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> Mith's Guitar Journey, for Gab's Army
Mith
post Jul 23 2014, 03:30 PM
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I'll give it a shot. I feel like my pick gets caught up or something. Or its the upstroke. I'm comfortable being in time in down strokes.

I don't know what its a combination of but maybe when I play normally I change note values regularly so I don't play so many successive notes and primarily use down strokes.
Just a bit of insight that might help me get on the right path.

Is the technique I'm using right?


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Gabriel Leopardi
post Jul 24 2014, 01:33 PM
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Well, I don't notice a problem with your technique. Naturally we have more strength for downstrokes than for upstrokes and that seems the reason why your downstrokes sound like accentuated while your upstrokes sound a bit weak. This just needs practice, and specially the exercises that I suggested. I know that they are quite simple, but trust me, it's the best you can do to train your right hand focused and wisely. If you practice it 20 minutes every day, you will start noticing the improvements soon.


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Mith
post Aug 2 2014, 12:44 PM
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https://www.youtube.com/watch?v=tUYx13RztD4...Qe3VSs7xIEGqWbc

Here is another crack at it Gab, Timing is better but any further tips would be great
and been going hard with the metronome and will be doing that alot more


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Gabriel Leopardi
post Aug 2 2014, 04:16 PM
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Hi Myth, yeah! I can notice that your timing is getting better, but you still have to adjust details to make it sound tighter. I notice that you could make the movement from your right hand smaller, in order to make it more effective at different tempos. Try to avoid moving your right hand fingers, the movement should be based on your wrist or a combination of wist and elbow.

Regarding timing, I can see that there is no difference between faster and slower sections, you have random problems on 8th notes, triplets and 16th notes, so this is not a technical issue. I recommend you to mark the tempo with your foot (or head) while you play. It can sound silly but the effect can be very important in your playing is you apply it while you practice. Closing your eyes and focus on timing is another trick that helps. Try them and let me know how it goes!



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Gabriel Leopardi
post Aug 25 2014, 03:05 PM
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Hi again Myth, you asked me to start working on improvisation. Let's start with module 1: Major Scales.

Click HERE, where you will find all the info that you need to work on the first class. Please work on the concepts and share your improvisations here.


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Mith
post Aug 25 2014, 03:29 PM
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Awsume. Really have found the backing nice and easy to play over. I do tend to find I stick to the 3 notes per string method more than the caged. just seems to feel better under my fingers and flows better.

just going to practice some sequencing and try some of those arpeggios

I'm also using this time to get into using my whammy bar and wah more since its something that I want to use more but have struggled incorporating it into riffs and licks.

So far I've tried adding it pulling the bar up 1/2 a tone slowly to kinda of pull the voicing up. slow down to finish off a lick and a bit of a chirp ever now and then for some character.

Wah pedal is feeling a bit more natural.


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Gabriel Leopardi
post Aug 26 2014, 05:01 PM
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Hi Myth, great to know that you've found the backing track inspiring. I understand what you mean about three notes per string shapes. This shapes will be part of the course but the whole program has been designed to make your fingers, ear and mind connect and work together. These are weekly lessons, and we are just in week #1. My recommendation for you is to learn and work on these concepts with a beginners mind. You could master very advanced improvisation stuff if you work every day on the concepts suggested.

Using 3 notes per strings shapes is cool, it's another tool, but if it's your only tool to play scales, all your solos will sound the same. We will definitely to for it, but we will be also opening many other gates to get out of the same licks played over and over. With the current shapes, you will maybe find more difficult to play fast, but these shapes, connected with the sequences and arpeggios will definitely help you to create fresh phrases that you are not used to compose.

Off course, you can choose your path, but this is what I think it's the better way now. wink.gif

Combining this course's exercises with technique and effects experimentation is an excellent idea. Keep going!


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Mith
post Aug 28 2014, 09:12 AM
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Well I'm getting the hanf of moving from 3nps to pentatonics. I'll try get the feel of moving into full caged posisitions. Which from the lesson notes seems is the next lesson.

