Quotes About Guitar

I grew up listening to Ravel, Debussy, Bartok and jazz like Charlie Parker, Dizzy Gillespie, Cannonball Adderley, Charlie Christian and Django Reinhart. It was incredibly inspiring! And I was given a guitar and I said 'What the hell is this?!'

After 'City of Evil,' the world was still kind of apprehensive about Avenged Sevenfold. They didn't know if we were a serious band or just some kids trying to play really ambitious music with crazy guitar parts that would be here one minute and gone the next.

I really worked to try and be creative enough on the guitar parts so those who aren't real educated would know that there was some difficulty in doing it.

I think it's safe to say that if you talk to anybody in Ireland, they'll have a passing knowledge of the guitar. It was something that I couldn't get away from when I was younger: guitars played in shops and parties, just everywhere.

The final new elements in music making (as opposed to listening, considered in the next section) were introduced by Carl Maria von Weber (1786–1826). Weber had a diseased hip and walked with a limp but he was a virtuoso of the guitar and an excellent singer, until he damaged his voice by accidentally drinking a glass of nitric acid.

As human beings we're visual creatures, and it's so easy to play the guitar by looking at it. It's a real challenge to go from that visual way of perceiving the guitar to getting back to that pure sound connecting to the instrument.

When it comes to vibrato, a lot of people look at their hands when they do it. Which is pretty much of no use. Because vibrato is one of those things you have to hear. There are some guitar things where the visual is really useful, like seeing chord shapes or scale patterns. But vibrato isn't one of those things.

I'm not a visual guy. I'm audio. I'm a musician. I know what I do. I play guitar, and in my category I'm doing O.K.

I was doing a lot of teaching on my online guitar school and I started to use vocal melodies as a way of teaching my students. To be able to do that, I had to learn them myself.

It's always a pleasure when you can compose guitar parts from a strong vocal and not just put the melody on top of guitar riffs.

Our music is an answer to the early Seventies when artsy people with big egos would do vocal harmonies and play long guitar solos and get called geniuses.

If you have a good riff with a vocal as well, then it becomes a devastating song. That's why people love riff-rock: it's the ultimate air guitar music.

I know as far as I'm concerned, I'm getting really excited about writing, and I'm taking guitar and vocal lessons.

Usually what I do is I write my vocal melody over guitar parts and then I come up with lyrics.

I like to sing because my mother was a singer. She sang to me all the time, so I learned to love singing. I did have a career as little 10-year-old George Benson. I made my first record as a vocalist, but I've been playing guitar since I was 9.

I played guitar and bass. I didn't do much vocals, although I did have one band where I was the lead singer. But that was when I was in college.

If I'm playing with Ozzy it's just a guitar thing. But with the vocals I feel like I'm studying for the SATs.

The music that I listen to is very minimalistic. I listen to a lot of old blues that is just guitar and vocals.

As a producer, when I'm trying to make something soft, I start with a slow tempo. Then after that, it would be straight to acoustic guitar and vocals, or I'm going to go strings and just piano.

I want to be able to show my vocals off and when I do do live performances, I'm going to do some acoustics just with a guitar and a stripped back version.

We're basically a rock band - guitar, bass, drums and vocals. But we take it further than that. We can be rotten, dirty, and heavy as anyone, but at the same time, we've got a lot of melody.

My vocation is more in composition really than anything else - building up harmonies using the guitar, orchestrating the guitar like an army, a guitar army.

My original interests and intentions in guitar playing were primarily created on quality of tone, for instance, the way the instrument could be made to echo or simulate the human voice.

My voice is my improvisational instrument, the melody instrument. The guitar is harmonic structure. I'm not a good enough guitarist to improvise on it.