Winter Tune, Lesson By Piotr Kaczor Options

[Charles]

Original lesson: Winter Tune by Piotr Kaczor

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[Gabriel Leopardi]

Hi Charles!

This is a very demanding lesson because it combines many expressive elements that need to be played very naturally when phrasing. I think that you should work on smaller blocks to be able to put all your focus on:

- Timing: This problem appears on many parts of the lesson, starting with the rhythm section (00:34) but also on some licks, mostly the ones with legato, and also in the last part starting at 0:1:19.

- Legato: There are many fast legato and trills that are not sounding clear and tight (01:16, 01:10, 01:27), isolate and practice them.

- Vibrato: Your vibrato tends to be weak and sometimes it's played too soon. This technique should be more natural and consistent. Dedicate some time to pay attention to Piotr's vibrato and try to emulate it a bit.

- Bending: There are many bends that are not reaching the correct pitch, for example the one at 01:09 and also the ones played in the last phrases (many ones!)

Ok Charles, I hope that my comments help to know which are the next goals. Keep on the hard work!

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[Darius Wave]

Hey there Charles! As Gabriel said - this lesson has a lot of different techniques involved and it's not an easy one even if the speed does not seem to suggest. From what Gabriel has mention I think timming and vibrato are the most "fix-need" in there. You vibrato does not always go back to right pitch. Make shure you always fully release the string after you slightly bend it. Otherwise it sound lie a note that is pitched up and vibrated over out ot tune note. It's a typical mistake that happens to most of us (players) when we study this technique.

TIP- if you use other than left index finger, you can use all fingers you have in the back of the one you play. It works for both - vibrato and bending. You split the strength of tensioning the string for more than one finger so it actually becomes easier to execute and more stable. Example - when you vibrate using left ring finger, put left index and left middle fingeron the same string, tighten then with your left ring and use as a "one huge finger" to operate on the string. This way it's much easier top keep the pitch and a constant depth of vibrato

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[Ben Higgins]

Hi Charles.

I agree with the lads on their observations and would also add about rhythm guitar work..

During the main riff there should be a mixture of palm muting and no palm muting, which you are doing but the degree of palm muting is more in your case. You're allowing your picking hand to prematurely mute chords that need to ring out for longer. Being able to switch between chuggy chords and ringing chords at will is an essential skill for any rock / metal guitarist so if you can nail that aspect iof your playing it will be a great bonus.

I appreciate that your tone / gear may not provide as much sustain as what Piotr is using so we must take that into account as well but you can still achieve tonal improvement if you work on that aspect.

Another thing to work on is general position shifting with your fretting hand. Over time you'll want to get the timing better and the coordination between both hands sounding tighter. Not only that but as you improve you'll notice less pauses and hesitations as you link together phrases more seamlessly. At the moment you're still developing your lead work so it will sound a bit halting but keep going with it and it will smooth out.

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[Fran]

Keep posting your takes! 4

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