Melodic Solo in Gm , Lesson By Carlos Carrillo Options

[onetabmat]

Original lesson: Melodic Solo in Gm by Carlos Carrillo

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[Kristofer Dahl]

Cool mate,

Again an excellent choice of lesson - this one just breathes epic melody.

Though there are lots of bits here and there to comment on - I would like focus on one major thing I have noted in your recent REC submissions.

I feel as though you choose to record yourself as soon as you have managed to piece the different parts/licks together. But what if you tried a different perspective: Once you have learned all the notes - then is where the work begins!

At that point you should do like the instructor, close your eyes and feel the rhythm pulsate through your body (ie tap your foot). Play through the piece at different times of the day, and maybe record yourself once in a while just to be able listen back to yourself when you are not playing.

As this is labelled a level 2 lesson I will still give you passing grade (6) - but I think you could easily top yourself if you embraced a slightly different approach to soloing. Because you already have a lot of technique - now you need to focus on the the flow, melody, feeling and timing. So again great choice of lesson - keep it up!

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[Todd Simpson]

You've clearly put in the work to memorize this and be able to play all of it so let me say WELL DONE THERE!!!!! I did notice several little timing issues, say at around 39 seconds for starters. These are not huge issues. They are more the type of thing I see when a student has just recently learned a piece, and knows where all the notes go, but still has yet to have enough repetition in the piece for it to "sink in" as a piece of music rather than just a collection of notes. Collection of notes is find at the lower levels of REC, it won't do for the upper levels though as those pretty much require you to have an intimate understanding of a given bit as a musical piece, rather than a sequence of notes. These are two very different things. Small variations in your timing and vibrato are what makes the difference between a solo that is compelling and one that is just competent. There is always a bit of room for interpretation. E.G. for a given passage of vibrato, do you feel that the backing is asking for a more exaggerated use of vibrato? Or not? Do you feel that a strong palm mute is called for to create a more staccato feel? Or not? Subtle, interpretive choices like this are what makes a solo elevate to something that creates an emotional response in the listener. You clearly have wads of technique going for you. You are a good player!! I'd love to see you dig in a little further and become a great player. Dig deep!! As for this one, you got it. I'd say you are ready to pick on a bit deeper in the pool!!

Todd

Original lesson: Melodic Solo in Gm by Carlos Carrillo

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[Gabriel Leopardi]

Hi mate!

I didn't remember this beautiful melody! Nice to see you playing this lesson.

I definitely agree with Kris about everything he said. There is a lot to do with lessons, and even more with this type of melodic stuff once you can play the notes. It's not what you play, it's how you play it. I can see you reading the tabs because you are not sure what's the next lick or melody, and there are some missed notes for the same reason. You need more time to incorporate the melody, and then work on those elements and concepts that make guitar an unique instrument (vibrato, dynamics, the way you reach a note, where you pick to get different tones, and lots of things more).

Your current level is ok for this lesson, so there is not anything to comment regarding posture or movements, it's time to take your playing to a new level.

Keep on the hard work!

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[Fran]

One more grade please!

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[Darius Wave]

Hey there! So you go for nice melodic stuff this time. Nice choice. I really like the theme in this one. Great workout for vibrato as well.

You see...vibrato is not to just make the note "shake" around perfect pitch. It has some more parameters liek speed and depth that can be adjusted. No one says the need to be consistent through all the note lenght. My personal favorite is alwasy to boost speed and depth towards the end of the note. This wasy you keep building tension in your solo, even if you actually don't play more notes. Try to be subtle at first - start with shallow vibration and make it "mean" towards the end. In original lesson there is slighlty different approach - Carols tends to hit the note and then start a very shor, fast but shallow vibration. It makes most of the notes actually sound quite flat/squre at the sustain part. If that is the purse of the lesson than you should go for it.

I love the way Kris put things in his feedback. Nothing better to be said/written. at the point you post the rec, it's actually a moment when a real work starts. Once know all the notes and stop to hesitate where to place your fingers, than you can actually do the main job of the lesson. You can focus to polish details and...to simply make it all music besides the fact it was created for a practise purpose. You should definitely give this one some more time.

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[Todd Simpson]

I think what everyone is trying to say is that you got the chops to play this!! It's time todig deep and "Feel it" in addition. if that makes sense? Make the solo something thatworks as a piece of music. Something that could work by itself, played all by itself. Connectwith the melody that is happening. Convey the emotions behind the notes. That's what willtake your playing to the NEXT LEVEL!
Todd

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[Fran]

Pass: 6

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