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with guitar in place of violin

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I thought it was for piano?

anyway i played the first few bars and I'm going to leave it like that. the whole song you have to do exaclty the same thing, I get bored to easily. also it would take way too mcuh time and effort for me to play the whole song--> I better learn some usefull things.
think I'm going to learn more from the toccata et fugue. more melodig and more variation

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DH said:
the 'mind numbing volley of melody' is characteristic of a lot of baroque music, I dig it, it's an acquired taste I suppose. the original organ piece has a lot more counterpoint and harmony

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people using the term neoclassical to describe "fast picking"

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to the other techniques and ideas borrowed from classical music

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Letto said:Basically, these neoclassical transcriptions are only to show of someone's playing skill by playing the fastest and cleanest.

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I think that's a common misconception among the traditionalists.  electric guitarists don't all learn bach and such just so we can play the harmonic minor scale at 9 million miles an hour, although I know it may seem that way if your only exposure to so-called "neoclassical" is yngwie or some other such nonsense.  don't get me wrong, he's a monster guitar player, but most of his stuff sounds the same and he does have a tendency to overplay, as you've no doubt noticed.  still though, how is that different than some flamenco or bluegrass guitarist that plays crazy fast samey-sounding stuff all the time? the technical aspect and speed is an integral part of the music they make, it isn't the same without it.  I see nothing wrong with being able to (<- key words) play fast and clean when it's called for, is this not something many/most classical guitarists (and musicians in general) strive for as well?  if you can pull it off and keep up, more power to you.  if you can play fast and clean, then you really do have something to show off, but you don't have to do it all the time.  I remember reading some interview with joe satriani where he was talking about how great what yngwie did was, something about how after he came around, kids would actually come to lessons and ask to learn what a harmonic minor scale was and shit like that.  I think anything that gets people into classical music is a good thing, even those initially attracted by the fast stuff will eventually realize there's more to it than speed. 

there are many other players (such as those others I listed above) that take the techniques learned from playing classical stuff on electric guitar and combine it with more modern sounds to create something unique.  marty friedman or steve vai are good examples, their stuff uses all the fancy picking tricks and shit you need to do to play all those pieces I posted, but more ethnic sounding scales, pentatonics and modal stuff as opposed to straight harmonic minor ad nauseam.  as a result their guitar work (from megadeth on for marty anyway) really doesn't sound very classicalish at all, but totally fresh and "of this century" so to speak.  same deal with paul gilberts work with Mr. Big, a straightforward rock band.  you may dismiss this all as guitar wankery and say these people are mindless guitar robots or whatever, but this is where I see value in learning this stuff on electric guitar. the focus isn't so much on just playing things exactly as they were written by the composer, compared to most classical guitarists.  the electric guitarist learns these things in the hopes that some of the genius will sink in and improve your ability to come up with your own slick sounding (not necessarily fast, but yes, sometimes fast) improvisations and parts to ORIGINAL music, foreign concepts to you strict classical guitar players, I know .  oh come on, humor me, one misconception deserves another, or is that one true? hehehe hrmmmm .  If you think about it though, the goals and potential musical applications for the average classical guitarist vs. the average electric guitarist are quite different.

Jam on!!



DH