certainly a skill to play music with other people. Some people are great at it and others like to have complete creative control over their musical output. Inevitably when playing in a band the music will end up as a collective effort, as opposed to a single composer. Neither approach is wrong or right, they’re just different ways of going about achieving the same goal. When playing in a band you’ll need to be considerate of the other members.
To be successful in a band is much the same as being a success in any other small social situation, the golden rule is to treat others as you wish to be treated yourself. If you’re easy to get on with and don’t mind the odd compromise then your band will start putting out great music much more easily.
Here are my top tips for playing in a band.
Turn up on time. I would perhaps go as far to say this is the most important thing you can do. I’ve played with some great musicians in the past that couldn’t get to practises on time. There is nothing worse than paying to hire a practise room and to have someone turn up half an hour late.
Remember that if you’re late you’re keeping three or four other people waiting for you. No-one minds the odd one-off if you’re stuck in traffic but consistent lateness will hurt the band’s progress. Even if you’re the best musician ever people won’t want to play with you if you’re always late.
Keep your practises focused. I’m sure everyone is very impressed at your latest Van Halen lick but band practise isn’t the time to show it off.
I’ve been in countless bands where people play whatever is in their heads while we’re trying to talk about the song. It slows everything down and distracts you from your real goal, which is to write and perform your own tunes. It may sound a bit authoritarian but by only playing what you’re working on you’ll find it much more productive, and in the end, more enjoyable.
Bring everything you need, including spares. I’ve been guilty of this in the past, having broken guitar strings during practise and not had any spare on me. Before you leave for practise just double check you have everything. Nothing worse than having to go back home for spare picks or drum sticks.
If you can, record your practise. In the band I’m playing in at the moment we record what we’ve worked on at the end of each practise. It gives us a week to listen over to the songs and come up with any new ideas for where it should go. It also helps you remember everything you’ve done as sometimes remembering structures to new songs can be tricky.
I really recommend recording it if you can, as it means that each band member can turn up to practise with the material fresh in their mind so you can get stuck right in. Even if it is only a cheap mic in the middle of the room it is still worth doing.
Be willing to try ideas. If someone suggest an idea for a song then try it. The worst thing that can happen is that you come full circle and end up back where you started, but at least that way you know that you’re playing the song as best as you can. There is nothing to be lost by giving an idea a quick try, even if you don’t end up using the idea it can lead to a different direction that you wouldn’t have thought of before.
All in all playing in a band is a really fun and rewarding experience. Hopefully I’ve highlighted some things that can help you get the most out of your experience. Remember to have fun with it and good luck writing some great music.
The rise in popularity of guitar bands and the phenomenal success of the Guitar Hero video game franchise has lead to more and more people picking up the guitar recently. Sales of guitars in the UK has hit an all time high in the past three years and as more and more people are starting to play, the guitar has surpassed the piano as the most widely learned instrument in schools.
With all these people learning I thought I’d pass on some tips from my 10 years of experience playing guitar and help point people in the right direction as they start learning their technique. In this article I’ve listed some things that I feel are very important to playing well but are often overlooked by those just starting out. If you’re a seasoned player then there won’t be much here for you, but if you’re new to playing guitar then hopefully I can help out and perhaps shed some light on things you maybe hadn’t thought about before.
1. Theory
The one factor that has improved my guitar playing beyond any other was taking the time out to learn the basics of music theory. Once you manage to break out of the pentatonic scales so overly used by rock guitarists you’ll find that your song-writing and improvisation will come on in leaps and bounds. Believe it or not, by learning the scales you’ll actually become far more free than when you didn’t know them. Ironically, learning the rules of music has left me much more open to play expressively than before. Don’t forget that once you know them, you can break them, and this is where your playing can really start to become interesting.
So how did I go about learning the theory I needed for playing rock guitar, and how might you learn it too?
Well, it hasn’t been a fast process and I’m certainly not finished yet, I learn something new all the time and there is a massive amount I simply don’t know yet. I started by learning a couple of major scale shapes, E major, C major and D major are good ones to start out with. Try finding a song you know in one of these keys and play over it, picking out the notes that sound good, and the notes that don’t sound good. A good way to learn scales is by checking out some of the free guides floating around the Internet.
I started out by learning a couple of positions for each scale, taking one or two at a time. Once you’ve done that a great method to help your soloing is to learn each scale on each single string. Take it slow at first, one or two strings at a time and just move on when you feel comfortable. The advantage of doing this is that before you know it, you will know every note you can hit on every string to stay in key and switching positions becomes a breeze. Once you’re happy with the major scales you can start to pick up the minor keys, which is actually a lot easier than you might think.
As well as learning scales I looked at chords and how they’re built and how they work together. I would recommend learning the scales first, as once you have those down, constructing chords becomes much easier. The key factor when learning is not just knowing them parrot fashion like “this is a Cmin7″, but rather learning why it is a C minor seventh. Once you know why the chords are then you can build them anywhere you need and you’ll find it that bit easier to write great melodies over the top.
