Play And Rest Collaboration, FINAL MIX WITH COMMENTS! |
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Jul 27 2009, 05:34 PM
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Many thanks Pedja for your valuable comments, will keep working on the things mentioned!
-------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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Jul 27 2009, 05:42 PM
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QUOTE (Velvet Roger @ Jul 27 2009, 06:34 PM)  Many thanks Pedja for your valuable comments, will keep working on the things mentioned! Anytime Roger, keep up the great work man! |
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Jul 27 2009, 07:17 PM
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Sure Pedja, I'll suprise you in the future
-------------------- Olle "AJ" Svensson
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Jul 27 2009, 07:33 PM
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QUOTE (Oxac @ Jul 27 2009, 08:17 PM) Sure Pedja, I'll suprise you in the future Thanks Olle! |
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Jul 27 2009, 07:54 PM
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QUOTE (TheKeplerConjecture @ Jul 27 2009, 08:43 PM) Thank you very much for the feedback. I'll certainly take your comments seriously and do my best to address them. I will really try to get in on your next collab - especially since this one was so challenging and educational. It's easy enough to make sure you START a phrase at every other measure. But ENDING it within a particular time frame is a real challenge. I'm going to devote some time to practicing this nightly. I currently set aside 30 minutes for improvising practice, but it's very "free", meaning unstructured with no real goals other than to sound good and have fun. I think I'll pick one of your play-rest pattern and apply it for about ten minutes. I think it would be good to add more structure to the improvising section of my practice routine, in general; And this is a great start. Do you have any more tricks/challenges like this that you wouldn't mind sharing? I think doing things like this on a regular basis will really help me in being able to handle anything thrown at me in an improv setting. Regarding the "phrases don't sound natural one after another" comment: I have a theory on this. In another collab, I got some negative feedback about spending too much time in a particular area of the fretboard. I've recently been making a conscious effort to move around more often. As a result, I stammer, having to reorganize in my mind where each scale degree is in the new position. This has been wreaking havoc on my melodic phrasing. I think I need to find a balance, when it come to actual presentations. I don't want to sound too "static," but I would like to sound melodic. perhaps I should integrate this into the improv practicing. Play-rest pattern, and for each new phrase start in a new position. Then, when it comes to real playing (read "not practicing") just do what I think sounds best and what's comfortable. Thanks again. This was a really cool collab to be involved in. Again, I'll try to get in on your future collabs. Thanks for putting this together! You welcome! I am glad you are taking everything from this collaborations and comments the right way. Regarding your question for organized structured improvising practice I have a solution. Before this "in class type collaboration" we had 4 more collaborations. One of them was SOLOING USING CHORD TONES AND ARPEGGIOS; another one was TIME FEEL COLLABORATION (soloing using very slow medium and very fast rhythms); another one we had was Straight vs Syncopated rhythm (on and off beat type rhythms in soloing) and last one we had was SEQUENCE COLLABORATION! (using sequence in soloing exclusively). So you see you can check out all of these collaborations, learn the concept and apply it all to time slots as you wish. I like to do these things over everything and anything really because it unlocks my mind and I can improvise freely and use any device I want. Here are links for solos of mine that turned into lessons from all the collaborations mentioned. Sequence collaboration solo - HERE Arpeggio/Chord tone collaboration solo - HERE Time feel collaboration solo - HERE Straight vs Syncopated collaboration solo - HERE I am waiting for lesson I submitted couple of days ago for this collaboration to be published on the main page. You will then have a total of 5 different approaches, devices, tricks, call it whatever you want, that will help you to approach improvising songwriting and learning your instrument better! Hope that helps, let me know if you need anything. Pedja |
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Jul 27 2009, 08:27 PM
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QUOTE (Pedja Simovic @ Jul 27 2009, 01:54 PM) Hope that helps, let me know if you need anything. Pedja Sure does! Thanks again! |
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Jul 27 2009, 08:28 PM
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QUOTE (TheKeplerConjecture @ Jul 27 2009, 09:27 PM) Sure does! Thanks again! Awesome, glad to hear that! |
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Jul 27 2009, 11:18 PM
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Great collaboration and very useful comments Pedja. Awesome takes everybody!
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