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> To All Instructors, Weak points, hard stuff for them
Evil_Invader
post May 20 2009, 08:34 PM
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Hey!

I thought it would be interesting if instructors shared exercises they think are hard. Stuff they practice on their own or practiced for a long time before playing right. Also would be great if they discussed there weak points.

Let's not go into too much theory stuff here (let's make it understandable for everyone), only specific little exercises, for examples fingerings that are really hard even for our virtuosos.

Reference to lessons (or part of lessons) are of course great.

Sorry for the bad english but you understand the point! smile.gif

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Emir Hot
post May 20 2009, 09:33 PM
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I'll send some stuff soon. There were a couple of easy looking things but in fact they were vey hard smile.gif I need to find it.


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Evil_Invader
post May 20 2009, 09:36 PM
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QUOTE (Emir Hot @ May 20 2009, 04:33 PM) *
I'll send some stuff soon. There were a couple of easy looking things but in fact they were vey hard smile.gif I need to find it.


Thanks a lot Emir! smile.gif

Can't wait to try these! Indeed, sometimes stuff look easy but turns out to be really hard.



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AlexLion
post May 20 2009, 09:37 PM
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I like the idea smile.gif Usually, hard stuff practice boost your playing skills pretty good.
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Ivan Milenkovic
post May 20 2009, 09:38 PM
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This is a nice idea! smile.gif I'll look up my notebook, there are some interesting stuff in there, and post a GP or something tomorrow smile.gif


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Fran
post May 20 2009, 09:51 PM
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Nice idea, though if this will be stuff that's hard for them I can't imagine how hard it will be for us mortals laugh.gif


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Jose Mena
post May 20 2009, 09:57 PM
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One of the hardest things I practice often is playing patterns that are commonly use in a specific note time duration, and play it in a different time duration.

As a very simple example:

This is normally played in triplets 16th triplets


-----------10-12-13----------10-12-13-----------
--10-12-13----------10-12-13--------------------
------------------------------------------------
------------------------------------------------
------------------------------------------------
------------------------------------------------


I have highlighted the accent of each group of 6 notes.

Now play the exact same pattern in 16th notes


-------------10-12-13-----------10-12-13-----------
--10-12-13------------10-12-13-------------------
------------------------------------------------
------------------------------------------------
------------------------------------------------
------------------------------------------------


This is a very simple concept, but with certain licks or riffs it is hard to apply, however when you are able to do so, I often find a new lick, actually not new but with a totally different feel just because of the timing. This allows me to experiment with phrasing a lot.



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Muris Varajic
post May 20 2009, 10:02 PM
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Spot on for groupings Jose, rhythm is crucial. smile.gif


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Emir Hot
post May 20 2009, 10:13 PM
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QUOTE (Jose Mena @ May 20 2009, 09:57 PM) *
One of the hardest things I practice often is playing patterns that are commonly use in a specific note time duration, and play it in a different time duration.

As a very simple example:

This is normally played in triplets 16th triplets


-----------10-12-13----------10-12-13-----------
--10-12-13----------10-12-13--------------------
------------------------------------------------
------------------------------------------------
------------------------------------------------
------------------------------------------------


I have highlighted the accent of each group of 6 notes.

Now play the exact same pattern in 16th notes


-------------10-12-13-----------10-12-13-----------
--10-12-13------------10-12-13-------------------
------------------------------------------------
------------------------------------------------
------------------------------------------------
------------------------------------------------


This is a very simple concept, but with certain licks or riffs it is hard to apply, however when you are able to do so, I often find a new lick, actually not new but with a totally different feel just because of the timing. This allows me to experiment with phrasing a lot.


This is sometimes very tricky smile.gif Rhytmical placement of different note groups should always be practiced in any combination. You made this one in 16th notes. There could also be a group of 5 or 7 and you always end up on an odd note (last one in the bar). These exercises are extremely useful.


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Muris Varajic
post May 20 2009, 10:25 PM
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QUOTE (Emir Hot @ May 20 2009, 11:13 PM) *
This is sometimes very tricky smile.gif Rhytmical placement of different note groups should always be practiced in any combination. You made this one in 16th notes. There could also be a group of 5 or 7 and you always end up on an odd note (last one in the bar). These exercises are extremely useful.


I'm finishing a lesson on the same topic, not 5 or 7 but 9 notes, all 16th. smile.gif


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Ivan Milenkovic
post May 20 2009, 10:30 PM
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I never had problems with 16th notes, I got great feel for them cause years ago all I did is practice them. The downside was that I didn't got the good feel for triplets, but this has changed now. For these patters using triplets is a breeze, as for any other (probably not on higher tempos but that is different matter smile.gif )

This post has been edited by Ivan Milenkovic: May 20 2009, 10:34 PM


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Oxac
post May 20 2009, 10:35 PM
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I agree. Playing groupes of notes with a different timing than number of notes is very interesting. Like a lick with 5 notes in 16ths, four notes in triplets 6 notes in 5-tuplets or quarters even. It's hard though, especially if you try to do it both starting with an up stroke and a downstroke.


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Muris Varajic
post May 20 2009, 10:36 PM
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QUOTE (Oxac @ May 20 2009, 11:35 PM) *
I agree. Playing groupes of notes with a different timing than number of notes is very interesting. Like a lick with 5 notes in 16ths, four notes in triplets 6 notes in 5-tuplets or quarters even. It's hard though, especially if you try to do it both starting with an up stroke and a downstroke.


Sometimes it's even harder when you play it fully legato,
you don't have a chance to accent first one with the pick. biggrin.gif


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Ivan Milenkovic
post May 20 2009, 10:36 PM
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QUOTE (Oxac @ May 20 2009, 11:35 PM) *
I agree. Playing groupes of notes with a different timing than number of notes is very interesting. Like a lick with 5 notes in 16ths, four notes in triplets 6 notes in 5-tuplets or quarters even. It's hard though, especially if you try to do it both starting with an up stroke and a downstroke.


This is definitely true. That's why it's useful to rehearse everything with as much different note values as possible


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Emir Hot
post May 20 2009, 10:37 PM
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QUOTE (Muris Varajic @ May 20 2009, 10:36 PM) *
Sometimes it's even harder when you play it fully legato,
you don't have a chance to accent first one with the pick. biggrin.gif


Oh that could be a nightmare sometimes smile.gif


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Oxac
post May 20 2009, 10:38 PM
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I think that it's good both technique wise (because you really learn how to control the accentuation) but also timing wise. Imagine the following example.

You have a lick with 7 notes, played as 6 tuplets to a metronome that goes tic tic on the second and fourth beat. This is very difficult at ANY speed.


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Pedja Simovic
post May 20 2009, 11:01 PM
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I am liking this thread already.
I dig rhythmic displacement a lot and its definitely not an easy thing to grasp really well. smile.gif


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Evil_Invader
post May 20 2009, 11:43 PM
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That's killer guys! I'm having fun already!

Keep em coming!!! smile.gif


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playaxeman
post May 20 2009, 11:47 PM
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Good idea


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Emir Hot
post May 20 2009, 11:59 PM
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Try this in 160bpm smile.gif That's how the lick should be played

The point is to play every pull off perfectly but real and strong pull off like classical players, not just removing your finger from a string. I get tired until I reach the 5th string and still can't make it properly even in 140bpm.



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