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kjutte
post Oct 25 2008, 01:37 AM
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Opinion please! biggrin.gif

Others can state too if they want. smile.gif

Edit:
Don't ask about the tremolo thing at the end, I know it sucks biggrin.gif

This post has been edited by kjutte: Oct 25 2008, 01:48 AM
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Muris Varajic
post Oct 25 2008, 01:44 AM
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QUOTE (kjutte @ Oct 25 2008, 02:37 AM) *
Opinion please! biggrin.gif

Others can state too if they want. smile.gif


Since it's just a jam I would said it was very well played.
Still,try to pay more attention to structure of your solos
when just jamming/improvising,
give them more importance,listen what are you playing,
I know we pretty often just think of scales,techniques etc
but the main goal is to bring music to the audience
and they need something with the structure. smile.gif

Once more,good playing!


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kjutte
post Oct 25 2008, 01:46 AM
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QUOTE (Muris Varajic @ Oct 25 2008, 02:44 AM) *
Since it's just a jam I would said it was very well played.
Still,try to pay more attention to structure of your solos
when just jamming/improvising,
give them more importance,listen what are you playing,
I know we pretty often just think of scales,techniques etc
but the main goal is to bring music to the audience
and they need something with the structure. smile.gif

Once more,good playing!


How do I structurize it?
How do you do it when you improv? biggrin.gif

Edit:
I will admit that I had an agenda to throw in: The tap lick, the ascending shred
And anything in between was kind of nervous tongue.gif

This post has been edited by kjutte: Oct 25 2008, 01:51 AM
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Muris Varajic
post Oct 25 2008, 01:59 AM
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Well,the thing is to listen more to what you're playing,
give yourself more into your playing,
hear the music you wanna play.
It needs good fretboard knowledge to execute
certain music thoughts "in a walk" of course.
Another good thing is to sing melody and play it real time,
this is also one of those advanced techniques
but nothing is impossible,just tales more time and practicing.

And the very best way to understand the structure
is to analyze some solos you find inspiring,
find out what's the deal with those solos,
why they sound the way they sound,
is there a peak moment,culmination,
how it was achieved etc.


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kjutte
post Oct 25 2008, 03:51 PM
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QUOTE (Muris Varajic @ Oct 25 2008, 02:59 AM) *
Well,the thing is to listen more to what you're playing,
give yourself more into your playing,
hear the music you wanna play.
It needs good fretboard knowledge to execute
certain music thoughts "in a walk" of course.
Another good thing is to sing melody and play it real time,
this is also one of those advanced techniques
but nothing is impossible,just tales more time and practicing.

And the very best way to understand the structure
is to analyze some solos you find inspiring,
find out what's the deal with those solos,
why they sound the way they sound,
is there a peak moment,culmination,
how it was achieved etc.


But wouldn't it be planning and not improv then?
I really try to sing in my head what I want to play, but I can't pull it off on all the licks, and I think that's causing some of the unstructure.

I heard Emir talked, he said he focused on each chord, and got ideas from that.
Do you do that also?
It seems like a very good idea, imo. smile.gif

Great way to get more known with chords too, seemingly

This post has been edited by kjutte: Oct 25 2008, 03:52 PM
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Muris Varajic
post Oct 25 2008, 04:00 PM
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Well you should focus on each chord in progression anyhow,
playing just scale type licks randomly up and down
would sound way too dry,if you know what I'm saying.
I pretty often stop playing for a sec
when someone change
the progression without telling me,
that's not because I get lost,
only to know the chords I'm playing over.

Speaking of improvisation,
most of the time we play licks we've learned already,
maybe even 95% of time.
So it's all about how ti mix them all together,
and for singing and playing real time
you need more experience of course,
it doesn't come up over the night.

There should always be some sort of structure,
when planning solo or improvise,jamming.
That is not the must ofc,
I'm just saying that it would sound more pro and mature
with some kind of structure involved.

This post has been edited by Muris Varajic: Oct 25 2008, 04:01 PM


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kjutte
post Oct 25 2008, 04:07 PM
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QUOTE (Muris Varajic @ Oct 25 2008, 05:00 PM) *
Well you should focus on each chord in progression anyhow,
playing just scale type licks randomly up and down
would sound way too dry,if you know what I'm saying.
I pretty often stop playing for a sec
when someone change
the progression without telling me,
that's not because I get lost,
only to know the chords I'm playing over.

