Recent content by Thumpalumpacus

Right, the best way to tell is to listen to different iterations of the song and get a grasp on the band's commitment to note-for-note versus improvisation ... and yes, it's a continuum.

The live take of "Mediterranean Sundance" with Paco, John, and Al D is simply mesmerizing. That is recital at its finest.

As a listener, I generally prefer being surprised with fresh licks, but you're right in that much improv is more rehearsed licks strung together into different sequences.

They could be composed, or they could be improvised. I think Slash said something about the outro to SCoM was mostly improv?

Meh, worrying about what others think ... especially guitar snobs? How many guitarists does it take to change a lightbulb, again? If the lightbulb is glowing, you're doing your job. Play it like you stole it and however you get there make it your own. Crimeny.

I haven't said one bad word about your playing at all, nor have I suggested that how I use theory should be the way you should approach anything. I just don't agree that learning theory makes someone less able to play with feeling, or slows you down, or otherwise impairs how others sound. Again...

I write as a hobby, and my favorite writers are those who understand technique but also know when to abandon it.

Theory is one way to improve. As I've said a couple of times already, there are a few ways up the mountain. Choose the one which works for you. Some ways involve both learning the theory and techniques of music, some ways involve closing your eyes and going for it. Some ways involve practicing...

I just think there's a false dichotomy going on here: knowing theory doesn't mean one's playing is inherently less emotional, not knowing theory doesn't mean one is copying George Thorogood. Studying music doesn't necessarily hamper feel, ignoring it doesn't mean you're being more real. Feelings...

Jazz guys don't bend? Of course they do. They don't rely upon it like blues guys, but listen to some Grant Green, or Kenny Burrell, or Django, or Barney Kessel. And if you don't think Joe Pass had great ears, I don't know what to tell you. That guy was all about improvising two or three jazz...

And just to keep this topic in perspective:

I've heard so much good about them, but every time one hs popped up near me, I haven't had the ducats for it. Hmph.

Exactly. By internalizing the sounds and intervals of scales/chords/etc, I've actually reduced the amount of thinking I need to do. That's because through practice I get my fingers wired into the various tonalities.

In that case, your warranty is probably void anyway.

I love the wood and finish, much more than the massive figuring glossed-to-a-mirror stuff PRS normally does.