This week we take a quick look at some of what is happening in the world of shred.
Vinnie Moore’s new album "To The Core" should be a knockout. "I think this is my best creative effort yet. It has taken a while because I have been on the road so much and I can't wait to get it out there for people to hear," Vinnie said. It is out this month.
Steve Vai will appear in the forthcoming Spinal Tap album Back From The Dead - to be released in June. The album includes 19 songs and an hour-long DVD.
Tony MacAlpine sold two of his guitars, a Carvin T-MAC 6-string and T-MAC 7-string. Both guitars appeared on both G3 Denver and G3 Tokyo DVDs, the Crossroads Guitar Festival DVD, and the Steve Vai "Live At The Astoria" DVD.
Joe Stumps new album Virtuostic Vendetta is doing well. Keep watching for a review on Shred Academy.
Paul gilbert has a new version of his Ibanez signature model out, the PGM 401, as well as a new signature flanger pedal called the AIRPLANE FLANGER. Paul also has a new eq pedal out from HomeBrew Electronics called the "Detox EQ".
Rusty Cooley has a new signature amp out by Peavey called the 3120, as well as 4 new solid colours (black, white, red and silver) for his signature Dean guitar.
Sunday, May 17, 2009
Saturday, May 9, 2009
Interview - Shred Teacher Tommaso Zillio
Tommaso Zillio is a guitarist and teacher living in Alberta, Canada. He will appear in the compilation Album “Under the Same Sky”, whose release is imminent, and is currently working on his debut album. Check out the juicy insights that Tommaso shares with us on the topics of teaching and practicing.
How long have you been teaching guitar?
3 years professionally but I’ve always been teaching for passion. Two months after picking up my very first guitar 15 years ago I was already showing other kids how to play chords… I guess I just have it in my veins.
Why do you teach guitar?
Teaching for me is a way of life. Every time I find something cool or some new tricks I want others to know it. I’ve had many good teachers and mentors in my life, teaching is my way to give back all the good that I’ve received. Moreover, the more people I help in becoming good musicians, the more good music I will listen to in the future
Besides that, have you ever seen how wide are the eyes of a 13 year old who suddenly finds himself able to play the intro riff of “Crazy Train”?
Where is your teaching practice based?
I teach in Edmonton, Alberta (Canada).
As far as teaching goes, what is your specialty?
The many facets of application of music theory! Let face it, guys: it’s not that difficult to play fast (with the right approach). What is truly difficult is to know what to play! I’ve made a point of explaining theory concepts such as modes or substitutions so that my student can understand and apply them immediately. Also, I tend to be big on fretboard visualization, because theory has no use if you can’t see it on your instrument.
What level of player do you prefer to teach?
I enjoy teaching all levels. As long as the student really has the desire to learn, I know we will have fun together! I am equally satisfied when a beginner learns to change between two open-string chords or when a more advanced player finally nails a solo. Both students will live it as a progress – and I do too!
What makes a player a virtuoso?
A virtuoso is someone that plays what he means and means what he plays. In other words, a virtuoso is someone that listens to the music inside him and plays it on the instrument for us to listen and enjoy. A virtuoso is someone that has enough technique so that he can express what he feels without compromises.
How fast is too fast, if such a concept exists?
When the pick catches fire.
Seriously, I think the problem is not the speed, but the number of notes. Let me explain: in every song, even the slowest ballad, there are a moments where you can play the fastest lick that your technique allows and sound amazing… if you keep it short enough (think “Another Day” by Dream Theater). What is annoying to the listener is not speed per se, but to be flooded with notes over and over and over… and over and over! So I guess my answer is that there is no such a thing as “too fast”, but definitely there is a “too much”.
I mean… listen to classically trained violinists. They are blindingly fast. Yet, have you ever heard someone complaining that the violinist was “too fast”? No, because they play fast when it’s needed, but not ALWAYS! Obviously, having your repertoire written entirely by some of the greatest composers in all history helps a great deal…
From a Teacher’s point of view, what is the number one roadblock to becoming a better player?
Not believing you can be a good player. If you are slow, there are exercises that can help you play faster. If your soloing is not clean, there are exercises to correct that. For all the possible problems you may have, from the technical nitty-gritty to creativity crises, there are solutions that a good teacher can give you – and that will solve your problems if you practice. But if you do not believe that you can become a good player, then there’s nothing anyone can do for you.