I've also starting to get arppegios under my fingers which is great because its something I always struggled with.

I'll post some takes up this weekend hopefully

Also been studying intervals and made a training CD for in the car so I can learn to hear them better.

One question do we relate the intervals to the key we are in or do we relate them to what chord we play over?
or is it very situational?


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Gabriel Leopardi
post Aug 28 2014, 02:46 PM
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Hi Mith! Great to see you working hard! smile.gif This workouts will have a big impact in your guitar playing and improvisations. I'll wait for your recording to check your progress.

About your question, an interval is the distance between two notes, so it's a concept that helps to identify and give a name to these distances. This means that you can see them related to the root of the scale, the root of the chord or even related to a previous or a next note that you are playing. It's just a way to identify distances. Does it make sense?



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Mith
post Sep 7 2014, 05:37 PM
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Well Here is a take of week 1.
Things I think I need to work on
-Sequencing, at the moment I only know the few you have shown and even tho I can drill them I've got to get use to using them in a musical context more.
- Arpeggios, First time ever using arpeggios. Only did a tiny bit of it in this take but been practicing. I think I do them ok but I think I might be able to be more musical with larger ones since 3 notes feels very restricting (but sometimes that can help with new creativity)
-Root notes, Even tho the scale shapes are easy for me remembering where the root is not something so simple. I tend to do it by ear. Which is a good thing in one way but hard if I want to jump around the fretboard visually

Things I think I did well
-Melodies, I'm very comfortable moving anywhere on the neck and making something up. Would like to build up some licks that could help be a staple for when I'm in certain parts of the scale (tho I think I do it subconsciously anyway)
-Pinch harmonics, I really think this is a corner stone of my playing and I really feel like it give my playing.
-Playing whats in my head, I've gotten ALOT better at this and I'm very surprised on how quick this can develop. Very glad I've been focusing on ear training.

All in all its ok. Was surprised how fast I could play the scale all the way down. Its not the best I've done. Must be the curse of that little record button. Will do a take on Week 2 tomorrow hopefully


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Gabriel Leopardi
post Sep 8 2014, 01:25 PM
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Hi Mith, excellent report! smile.gif

Based on your comments and the audio shared you are going on the right track with this course. I know that arpeggios are not complete and that scale shapes aren't the easier to play fast but remember that our main goal on this course is making music. Limitations are usually a good source for creativity, a good thing for getting out of the most used licks and shapes and explore new territories.

Listening to your improvisation, I can notice that you are exploring the different concepts covered: scale shapes, sequences, arpeggios, etc. It sounds more like a random impro, once you feel comfortable with the different tools, you should dedicate some time to try to be even more melodic and musical. You have some melodic sections here off course, but I motivate you to explore more this side.

Ok mate, please continue practicing and start incorporating Week#2 into your practice. wink.gif

Hi Mith, excellent report! smile.gif

Based on your comments and the audio shared you are going on the right track with this course. I know that arpeggios are not complete and that scale shapes aren't the easier to play fast but remember that our main goal on this course is making music. Limitations are usually a good source for creativity, a good thing for getting out of the most used licks and shapes and explore new territories.

Listening to your improvisation, I can notice that you are exploring the different concepts covered: scale shapes, sequences, arpeggios, etc. It sounds more like a random impro, once you feel comfortable with the different tools, you should dedicate some time to try to be even more melodic and musical. You have some melodic sections here off course, but I motivate you to explore more this side.

Ok mate, please continue practicing and start incorporating Week#2 into your practice. wink.gif


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Mith
post Sep 8 2014, 02:04 PM
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Ok will take that on board. It might seem a bit random since I was more moving around the neck finding bits that I like, using it a bit then exploring more. Was more looking for ideas than making a complete solo. Wouldn't keeping to a certain melody be less improv and more composition? Just a little lost on that. I'm a little new to lead guitar stuff so I might be missing something.