Speaking of improvisation,
most of the time we play licks we've learned already,
maybe even 95% of time.
So it's all about how ti mix them all together,
and for singing and playing real time
you need more experience of course,
it doesn't come up over the night.

There should always be some sort of structure,
when planning solo or improvise,jamming.
That is not the must ofc,
I'm just saying that it would sound more pro and mature
with some kind of structure involved.


I get what you're saying!
I always learn the chordprogression, and use one suited scale.

But I mean, if the backing goes over and over, like mine did here, there's not many other choices than Gmaj, no?
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Muris Varajic
post Oct 25 2008, 04:30 PM
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QUOTE (kjutte @ Oct 25 2008, 05:07 PM) *
But I mean, if the backing goes over and over, like mine did here, there's not many other choices than Gmaj, no?


You have what you have,
if there's just one chord in backing then it's only one chord to look after.
Of course you can always play couple of different arpeggios
that would fit the scale/key.


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OrganisedConfusi...
post Oct 25 2008, 04:43 PM
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Fewer chords means you have to be more clever about your approach and playing.


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kjutte
post Oct 28 2008, 01:37 AM
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QUOTE (Muris Varajic @ Oct 25 2008, 04:30 PM) *
You have what you have,
if there's just one chord in backing then it's only one chord to look after.
Of course you can always play couple of different arpeggios
that would fit the scale/key.


Hehe, I get now why you modulate alot in all your songs: Ideas!
Thanks alot for all advice smile.gif
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Pedja Simovic
post Oct 28 2008, 02:04 AM
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Kjutte I like your technique !
I think you need to work on melodic ideas in your solos. Let your melodies breath , rest in between phrases , listen to them.

How are you going to hear them if you play non stop ? Impossible or you have to play pre-prepared lines and licks that already have good phrasing and q&a type of phrasing.
If you don't it sounds like a noodling most of the times.

I think you have potential to improve a lot - I see you on forums asking answering questions getting into theory harmony wanting to understand music better - I like that .
Keep up the good work and open mind - you will improve a lot I can see it.

Thanks


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kjutte
post Oct 29 2008, 08:24 PM
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QUOTE (Pedja Simovic @ Oct 28 2008, 02:04 AM) *
Kjutte I like your technique !
I think you need to work on melodic ideas in your solos. Let your melodies breath , rest in between phrases , listen to them.

How are you going to hear them if you play non stop ? Impossible or you have to play pre-prepared lines and licks that already have good phrasing and q&a type of phrasing.
If you don't it sounds like a noodling most of the times.

I think you have potential to improve a lot - I see you on forums asking answering questions getting into theory harmony wanting to understand music better - I like that .
Keep up the good work and open mind - you will improve a lot I can see it.

Thanks


Thanks. I thought that if you had a good ear you could improv non-stop!
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Muris Varajic
post Oct 29 2008, 10:41 PM
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QUOTE (kjutte @ Oct 29 2008, 08:24 PM) *
Thanks. I thought that if you had a good ear you could improv non-stop!


It all comes to good ear at the end. wink.gif


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fatb0t
post Oct 30 2008, 01:45 PM
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If you had just a vamp with a Gmaj7 chord could you theoretically play the Ionian, Lydian, and maybe even the Mixolydian (if you're careful with the F) in G?

You know what I really liked was taking generic scales and taking David's lessons on adding tension through chromatics, because you can be totally out of the scale(briefly) but if you resolve within the scale it adds a WHOLE different feel to the song and it all sounds in key (sorta).
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kjutte
post Nov 4 2008, 05:52 AM
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QUOTE (fatb0t @ Oct 30 2008, 01:45 PM) *
If you had just a vamp with a Gmaj7 chord could you theoretically play the Ionian, Lydian, and maybe even the Mixolydian (if you're careful with the F) in G?

You know what I really liked was taking generic scales and taking David's lessons on adding tension through chromatics, because you can be totally out of the scale(briefly) but if you resolve within the scale it adds a WHOLE different feel to the song and it all sounds in key (sorta).


No point in playing mixo if you're not gonna use the flat7, as it is the only altered note.

Don't really see why you psoted this as a reply to my jam though tongue.gif

This post has been edited by kjutte: Nov 4 2008, 05:53 AM
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