NEVER underestimate yourself! There is nothing you can’t play with enough practice. Remember: Django Reinhardt had only 2 fingers on the left hand. Tony Iommi too lost 2 fingertips in a factory accident. Do you think that mere details like not having all fingers stopped them?
What makes a good student? Describe the student who progresses really quickly.
A good student listens to his teacher as a guide. A good students set some time every day exclusively for practice. A good student WANTS to become a good player, and KNOWS he will!
Do you find that older or younger students progress faster/learn quicker?
I find that age is not really a problem or an advantage. What makes the difference is how much the student believes in him/herself. Older students tend to think that they can’t learn as fast as a teenager, and this belief alone keeps them to develop their potential. It’s actually the same as the #1 roadblock we discussed before.
What is your teaching format?
I use a variety of teaching formats (private lessons, group lessons). Different people and different topics require different formats, so I tend to mix and match. I may explain some concepts either in a frontal lesson (whiteboard and all) or in a jam session format, depending on the situation. Also, I think that if a student follows only private lessons, he will find himself at a disadvantage later because he is not accustomed to playing with others.
What models of learning benefit the student the most?
The best model is… variety. People get bored if things are predictable, and boredom is our worst enemy. Students need to have a good practicing routine, but they also need a sudden curve ball here and there. If you get bored during practice… change it! Make it interesting again!
Is there one piece of advice that you can give the readers to improve their playing right now?
As Caesar said: Divide et Impera (Divide and Conquer). Isolate the difficult bits and work on them until they are no more difficult. Break down your exercises in groups of 4 notes, and work on playing these 4 notes in an absolutely perfect and relaxed way (relaxation=speed!). Work on small things (a small portion of the fretboard, a single lick, one note’s vibrato). Once you achieve perfection in a small thing, this will reflect positively through all your playing skills.
How can prospective students contact you for lessons?
They can either email me at tommaso.zillio@gmail.com or visit my website www.tommasozillio.com
How long have you been teaching guitar?
3 years professionally but I’ve always been teaching for passion. Two months after picking up my very first guitar 15 years ago I was already showing other kids how to play chords… I guess I just have it in my veins.
Why do you teach guitar?
Teaching for me is a way of life. Every time I find something cool or some new tricks I want others to know it. I’ve had many good teachers and mentors in my life, teaching is my way to give back all the good that I’ve received. Moreover, the more people I help in becoming good musicians, the more good music I will listen to in the future
Besides that, have you ever seen how wide are the eyes of a 13 year old who suddenly finds himself able to play the intro riff of “Crazy Train”?
Where is your teaching practice based?
I teach in Edmonton, Alberta (Canada).
As far as teaching goes, what is your specialty?
The many facets of application of music theory! Let face it, guys: it’s not that difficult to play fast (with the right approach). What is truly difficult is to know what to play! I’ve made a point of explaining theory concepts such as modes or substitutions so that my student can understand and apply them immediately. Also, I tend to be big on fretboard visualization, because theory has no use if you can’t see it on your instrument.
What level of player do you prefer to teach?
I enjoy teaching all levels. As long as the student really has the desire to learn, I know we will have fun together! I am equally satisfied when a beginner learns to change between two open-string chords or when a more advanced player finally nails a solo. Both students will live it as a progress – and I do too!
What makes a player a virtuoso?
A virtuoso is someone that plays what he means and means what he plays. In other words, a virtuoso is someone that listens to the music inside him and plays it on the instrument for us to listen and enjoy. A virtuoso is someone that has enough technique so that he can express what he feels without compromises.
How fast is too fast, if such a concept exists?
When the pick catches fire.
Seriously, I think the problem is not the speed, but the number of notes. Let me explain: in every song, even the slowest ballad, there are a moments where you can play the fastest lick that your technique allows and sound amazing… if you keep it short enough (think “Another Day” by Dream Theater). What is annoying to the listener is not speed per se, but to be flooded with notes over and over and over… and over and over! So I guess my answer is that there is no such a thing as “too fast”, but definitely there is a “too much”.
