Paul Gilbert Quotes

I learned when I started to study piano that I could play by ear. I could hear a song on the radio a couple of times and hear the song and the lyrics and sing it for you after a couple of plays.

I can play just about any keyboard but I can't read or write a note.

Even if you're improvising, the fact that beforehand you know certain things will work helps you make those improvisations successful. It really helps to have a certain amount of knowledge about musical structure.

I've always considered transcribing to be an invaluable tool in the development of one's musical ear and, over the years, I have spent countless glorious hours transcribing different kinds of music, either guitar-oriented or not.

I'm not interested in possible complexities. I regard song structure as a graph paper.

I understand that transposing a song a half step can effect the believability of a lyric.

I think there's something that feels so good about a 1-4-5 chord progression. It's a very standard chord progression, and it just feels good to the ears.

Find one note on the instrument that pleases you, and then find another note that also pleases you.

There's only seven chords, so you got to use the same ones over and over. It's all in what you do with them.

I'm not that fluid when it comes to scales and modes. I just pick up the guitar and play. It's all about exploration: just tune the guitar any way you want and start playing.

When I listen to my favorite songwriters, they have such simple melodies and chords. I occasionally manage to stop at the right time, but all too often I keep on going until I have way too many notes and words. But that's just what I do.

The concept is basically; that the pieces we know and love are made up of scales, arpeggios, and the like.

One chord is fine. Two chords are pushing it. Three chords and you're into jazz.

I didn't take lessons, and I don't know my scales.

You never learn everything on that guitar neck.

I can't read a note of music. I just do it all from ear.

I tend to play a lot of blues things at home, because most blues things are basically within a 12-bar pattern.

I came up with a 'forecasting cell,' which is basically a mixed intention cell or chord that is a complete hybrid of a consonance and a dissonance, and what that does when you are improvising is lead you to where you are supposed to go.

If you play more than two chords, you're showing off.

I had no idea what those cords were in the bridge of 'Prisoner In Disguise' when I wrote them. I had to go over to Don Gorman, the piano player, and ask what in the world I was playing.

Yes indeed I have gained a lot out of playing scales and etudes.

I feel like I'm just learning how to play the guitar. I mean, really learning to play the guitar.

There's a difference between the blues of the New Orleans guys and anyone else and the difference is in a chord, but I can't figure the name of it. It's a different chord, and they all make it.

I don't read music or anything, so when I produce, I go basically by ear.

I could never overstate the importance of a musician's need to develop his or her ear. Actually, I believe that developing a good 'inner ear' - the art of being able to decipher musical components solely through listening - is the most important element in becoming a good musician.