Moment’s Silence is also deeper from a compositional standpoint. Using the Major 3rd in a minor blues is a fairly common motif used by blues artists to add an extra twist to an already soulful melody. He uses the same open E blues as the basis of the melody, but this time, throws in a major 3rd scale degree once each verse (in this case, briefly landing on the 1st fret of the G string, before resolving the phrase back down to the root of E, on the 2nd fret of the D string). The phrasing is improved, the rhythms are more complex. If To Be Alone is an ice cold Miller Lite, Moment’s Silence is an IPA same general concept, but richer, fuller, and with more satisfying flavors. Listening to the two songs back to back, however, you can tell that Hozier’s playing improved immensely between his first and second albums. Moment’s Silence has a similar sound to To Be Alone, albeit a little less dark and brooding. It will also improve your comfort with the blues scale, especially in the open E position. Learning how to play To Be Alone will improve your independence between the fingers and thumb of your picking hand, since you’ll have to nail the timing of the melody, while sustaining the repeated quarter notes in the bass. If this looks like total nonsense to you, that’s ok – the important part to understand is that all of these notes are in the standard blues scale, and the line is simple to play. Translated into its scale degrees, it looks something like this: It is a simple enough melody, devoid of huge leaps or crazy accidentals, but when broken down, reveals itself to be nothing more than notes from the blues scale. It starts simply, with a repeated bass note on the low E string of his guitar, before the song’s melody enters in the upper register. To Be Alone, from Hozier’s debut album, is a song of drug-fueled, toxic love. Hozier uses the blues scale to craft the melody of several of his songs, but uses rhythms and chord progressions to create a sound that is gripping and dramatic, rather than lifeless and uninspired. However, if you’re not careful, it’s easy to sound expressionless and mechanical while playing from the blues scale. This scale has many uses in rock, blues, and jazz music, and is an easy way to add some grit and emotion to your music. Consisting of the same chord tones as a minor pentatonic scale, only adding the “blue note,” a #4/b5, connecting the 3rd and 4th notes of the scale. One of the simplest and most versatile of these is the minor pentatonic scale, and its variant, the Blues Scale. Most beginner guitarists, at least the ones who want to do more than just bang out power chords, start by learning a few basic scales. This article will lay out some of these similarities, as well as explain the theory behind these nuances, and why learning Hozier’s music will improve your playing. If you listen to both of his albums, Hozier, and Wasteland, Baby!, you will notice similarities in his use of language, melody, harmony, and playing style. Hozier’s music is distinct in its composition. His style can be best described as Indie Rock/Blues, but the influence of his Irish folk music upbringing is gives his music a classic feel. At 29, he is somewhat young compared to many other influential players today, but his skill as a guitarist, singer, and songwriter is undeniable. Hozier was born in Ireland in 1990 in County Wicklow, Ireland. One such guitarist is Andrew John Hozier-Byrne, known by his stage name, Hozier. There is a lot to be learned from the way that these guitarists play and write. However, what many people don’t realize is that there are incredible young guitar players to this day, up and coming in a world of YouTube and digital streaming. Groups like Led Zeppelin, Queen, Van Halen, and AC/DC changed the game, and no guitarist since then has been able to compare to their musicianship and technical skill. When asked, many people will tell you that the world of rock guitar peaked in the 70’s and 80’s.
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