Slow Phrasing, Lesson By Guido Bungenstock Options

[FreePizza]

Original lesson: Slow Phrasing by Guido Bungenstock

So last week I watched a REC from another student on this awesome lesson from Guido Bungenstock. I just couldn't get the melody of it out of my head. So I grabbed the guitar and started messing around with it. It was more difficult than I originally thought. The length of time notes are held, where to rest, the slow vibrato (I know mine is pretty non existent, and in most cases too fast). Trying to play behind the beat like Guido discusses seems a bit tricky. This lesson just required a lot of control that I don't think I am used to. It definitely taught me to listen to the band more which was very important. I'm still trying. So I decided to challenge myself with a take. It needs a lot of polish, which I will do for the next one. Thanks in advance for listening and for any pointers. When I watch myself on playback, I feel I look too tense and almost robotic.

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[Monica Gheorghev...]

Hi FreePizza!

What a great surprise to see your REC take over this lesson. It's definitely a very beautiful lesson and a proof of what it means the magic of details. That's why usually slow lessons require deep analysis.
I think it's awesome that you watched Guido's explanation and you focused on trying to play behind the beat.

Let's point out some of the details.

I always recommend using the same picking direction as is in the lesson for many reasons:
- are respected the techniques of the lesson and we can give you a higher grade. Also, replacing some alternate picking with only downstroke picking or adding more picks than they are in a lick, will change completely the entire feel of the lesson.

- each pick is very well thought before and is never made randomly. Using the same picking direction, some particular licks become more than easy for playing.

- will help you to achieve some specific colors. There are spots in this lesson where, on the very fast slides, if you use an upstroke, add more strength when you pick and keep the pick in a straight position (no angled), you can achieve that sharp sound like Guido.

Vibrato - you already know that this technique is your weakness, but with a little more work I'm sure you can improve it. Be careful at the each type of vibrato. The ones which have variable speed require additional attention. Also, you have spots where you are out of tune (mostly when you execute vibrato with an upward motion). A downwards oscillation will give you more control over pitch.

0:24 - to make this down bend to sound as in the lesson, you should do it faster. Don't stand too much between the main note and the purpose bent note because you fail the right timing and you also give an out of tune kind of feeling.

0:41 - 0:43 - from the timing point of view, this lick is not played good.

0:49 - this part is not played correctly. First, you need to play the release of the bend faster to keep a good timing. Also, when you release the bend in A (without the pick), you need to hit the A note again.

0:52; 1:10 - don't forget to play the raking in these spots. It's a very awesome detail.

0:54 - the last G note (E higher string/15 fret). This note should be played very shortly. Be careful, because after you play the note, you need to mute all the strings immediately. It's a cool and easy detail.

1:02 - wrong notes. On G string, you played A and A# instead of G# and A.

1:15 - that bends are totally out of pitch

I hope you will fix some details and you will come up with a second take. I would really love to see a new approach from you.
For today you get a 6 from me.

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[Todd Simpson]

As always Monica has done a great job on breaking everything down. I won't waste time in repeating everything she has already gone through. I think she is spot on of course. Great work deconstructing all of the bits that need work.

I wanted to focus on the vibrato. It's one of the trickiest things to learn. It's been mentioned of course, but I wanted to address it specifically. Your vibrato seems a bit tepid and shallow overall. Watch the original lesson video again and focus on just his vibrato. nothing else. Notice it's deep and wide and then gradually falls off a bit. This is a good example to follow. By making the vibrato a bit wider/deeper (pulling a bit further from the source note) and by slowing the rate of vibrato, you can develop a deep, rich vibrato that will be very emotive.

Here is a close up example of some vibrato i'm doing on a GMC collab. I"m using slower and faster vibrato bits in the same solo. It just depends on context. Hope this helps

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[Kristofer Dahl]

Very cool!

You seem to have a light touch and your micro timing occasionally hits a home run here - well done!

The major issue dragging you down is pitch. Many of the notes you land on are severely out of pitch. It does not happen consistently so my guess is that tuning/intonation is ok.

I think the issue lies in you tensing up right before you apply vibrato - which causes you to slightly bend the note out of tune before you even apply vibrato.

Not only does this make it incredibly hard to execute vibrato properly, but your anticipated failure becomes a self fulfilling prophecy.

Your ears are perfectly up to the task though, since you do display precise bending at times.

So if my assumption is correct, the solution here is to not tense up before bending. Try to first rest a little while on the note so you can hear the correct pitch, before you apply the vibrato. And make sure your hands are completely relaxed.

Your playing overall is very promising, so if you can address this issue I expect quick progress from you 👊

Keep it up, you get a 5 from me.

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[Gabriel Leopardi]

Hello FreePizza,

This is a great solo from Guido, and a very good choice for you.

I think that your performance has many positive things and that it is quite overshadowed by the pitch problems that you have throughout the solo. I recommend that you first try to work on this element. It would be important to see if the problem is the guitar or if you are putting too much pressure on the frets when playing.

Once you figure that out, the next thing I recommend is that you take the time to familiarize yourself with each phrase until you don't have to be as focused on playing them. Maybe you can work in shorter sections. This will allow you to relax while playing and your entire performance will sound better. Working in shorter sections will also allow you to focus on details like note articulation, vibrato, and dynamics, the same way you're doing with micro timing.

Ok friend, continue the daily practice and do not hesitate to write me if you have any questions.

Greetings

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[Guido Bungenstoc...]

Thx for covering my lesson! ;-)

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[Fran]

Almost there, 5.5

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