"Every note should have the same loudness to it... you have to go by the way the guitar sounds."
"A pull off is not just releasing that finger—you've got to pinch that string."
"Strumming without a pick opens up a world of possibilities."
"By seeing these inner relationships, this is what's going to allow us to break free from just being 2-5 players."
"The short and long voicings are basically a technique which produces a really beautiful and easy way to get movement on a static chord."
"For me, when I tune my drums, I start with the bass drum, it's the foundation of the drum kit."
"There's a type of concentration that happens when you choose to play few notes."
"Tone really comes from individual players' hands and their approach to the instrument."
"Sometimes the best notes are the ones that you don't play."
"Muting strings with your thumb is extremely important. You want to always be muting strings you're not playing."
"Overall, it sounds decent, and there's a segment in the third verse where Eminem has almost every word in each line rhyme—it sounds great."
"If you have the experience with creating a good solid fundamental tone, you can get an amazing sound from a cheap bass."
"It's entirely up to you but you don't have to go and do this large emphasis of the sound of A, you just use that slide element to get you to the next position."
"Just like the joy of the double hammer and how it makes you sound like you're super fast even if you're not."
"The president said it was a hoax, they minimized the seriousness of it."
"What are some of your vocal techniques? What are some of the things that you do to mess up the vocal not so that it's useless but so it adds energy and excitement underneath the main vocal?"
"Your intention behind that phrase has to change, and it's very different than knowing the scale you're in and just whittling about. Now you have some kind of a foundation to express yourself."
"Forces you to improvise as well, so you know, you have to just kind of, 'How am I gonna go next?' Expertly."
"The nature of the strat allows you to add that much mid-range."
"You want to be right in the pocket. Your flow is going to sound the best."
"Don't be afraid to isolate the issue, just start there, with the pinky."
"So this way you can kind of, you don't have to rely on the tone, the delays, you can just do every note yourself."
"Using tritone substitutions like this in between chords is an easy way as a keys player or guitarist to add a bit of interest to our playing without having to have already planned the substitutions beforehand with the rest of the band."
"It creates this nice little call and response and it's something that Taylor does a lot."
"They brilliantly use that harmonica as this transition connector."
"I told him that John Lennon doubled all of his vocals and he paused for a moment, then he looked at me and said, 'Okay, let's do it.'"
"The melody is shared between two hands, which is quite difficult to make that melody sound like one coherent thing."
"You want to get past kind of like the plasticky sound of the pick or the metallic strings and be able to get more of the kind of wooden tone from the instrument itself."
"Triolo is like a huge way of buffing up your sustain and making things sound a little bit more like the instrument."
"He bends with such great accuracy and he bends with the end in mind."
"Having a good vibrato is really what separates a lot of intermediate guitar players from advanced players."
"If you really want to find out somebody's melodic secrets, look at the licks and look at how they relate to the chords. Intervals are everything."
"These concepts are so easy to do, and they give you really cool sounds, and you're probably already doing it, you might not even realize it."
"Open tunings are very easy and a lot of times it makes guitar playing in general much easier to play."
"Chromaticism can be subtle, just a little moment that you throw into a lick or to a riff or to a melody."
"We need this right hand consistent movement."
"Throw in the dominant seven just to blues it up a little bit, it gives a little more soul."
"You hear that in the blues all the time, you're hammering on to the third interval in the chord."
"I love a bit of call and response, so things everything bouncing off of each other, creating a conversation rather than everything playing at the same time."
"Use your ears, there's no one method to tuning a drum."
"Smooth playing, yeah, phrasing, right?"
"The technique doesn't get in the way, that's the point. He's got the freedom to listen to the music and that's what technique is all about."
"You want to work on that slide, that slide as part of the technique that's really going to definitely make your playing that much more valuable."
"It always works to move into a chord tone a little bit better."
"You know what you're doing; you're playing the changes; it becomes more harmonically rich because you're targeting notes that actually exist in the underlying chords."
"What a great twangy riff that one is."
"Jimmy Vaughan uses a capo; it allows him to play licks that have open strings."
"Classical piano technique is secondary to nothing."
"Chromaticism gives a bit more color and flavor to the music."
"It took me years to figure out these kind of really fast trills."
"Technique and phrasing are not separate vehicles; when you practice right, the more you build technique, the more you can develop and play really cool lines."
"Pedaling is a matter of both common sense and taste."
"Transposition... is going to be the hardest, but it has the most magical effect on your playing and overall musicianship."
"The pedal is an extra set of limbs, why not use them to bring the melody out?"
"It's really like two guitars, two separate instruments, and it's this kind of interplay between kind of a question and answer type approach to playing."
"It's important to bear that in mind when you're playing over this chord progression."
"Practicing with rhythms... is teaching your fingers where they need to go."
"I think it's really important that we always apply phrasing to scales so you always try to make it sound as if it was a piece of music."
"Trills are fun, and who doesn't love a Trill that sparkles?"
"An impeccable placement of drop two chords and their variants is also going to be expected at this level."
"The decay is very useful if you're trying to make plucks."
"Sul ponticello has this icy quality to it which is so effective on the cello."
"So much of guitar sound is in your fingers."
"That ambiguity between the five and the flat five, that in between sounds, is what gives the blues phrasings its sound."
"Using arpeggios and chords helps you to really spell out the chords in a musical way that your fingers and your ears are making a connection with."
"I love to play slide, it's super fun."
"Playing the violin is very complicated already, so any amount that you can reduce extra motion is going to make you into a better player."
"His sound and beautiful connection of each note were the signatures for his famous Legato."
"Maximize your hi-hat sizzle by timing your left foot just right."
"With the right technique and rhythmic interpretation, you can maximize your skill set."
"The one five one just gives you a nice full sound because you're spanning an octave."
"This mouthpiece responds very evenly, stays focused, it responds to good clarinet technique in a way that gives you the results that you want."
"We're leaning into the instrument but we're really going through it and into the base of our spine."
"The altissimo on these both of these saxophones is amazing, it gives you a whole bunch of confidence when you get up in that high range."
"It's quite simple but it's very key to get it funky going with your right hand, getting those scratches in and making it sound good."
"That's another big takeaway; this lick right here is very useful when playing slow blues or fast blues."
"That's a really cool part of that song, and it may not be as familiar as part two, but there's some interesting bouncy delay parts and all those slid notes. Try it, it's really cool."