I'm guessing I should be finding more of a theme for the solo and repeating that more often through out? a motif of sorts?


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Gabriel Leopardi
post Sep 8 2014, 02:49 PM
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That's exactly what I noted and that what I recommend to do in my course to get familiar with the shapes and the different parts of the neck. You need to continue practicing in this way but also start working on more musical stuff, nice melodies, a leit motiv. Exactly as you described it. But keep on both ways of practice. wink.gif


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Mith
post Sep 8 2014, 03:07 PM
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ok got ya gab. I was looking at more as a writing tool. Try throw ideas together see what I like and then compose after that. But I can see how practicing trying to be more musical while doing it is important (you never know, one day I might forget how to play a solo then have to wing it tongue.gif lol)

Do you have and recommended listening to get a feel for how to do it?


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Gabriel Leopardi
post Sep 8 2014, 03:40 PM
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Joe Satriani is the king of guitar melodies! This song is in Major Key:




Check his albums which are full of fantastic melodies.


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Mith
post Sep 10 2014, 02:51 PM
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Ok here is me messing around with week 2. i didn't worry about sequences or arpeggios with this one. I focuses on trying to create a motif to help tie things together. Its pretty rough and my timing is pretty average but least I'm trying to put the concept in practice. Oh something else I did with this one that I never do is for the motif bit I switch to the neck pickup then for the other bits I go back to bridge.

The idea I had was to have the motif in the diatonic scale and everything else in pentatonic. The idea being the diatonic will mellow it out a little and the pentatonic will bring it back in. Oh and I decided to leave silence in the 2nd last motif to try make things climax a little more. dunno how well I pulled it off there but its a concept that I will reuse sometime to hopefully better effect.

Things I think I can do to improve (besides timing and a bit of sloppiness tongue.gif lol) maybe try and build the motif up. have it somewhat simple the first time around and then add a note or 2 the 2nd time around. Move which register is played in.


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Gabriel Leopardi
post Sep 10 2014, 10:45 PM
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Hi Mith! Good job with this one. I can notice that you focused on creating a motif that keeps on evolving in the whole improvisation. The melody really makes sense and the workout is a good training for your ear and your fingers. I recommend you to experiment even playing the same motif in different octaves and parts of the neck.

Some things that could be improved:

- Tighter timing.
- More consistent vibrato.
- More use of dynamics.
- Use of other techniques like legato, tapping, hybrid picking.
- More rhythm variations in your phrasing.


These are just some ideas to have in mind. You are doing a very good job with this practice. Please incorporate some of the complementary lessons into your practice to learn new licks and ideas that can be added into your playing.


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Mith
post Sep 11 2014, 04:56 AM
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Any tips for getting a bit of tapping involved.
I imagine ur talking double tapping.
I can already hammer on and pull off which is something I'll add when I record the next lesson


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Gabriel Leopardi
post Sep 11 2014, 09:50 PM
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Well, I was not exactly referring to complex tapping but off course that it would be very cool to apply it. The best that you can do to start incorporating some ideas into your practice is learning some licks from GMC lessons, create variations and use them while you jam.
This is a list of interesting lessons that you could check:

This solo is in B major and has some cool and simple tapping licks:
https://www.guitarmasterclass.net/solo-guit...ermediate-solo/

This one is in G major:
https://www.guitarmasterclass.net/ls/Christ...ng-Etude-Major/

Major Scale Practice with 8 fingers tapping:
https://www.guitarmasterclass.net/ls/8-Fing...cales-Ionian-1/

More complex tapping in major key:
https://www.guitarmasterclass.net/solo-guit...tapping-lesson/


Also, that Satriani's lesson that I shared has a cool tapping idea in the second half.


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Mith
post Sep 12 2014, 02:17 AM
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I'll have a look. I think my biggest hold back in trying to use these ideas. everytime I do something like double tapping it always feels disjointed. Maybe I should look at tapping one string appegios


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