Lydian Phrasing - Intermediate, Lesson By Muris Varajic Options

[Siinthd]

Original lesson: Lydian Phrasing - Intermediate by Muris Varajic

finally I got to this lesson, it caused me a lot of problems earlier, because of which I could not play the fast part, now it is played quite comfortably, but there are still minor problems with synchronization. So the question is, is it worth getting rid of the slides at the end of each phrase?

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[Kristofer Dahl]

Nice! At times here you display impressive picking and legato technique!

The descending legato starting at 00:15 is not ready for recording yet though - I can only hear half of the notes.

To a large extent I am missing the musicality displayed in Muris take. However I am not sure it is because of your playing, but rather the sound/mix.

The first thing I would do is reference listen to the slow parts to try to somewhat emulate Muris tone. Your tone is bright and quite dry, whereas his is warm and wide with lots of time based effects.

The second problem is the mix: I cannot hear the backing well, which means all the mojo put into the arrangement is lost (remember - this is the stuff you get for "free"). It also makes it harder for me to give you concise advice about subtle details in terms of timing.

At this point I will give you a six, but I suspect you might be close to a much higher grade.

Keep up the hard work!

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[Gabriel Leopardi]

Hi mate!

This is a very demanding lesson! Those fast alternate picking patterns are close to advanced level. You are doing a very good job here but there is obviously more work to do in order to polish the faster sections. These "petruccish/gilbertish" style patterns should be isolated and practiced as exercises at slower tempos. The main issue here is hands sync, you lose synchronization when playing alternate picking at high tempos.

I also notice that you use different right hands movements and ways of holding the pick depending on what you play. There is some finger movement involved when you play the less demanding parts, and your right hand looks really tense when you play the faster licks.

I recommend you to always start the movement from your wrist and try to use a similar technique for most of the licks. Check Muris's right hand all along the lesson.

That's all by now, keep on practicing!!

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[Darius Wave]

Hey there!

This lesson is a really great one at both fields - musicality and technique. What I think, your general mistake is to underrate importance of details of hand mechanics. If you want to learn from someone and it's directed on technique, it is cirital to follwo what exactly and how exactly does this player do.

In other words - you should carefully copy every single pick stroke direction, every fretting fingers assignment to particular runs etc

There is always a reason behind it.

Let me point out some spots that could help you get closer to original:


0:04 - beginning "raking" is improper. Trick with good racking is to make it strong but going fast through muted strings with some "pre-note" feel. You just make a strong strum from the top. It is not the same thing. Raking is liek a very fast and strong sweep that ads percussive ornament right before target note.

0:05 - these bends should be separated with strings muting, using side of the thumb. It delivers more slap-kind-of flavour.

0:07 - you forgot to apply legato as some notes. You alternate pick all of them instead.

0:09 in this part your picking direction is wrong. Muris playes downstroke everytime go goes...down. He uses upstrokes everytime he goes back/up. It's a common picking pattern for arpeggios. Downstroke differs tonally from the upstroke. It is also not a random choice.

0:14 - you play downstrokes instead of upstrokes. There is a chance Muris chose upstrokes because it is easier to mute the string with a side of the thumb right after ustroke. It's clear in his take.

Fast runs are not perfect yet but I liekd the fact that it seemed to be even in some sense - you didn't look like taking a one focus to reach the top skills and then visibly loosing power with each next run.

Towards the end we can notice more general issues like not perfect control over bended note vibration - you tend to have some inconsistency in pitch.

I'm sure that hand sync issue is something you are already aware of because you simply feel it as you play.

Even if above may looks scary please keep in mind this is a difficult lesson and these things are missing to make it sound right. It doesn't chaneg the fact that what you preapred is a good, solid basis for further work on this lesson. You alread did a lot. Just don't pass at the stage where the real difficulty begins. You can do it!

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[Fran]

Pass: 6.3

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