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Gabriel Leopardi
post Mar 23 2017, 03:26 PM
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Hi mate! I can see that you are doing a great job here!

I've enjoyed your feeling, and tone on this take. I can note that the first part is more precise than the second one that has some timing issues, but I'm amazed of the tone that you are getting and how natural the different licks are sounding. You are definitely on the right track with this one.

The only thing that I'd like to check if after all these weeks, you are not starting to feel tired or bored of playing this lesson. Maybe you'll want to add some other stuff into your diary routine.


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yoncopin
post Mar 24 2017, 01:09 AM
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I agree with your comments, I got nervous towards the end trying not to screw up... and screwed up the timing pretty good. I can play that and the really out of tune double stop much better than the video shows. It does show what needs work though. I'm going to keep at it.

Now that I've learned the whole thing, it's going to just go on repeat fine tuning and speeding up each section. I'm not bored with it, but I think we should add something new to keep the mind challenged and not just the muscles smile.gif

Where do you think I should take my playing next? I mentioned that lesson Stoner for Strat but I'm up for anything. What do you think would help me grow best?


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Gabriel Leopardi
post Mar 25 2017, 05:51 PM
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Hi mate,

Yes, I think that "Stoner for Strat" lesson can be a good one to continue in this direction. It continues exploring melodic phrasing, and dynamics, but adds some more aggressive rocker playing that can be positive for your overall playing.

The other obvious lesson is the Ballad #3, but it's more advanced at this point, and you should work on some techniques and lessons before getting into it.



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yoncopin
post Mar 30 2017, 01:03 AM
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Here's another take at 70bpm. This one is much better, there are plenty of small errors throughout, but I've been focusing on the end section a lot more and it's much improved. I also switched guitars to one with less output to tone down the gain.



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Gabriel Leopardi
post Mar 31 2017, 03:30 AM
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Hi mate!

Great job! I can note important improvements comparing this one with the previous take. Everything sounds much closer, and there are just small details regarding bending pitches, notes precision, or timing. The overall is very close. I can see that now the second half is more familiar now. The tone fits better too.

I think that you are doing everything well, it's just a matter of time to master this one. It's a very rich lesson that combines many elements to I think that this one will have a big impact in your playing. Remember to dedicate some diary time to improvise over the backing track using the elements and concepts covered in the lesson.



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yoncopin
post Apr 19 2017, 06:45 PM
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Ok Gabe, the beast is slain. I can no longer play this piece anymore smile.gif I posted a REC thread, because this is without a doubt the hardest thing I've attempted at GMC so far. I'm proud of my persistence, but relieved to play something else now smile.gif



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Gabriel Leopardi
post Apr 20 2017, 03:15 PM
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Man! This is brilliant! Congrats on your discipline and persistence! This take of the lesson is really good! I'm impressed of the tone and energy of this take which are at the same level of the original lesson. That's not a small thing being the original a Darius lesson.

There are obvious details but nothing is relevant or distracts from the music. The extra work will come with time. I think that it's a good idea to not forget this lesson and play it at least once every day, or every two days since I think that those extra details are what your guitar playing need to be at a new level.

I'm totally impressed and happy of this video.

So what's next?


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yoncopin
post Apr 20 2017, 06:32 PM
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Thanks Gabe! That feels very good (and relieving) to hear after so much work. I would like to try and continue playing this as part of my practice. I tend to learn and forget stuff, so we'll see if I can improve on that. I notice some of the details which could be better too, but this is my limit for the moment and I'm happy with it.

So what's next? I don't know smile.gif I have lots of ideas though, and am going to continue working my Shred Bootcamp lessons:

- I've been working on this book, Chord Tone Soloing. So far I've memorized the natural notes on the neck and the root interval shapes. I'm starting now on the first CAGED scale pattern. I'm trying to review daily to REALLY commit this to memory once and for all, I've tried and drifted away before. I could spend the majority of my time on this topic with a focus on playing creatively with shapes, arpeggios and scales as I learn them to really reinforce them in my memory. Much more time with backing tracks and creative exercises. This is really my big overall goal at the intersection of knowledge and technique.

- GMC Lessons - I think these three are very appealing.
Stoner for Strat
Jimi Hendrix Rhythm Style
C Minor Soul Blues

- Learn Richie Faulkner solo (or at least some of it)
Kind of like a GMC lesson, but I have to work it out for myself. I'd love to be able to play this, but I don't have much time to play everyday and I want to actually PLAY instead of fumbling around looking for notes and rewinding Youtube videos over and over again. I don't know if this is the most effective use of the time I have to make the most progress.


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Gabriel Leopardi
post Apr 21 2017, 01:39 PM
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Hi Yoncopin,

I know that book and it's really good. That topic is essential for any guitar player who want to take improvisation seriously. I think that you can complement that work with some Alejandro Pinero lessons, those that connect scales with triads. Being able to visualise triads all along the neck, and connecting them with scale notes from every mode is a great trick to have a full knowledge of the fret-board.

I think that it's a good plan to divide your technique in 2/3. Technique, theory and improvisation. I say 2/3 because theory and improvisation go connected. However there is a moment to practice and another to improvise and try to apply what you've worked. I also consider really important that you keep that work on the book every day, and continue until you reach to the end of the book. Take it as a course and you'll get the most of it. Feel free to share your progress on it also here, share your conclusions, ideas or jams based on each chapter. As I have the book, I can check it there, and we can take the work on it seriously as a part of this thread. I could also add complementary exercises or lessons.

Regarding the lessons, I think that all those 3 lessons are great. Go for the one that inspires you more at this moment.