A detailed guide to learning music theory is beyond the scope of this article but hopefully I’ve highlighted an area that may be lacking in your guitar playing. Remember even the most basic major and minor scales can make a world of difference when writing that next song, or improvising with your band. There are a huge range of free lessons available on the web, and some great tutorials on YouTube, so make sure you check them out.
2. Bending
Something I feel is crucial to being able to play rock guitar well is being able to bend the string accurately. String bending is what makes the electric guitar the instrument it is, having been used by countless guitarists to convey every kind of emotion you can imagine. When it is done well a big bend sounds amazing, but done badly it can sound terrible. If you have a great ear for music then you shouldn’t have much trouble bending and keeping in key. If however you’re like me and aren’t blessed with a natural ear then you’ll need to train yourself to bend accurately.
For the best results when bending strings always try to use three fingers on your fretting hand. I find when playing rock the best method is to fret the start note with the ring finger and use your middle and index fingers to help control the string as you bend it. I generally bring my thumb over the neck and ’squeeze’ the fretboard to bend the note. Some guitarists might argue that bringing the thumb round is bad technique but I find it helps your control and is useful for muting the strings you’re not playing.
Once you have a solid technique the first thing you need to do is make sure you’re bending in key. Pick any note on your guitar. Then pick a note two frets up and play that. Play the two notes one after another getting used to the sound of the interval. Once you have the sound in your head, play the first note and then bend up to the second. This whole tone bend is the most commonly used in rock guitar playing and you should make sure you’re comfortable with it. Once you’ve mastered that you can try single fret (semitone) bends and even three fret bends. Remember to always bend up to a note that is in key with the song you’re playing, nothing sounds worse than an out of key bend!
To hear some fantastic string bending listen to any guitar solo from Dave Gilmour of Pink Floyd. You should be able to hear a lot of blues style bends as well as really controlled bends across wide intervals.
3. Vibrato
Your vibrato can be defined as your touch or feel as you play. How you vibrato the notes you play can often define you as a guitarist and help to differentiate you from everyone else. For example take Yngwie Malmsteen with his super wide vibrato and then Steve Vai with a much more smooth and controlled sound. You can tell the two apart instantly. In fact I’d go as far as to say you could have them both play the same passage of music and you’d be able to tell the difference, even when playing the same notes.
Vibrato is varying the pitch of a note as you hold it to give a vocal like quality and expression to your playing. The amount and the speed at which you vibrato the note is entirely down to personal preference, so really just experiment with everything you can think of. Try everything and see what you think sounds best. As a test, try playing a melody with some light vibrato. Then play again but don’t vibrato a single note. The time without vibrato will often sound rather lifeless and uninteresting. It is an important technique to work on as once you have it down you’ll sound like a real guitarist and not a beginner anymore.
When I vibrato notes the motion generally comes from the wrist. I try not to overdo it and generally let the mood of the music decide how aggressively I vibrato the note. There isn’t really a steadfast way to teach vibrato, I found the best method was to simply watch my favourite guitar players as they played and pick up techniques as I went along until I settled on a sound I felt comfortable with.
Try some songs from Yngwie Malmsteen, Steve Vai and BB King to get a good idea of some different vibrato sounds.
4. Timing
Timing is everything. It doesn’t have to as complex as Dream Theater but one thing is for sure, if you play out of time you’ll sound rubbish. The issue of timing applies to lead and rhythm playing but of course is ten times more important for playing rhythm, after all, that’s why you’re playing it.
A great way to make sure you play in time is to always practise with a metronome. They’re cheap and available from every music shop, and failing that there are several free software metronomes floating round on the web. By always playing with a beat you’ll be used to hitting your notes in time and sticking to a regular rhythm. Before I joined a band I never played to a beat and so for the first few practises my timing was quite out on places as I was just used to jamming around on my own.
Remember that even the most simple of passages must be in time and that you need to be able to play your rhythm parts consistently.
5. Picking
An aspect that is often overlooked by new guitarists is their picking hand. I was the same, generally all the focus goes onto the fretting hand to make sure those chords stick and the bends sound good. However the picking hand is just as important and will have a big impact on your sound. There are a whole host of approaches when picking your notes while you play, you can play fast and precise or loose and slower and everything in-between. If you ignore your picking technique you’ll have to go back and learn it again, which is what I had to do after three years of playing.
A solid picking technique is vital for rhythm playing as you’ll need to be able to reproduce the same thing every time you play the song. You’ll need to make sure that your picking hand is synched up well with your fretting hand, you don’t want to hit dead notes, especially on clean sections.
The technique of picking properly is enough for a separate article, but just remember not to overlook it. Try searching YouTube for some videos from Paul Gilbert and John Petrucci on picking technique. For a looser feel you can always turn to Jimi Hendrix, Wind Cries Mary and Castles Made of Sand have some great sections in them for getting some new picking ideas.
In conclusion.
While I haven’t covered anything groundbreaking here I certainly hope I may have uncovered some weaknesses in your playing that you can keep in mind as you work on your technique. These are often things I see new guitarists overlook in favour of playing some loud power chords or trying to shred away from the start. Remember that the key with learning anything new on the guitar is to start slow and make sure you can play it cleanly before moving up to speed. By taking things slow and learning the best techniques you’ll become a much better and more versatile guitarist in the future.
