Keith Scott Style (Bryan Adams), Lesson By Guido Bungenstock Options

[Manu RASSE]

Original lesson: Keith Scott Style (Bryan Adams) by Guido Bungenstock

Hi GMC

I gave the best of myself.


My point of view : I think that 3 technical sequences don't correspond with a level 3

00"52' : Fast licks
00"54' : Double stop + slide
01"01' : Fast Licks

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This post has been edited by MisterM: Feb 17 2017, 06:19 AM

[Gabriel Leopardi]

Hi mate,

I've just commented this take, and your previous ones at the mentoring thread, so I'm here just for grading. Let's see what the other instructors have to add.

About the level, we will re-check it. Thanks for notifying.

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[Gabriel Leopardi]

PS: So funny to see that I was here just for grading and I didn't grade! Fixed now.

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This post has been edited by Gabriel Leopardi: Feb 17 2017, 03:43 PM

[Darius Wave]

Hey there!

First of all...your self-judgment is spot on and it's very important for your self-developement.

In general I hear a piece of great work that basically you made us get used to, when you post a take.

I would like to focus your attention of a few "irregularities" that caught my attention and may be the cause of some pitch issues.
You vibrato direction is quite random. I caught you doing it with left index finger upwards which seems to be much more uncomfortable than doing it downwards. It's related to the amount of control we have over string, while using singe finger to bend it.
Vibrato is in fact a series of little bends. Whne you try to push the string up with a single finger, there's a huge risk it will slip or you will not match release pressure well enough, to cross the point of perfect pitch.

When we consider simple physics, it seems to be more logical to pull the string downwards and then by releasing the pressure it goes to a perfect pitch by itself. It's just the way nature helps us to make things better and easier. Of course it's opposite to vibrated bends but that's why there is so much of pitch problems all over - because it's harder to control the pitch this way. So my conclusion is....make things the simple way if there is one

Exception is the E1 string....to be clear

I like what I see on the field of noise muting. For example at 0:41 I would do exactly the same. Shaping my left index finger straight and flat to secure all other strings that could affect the vibrated note you played. Those are bonus points for you.

Speaking of noise muting I belive your left hand shaping is on a good way to have it done perfectly yet it's still a little too rounded/circled. Playing things from a funk/jazz/fusion category, you've posted before, didn't demand such a high care for noise muting, but in this particular take with this particular distortion amount it's worth to take things to even higher level.

Generally creating good habits, making things simple and creating "regularities" in your hand/fingers motion is a key to avoid issue on faster runs or pitch issues.

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[Ben Higgins]

Hi Manu this is really good. What a great tone as well!

Darius has made a good observation about the vibrato technique. I follow a general rule with vibrato.

Vibrato is always downwards directed on all strings apart from the B and high E string.

On the B string you can do downwards vibrato but only narrow vibrato. Nothing over a semitone. On the B you have a choice of narrow downwards vibrato, or upwards vibrato - where you can add more if required. Classical vibrato is also an option on the higher strings.

With the E string, vibrato can only be directed upwards. (unless you use classical vibrato but not many people use it on the electric. Only weirdos like me)

That vibrato you did on the last string bend was brilliant, by the way

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[Fran]

Pass: 8

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