I mean… listen to classically trained violinists. They are blindingly fast. Yet, have you ever heard someone complaining that the violinist was “too fast”? No, because they play fast when it’s needed, but not ALWAYS! Obviously, having your repertoire written entirely by some of the greatest composers in all history helps a great deal…
From a Teacher’s point of view, what is the number one roadblock to becoming a better player?
Not believing you can be a good player. If you are slow, there are exercises that can help you play faster. If your soloing is not clean, there are exercises to correct that. For all the possible problems you may have, from the technical nitty-gritty to creativity crises, there are solutions that a good teacher can give you – and that will solve your problems if you practice. But if you do not believe that you can become a good player, then there’s nothing anyone can do for you.
NEVER underestimate yourself! There is nothing you can’t play with enough practice. Remember: Django Reinhardt had only 2 fingers on the left hand. Tony Iommi too lost 2 fingertips in a factory accident. Do you think that mere details like not having all fingers stopped them?
What makes a good student? Describe the student who progresses really quickly.
A good student listens to his teacher as a guide. A good students set some time every day exclusively for practice. A good student WANTS to become a good player, and KNOWS he will!
Do you find that older or younger students progress faster/learn quicker?
I find that age is not really a problem or an advantage. What makes the difference is how much the student believes in him/herself. Older students tend to think that they can’t learn as fast as a teenager, and this belief alone keeps them to develop their potential. It’s actually the same as the #1 roadblock we discussed before.
What is your teaching format?
I use a variety of teaching formats (private lessons, group lessons). Different people and different topics require different formats, so I tend to mix and match. I may explain some concepts either in a frontal lesson (whiteboard and all) or in a jam session format, depending on the situation. Also, I think that if a student follows only private lessons, he will find himself at a disadvantage later because he is not accustomed to playing with others.
What models of learning benefit the student the most?
The best model is… variety. People get bored if things are predictable, and boredom is our worst enemy. Students need to have a good practicing routine, but they also need a sudden curve ball here and there. If you get bored during practice… change it! Make it interesting again!
Is there one piece of advice that you can give the readers to improve their playing right now?
As Caesar said: Divide et Impera (Divide and Conquer). Isolate the difficult bits and work on them until they are no more difficult. Break down your exercises in groups of 4 notes, and work on playing these 4 notes in an absolutely perfect and relaxed way (relaxation=speed!). Work on small things (a small portion of the fretboard, a single lick, one note’s vibrato). Once you achieve perfection in a small thing, this will reflect positively through all your playing skills.
How can prospective students contact you for lessons?
They can either email me at tommaso.zillio@gmail.com or visit my website www.tommasozillio.com
Saturday, May 2, 2009
Interview - Shred Teacher Teemu Kleemola
Teemu has been playing guitar since age 10. His influences include players like Al Di Meola, Vinnie Moore, Tony McAlpine, Steve Vai and his favourite player John Petrucci. Teemu attended the Porvoo Pop/Jazz school in 2000 and took private lessons with Matias Kupiainen (Stratovarius) in 2008. He is currently studying with Tom Hess (Hess, Holy Hell) and Luca Turilli (Rhapsody of Fire). He is currently writing his debut album and his instrumental song "Running in Changing Weather" will be featured on the "Sonic Bridges" compilation album.
How long have you been teaching guitar?
I’ve been teaching guitar about 3 years.
Why do you teach guitar?
Well, I like to solve problems in general. I like to use creative ways to find a solution to a problem. When I’m teaching guitar a problem might be something that holds a student back in reaching his/her goals or the desired skill level in student’s playing. Every student has his/her own challenges and it’s nice when they get past those challenges. Teaching with a guitar in your hand is also a nice way to earn money.
Where is your teaching practice based?
I’m teaching in Finland, near Loviisa. I have a separate room at home for that purpose and there are no time or volume restrictions when teaching or practicing etc.
As far as teaching goes, what is your specialty?
I teach shredding techniques, sight reading and pop/jazz standards. Currently my personal focus is mainly on shredding.
What level of player do you prefer to teach?
