Guitarist Paul Kuntz is back with some thoughts on how to avoid that feeling of being `lost without a map`.
The Guitar Player's Resource
Welcome to the October edition of Guitar Nine's on-line magazine. More new titles have been added recently, including instrumental CDs by Dan McInerney, Project 7, Danny Masters, The Magic Elf, Steven Hopp/Richard Houser, Brian Loyd, Randy Pevler, Glasshammer, The Sons Of Infinity and Kevin Ferguson. Visit the Instrumental Guitar Showcase to browse and listen to all of these dynamic recordings, or check out our recommendations page. In addition, we are working on building a sister site (Guitar Music 9) to expose the world to guitar-oriented music with vocals. If you've released an instrumental project, get all the details about merchandising through Guitar Nine, and decide if it's right for your music.
Guitarist Paul Kuntz is back with some thoughts on how to avoid that feeling of being `lost without a map`.
Kick-start your musical development with these essential tips from Curtis.
Learn the essentials of the swept arpeggio from one of the masters of the technique.
Don't make the mistake of thinking this is someone else's job. As an independent artist, the ball is in your court.
Gerry Magee begins his multi-part series on expanding your mind, as well as your fretboard, with the benefits of thinking like a composer.
Guitarist Blends Progressive & Neo-Classical Influences
Guitarist Makes Mark In Music Mecca
Instrumental Rock For The Hungry Heart
Trio Releases Instrumental Rock Demo
Electric Release From Multi-Instrumentalist
Maniacal Instrumental Madness With An Elfin Flavor
For Europe my music is not aggressive enough and in the US I didn`t have anybody to present it to. So rather than making so-called industry contacts and "wait until it happens" I decided to do it myself, which turned out to be much faster and got me and my music much more respect. I highly recommend a musical statement such as this to all musicians who intend to be a part of this complex industry.
I hope my music, although there are no words, communicates and reaches people on an emotional, spiritual and entertaining level. I try to incorporate various instrumentation, and contemporary compositional influences.
We have tried to record as much of our playing as we possibly can, both in practice and "jamming" sessions, and when we perform live, to give ourselves some feedback. When playing it`s very difficult to listen to yourself because you`re too busy thinking about what`s going to happen next, while in critical listening you concentrate on the blend of what has just happened. By listening to recordings of ourselves we can pick out the improvisational parts that work well, sound great, or have promise, then try to concentrate on developing them.
Acoustic Progressive Jazz Meets New Age Fusion