All levels. It’s nice to teach shedding to the more advanced students, but it’s also very nice to see the skills grow right from the beginning level. When teaching beginners you really have to think how the students are learning the new things in the most effective ways for his/her purposes and what the new things actually are for this particular student. When teaching more advanced students, one of the most critical things is to learn how to practice. The way you practice is very important. It includes a correct mindset so that you are really concentrating on the right things with the correct attitude during your practice session. So the focus should be on tempos used, the right hand, the left hand, the body posture, tension, listening and the actual thing that you are practicing.
What makes a player a virtuoso?
It means different things for different people. For me it could be measured in speed, your improvisation skills (so that you know the scales, chords, arpeggios and can apply them in any improvisation situation), your level of mastering different techniques (techniques are not an obstacles when expressing yourself), your ear skills, your writing skills, your communicating skills (when playing with other people) etc.
How fast is too fast, if such a concept exists?
If someone expresses him/herself with extreme fast speeds and it still sounds musical, I’m ok with that. I know what it takes to be able to play over 1000 notes per minute. That’s why I highly respect those who are at that level or above.
From a Teacher’s point of view, what is the number one roadblock to becoming a better player?
Well, first you have to believe that you can, then you have to concentrate with a positive attitude on your personal goals and how to get yourself there, then practice the goals in mind correctly, and really focusing on what you’re doing.
What makes a good student? Describe the student who progresses really quickly.
There are many reasons why students are progressing at different speeds. It’s good if you have good concentration skills, passion and perseverance, but everyone can improve his/her skills and become a faster progressing student.
Do you find that older or younger students progress faster/learn quicker?
It depends on the person, but definitely older people can progress faster than young people, even if you start playing at age of 40. But I think it’s good to start early.
What is your teaching format?
I’m teaching private lessons, doubles (two students at a time) and I have just held my first clinic. I’m teaching in Finnish and in English. Currently I have a general teaching strategy and almost every student is eventually learning the same things. The actual teaching varies and is more personal with each student. Depending on the student age, I try to teach the importance of goal setting and how to reach their goals. If the student is not ready for the goal setting part, then I make goals and the teaching strategy for them. I always explain why we are doing things on my lessons and what actual skills we will reach by doing the exercises I have pointed out. The learning steps are not linear or the same for every student. I try to find the most effective ways to teach the students what they need to learn and take their personality into account. The practicing part is usually up to a student, but I try to influence that also. The students do things in my lessons and I try to challenge their abilities in a positive way and get them to keep there current goals in mind. Coaching and mentoring are very important too. One job is to get the student to believe in him/herself and that he/she can do and will do the things he/she desire.
What models of learning benefit the student the most?
It’s case by case, but the framework is:
What: chords, scales, arpeggios, rhythms, improvisation skills, different playing techniques, ear training, music theory, song writing
How: Learning is happening in a creative and inspiring way by doing with a real context using my own materials, books, songs, tablatures, music notation, sight reading, computer programs, backing tracks etc.
It doesn’t matter if the student is on a beginner or on an advanced level, I’m always trying to make the materials interesting and relevant with real life applications.
Is there one piece of advice that you can give the readers to improve their playing right now?
Training your left and right hand separately. One way is to define the weaknesses on your left hand and the weaknesses on your right hand. Then focusing on each hand at a time and practice with those things in mind. One example might be that your pick is popping up and down from the strings when picking on one string or when changing strings and that makes your playing sound sloppy, or you are not getting any faster, or you have unnecessary tension on your right hand when trying to play faster. The solution is simple, don’t let the pick pop up and down from the strings. You can do that by memorizing the left hand part and then watching what your right hand is doing when playing and practicing. One way is to use palm of your hand as an anchor on strings and using your wrist when picking.
How can prospective students contact you for lessons?
They can send me an email to teemu@teemukleemola.com or they can call me. My mobile phone number is +358 50 440 9890 and the contact info can be found on my website. The website address is www.teemukleemola.com
How long have you been teaching guitar?
I’ve been teaching guitar about 3 years.
Why do you teach guitar?
Well, I like to solve problems in general. I like to use creative ways to find a solution to a problem. When I’m teaching guitar a problem might be something that holds a student back in reaching his/her goals or the desired skill level in student’s playing. Every student has his/her own challenges and it’s nice when they get past those challenges. Teaching with a guitar in your hand is also a nice way to earn money.
Where is your teaching practice based?
I’m teaching in Finland, near Loviisa. I have a separate room at home for that purpose and there are no time or volume restrictions when teaching or practicing etc.
As far as teaching goes, what is your specialty?
I teach shredding techniques, sight reading and pop/jazz standards. Currently my personal focus is mainly on shredding.
What level of player do you prefer to teach?
All levels. It’s nice to teach shedding to the more advanced students, but it’s also very nice to see the skills grow right from the beginning level. When teaching beginners you really have to think how the students are learning the new things in the most effective ways for his/her purposes and what the new things actually are for this particular student. When teaching more advanced students, one of the most critical things is to learn how to practice. The way you practice is very important. It includes a correct mindset so that you are really concentrating on the right things with the correct attitude during your practice session. So the focus should be on tempos used, the right hand, the left hand, the body posture, tension, listening and the actual thing that you are practicing.
What makes a player a virtuoso?
It means different things for different people. For me it could be measured in speed, your improvisation skills (so that you know the scales, chords, arpeggios and can apply them in any improvisation situation), your level of mastering different techniques (techniques are not an obstacles when expressing yourself), your ear skills, your writing skills, your communicating skills (when playing with other people) etc.
How fast is too fast, if such a concept exists?
If someone expresses him/herself with extreme fast speeds and it still sounds musical, I’m ok with that. I know what it takes to be able to play over 1000 notes per minute. That’s why I highly respect those who are at that level or above.
From a Teacher’s point of view, what is the number one roadblock to becoming a better player?
Well, first you have to believe that you can, then you have to concentrate with a positive attitude on your personal goals and how to get yourself there, then practice the goals in mind correctly, and really focusing on what you’re doing.
What makes a good student? Describe the student who progresses really quickly.
There are many reasons why students are progressing at different speeds. It’s good if you have good concentration skills, passion and perseverance, but everyone can improve his/her skills and become a faster progressing student.
Do you find that older or younger students progress faster/learn quicker?
It depends on the person, but definitely older people can progress faster than young people, even if you start playing at age of 40. But I think it’s good to start early.
What is your teaching format?
I’m teaching private lessons, doubles (two students at a time) and I have just held my first clinic. I’m teaching in Finnish and in English. Currently I have a general teaching strategy and almost every student is eventually learning the same things. The actual teaching varies and is more personal with each student. Depending on the student age, I try to teach the importance of goal setting and how to reach their goals. If the student is not ready for the goal setting part, then I make goals and the teaching strategy for them. I always explain why we are doing things on my lessons and what actual skills we will reach by doing the exercises I have pointed out. The learning steps are not linear or the same for every student. I try to find the most effective ways to teach the students what they need to learn and take their personality into account. The practicing part is usually up to a student, but I try to influence that also. The students do things in my lessons and I try to challenge their abilities in a positive way and get them to keep there current goals in mind. Coaching and mentoring are very important too. One job is to get the student to believe in him/herself and that he/she can do and will do the things he/she desire.
What models of learning benefit the student the most?
It’s case by case, but the framework is:
What: chords, scales, arpeggios, rhythms, improvisation skills, different playing techniques, ear training, music theory, song writing
How: Learning is happening in a creative and inspiring way by doing with a real context using my own materials, books, songs, tablatures, music notation, sight reading, computer programs, backing tracks etc.
It doesn’t matter if the student is on a beginner or on an advanced level, I’m always trying to make the materials interesting and relevant with real life applications.
Is there one piece of advice that you can give the readers to improve their playing right now?
Training your left and right hand separately. One way is to define the weaknesses on your left hand and the weaknesses on your right hand. Then focusing on each hand at a time and practice with those things in mind. One example might be that your pick is popping up and down from the strings when picking on one string or when changing strings and that makes your playing sound sloppy, or you are not getting any faster, or you have unnecessary tension on your right hand when trying to play faster. The solution is simple, don’t let the pick pop up and down from the strings. You can do that by memorizing the left hand part and then watching what your right hand is doing when playing and practicing. One way is to use palm of your hand as an anchor on strings and using your wrist when picking.
How can prospective students contact you for lessons?
They can send me an email to teemu@teemukleemola.com or they can call me. My mobile phone number is +358 50 440 9890 and the contact info can be found on my website. The website address is www.teemukleemola.com
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