And regarding the solo by Richie. Start very slowly. Learn 1 phrase each day and write it down. It can be a 5 seconds phrase. It's a very effective method.



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yoncopin
post Apr 21 2017, 06:38 PM
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QUOTE (Gabriel Leopardi @ Apr 21 2017, 07:39 AM) *
I also consider really important that you keep that work on the book every day, and continue until you reach to the end of the book. Take it as a course and you'll get the most of it. Feel free to share your progress on it also here, share your conclusions, ideas or jams based on each chapter. As I have the book, I can check it there, and we can take the work on it seriously as a part of this thread. I could also add complementary exercises or lessons.


That sounds GREAT! I was learning pattern 2 of CAGED last and jamming to a backing track and was having so much fun. I think this will be some good freshness to the routine of just grinding lessons. I want to develop not only improvisation, but also composition. I watched the Joe Satriani video below a while back, and he basically says, "you know what you need to learn, you just need to do it, the path is clear." That seems very applicable, I know I need to know the basic shapes on the neck and more chords, etc... My technique is always going to need improvement, but I think I'm at a place where it's no longer the immediate limiter to my playing, and I'm still working the Shred Bootcamp. Satriani said some other things which stood out too, like "play with sound" and "write songs" Both of which I'd like to have a bit more time to explore.

So, that said, I think I'm going to take a break from pitch perfect lessons for the moment. I still want to explore Alejandro Pinero lessons (which seem very applicable) as well as small phrases/licks from other sources (like the Richie Faulkner solo), but the focus is going to be more integrating those ideas into my style rather than playing them note-for-note perfect. If I spend the next 5 months working the book like a course, I'm very excited about what I might accomplish.



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Gabriel Leopardi
post Apr 22 2017, 04:46 PM
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Hi mate, your post is very inspiring. smile.gif

That video, those words by Satriani are everything you need to know. He is a wise person. Everything is on that video. I can't explain it better than that. Just watch that video every time you don't remember your path.

About the 5 months course... let's go for it! Write down the number and date of this post and let's see where you are in 5 months regarding the improvisation topic. Let's consider this a challenge. smile.gif


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yoncopin
post May 15 2017, 01:34 AM
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Hey Gab,
I thought I'd post an update on my Chord Tone Soloing coarse. I've managed to memorize the 5 CAGED major scale patterns, more or less. I know the shapes, but I couldn't just find myself anywhere on the neck yet. My next exercise, to get these imprinted on my memory, is to choose any note on the fretboard, designate it as the root and name it, and be able to play the scale position above and below it. I'm hoping that helps me link the patterns on any string and be able to find my way back to the root note.


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Gabriel Leopardi
post May 15 2017, 01:21 PM
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Hi mate, thankks for the update.

It's very important to visualise the scale and chord shape totally related. A good way to get used to the different shapes is to work over chord progressions. Let's say that you work over this one: C - A

The idea is to work on 1 part of the neck at a time. Find a C chord (from the caged shapes), play the scale related, then find the closest A you can, and play the scale shape. Turn on the metronome/backing track, and follow the chord changes with the scale. At first play the scales up and down, and move to the next step by the closest note from the following scale. Does it make sense?



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yoncopin
post Jun 7 2017, 02:38 AM
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I think I've got a good handle on the major scale patterns now. I'm going to keep practicing them daily (so I don't forget) but I can move up and down a pattern pretty well and shift up and down the neck on single strings to other patterns. I can't make really big jumps quickly, but if I think about it for a few seconds I can. I've already noticed a BIG improvement in my note selection and how expressive/connected my playing sounds to what I hear in my head. It's a pretty big difference from being just stuck in pentatonics.

So, now I'm looking at page 29 "Major-Scale Targeting Exercises" I understand what the objective here is, land on root/chord notes on the strong beats, but I'm not really sure how to practice it. Ideas?


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Gabriel Leopardi
post Jun 7 2017, 09:36 PM
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Hi mate, great job! smile.gif

I assume that this should be practised over major tonality chord progressions. Could you please share a photo of the chapter? (I don't find my pdf version at this pc)

This post has been edited by Gabriel Leopardi: Jun 7 2017, 09:37 PM


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yoncopin
post Jun 8 2017, 02:45 AM
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Gabriel Leopardi
post Jun 8 2017, 03:43 PM
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Hi mate, that's exactly what I was thinking.

I recommend you to start working over a 1 chord vamp so you play the scale, or phrases, following those guidelines (playing chord tones on strong beats). An easy way to start is to play quarter notes so you would play this code: chord tone - scale tone - chord tone - scale tone. Another idea would be to play only 3: chord tone - scale tone - chord tone - silence.

Once you are comfortable with 1 chord, you can practice over a two chords progression.

Practice this vertically in one shape at a time, and then horizontally, working on 1 string, then 2 strings, and so...

Does it make sense?


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yoncopin
post Jun 14 2017, 02:34 AM
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Sorry this took me a bit to respond. Yes, that does sound good. I totally get what you're striving at. I'll figure out how to use the looper in my Helix and get to work.


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Gabriel Leopardi
post Jun 15 2017, 02:27 PM
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QUOTE (yoncopin @ Jun 13 2017, 10:34 PM) *
Sorry this took me a bit to respond. Yes, that does sound good. I totally get what you're striving at. I'll figure out how to use the looper in my Helix and get to work.


Using a looper is a great idea for this.



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yoncopin
post Jun 29 2017, 03:12 PM
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Progress Update:

1) I've got a decent grasp on the major scale patterns. They have really opened up my ability to express myself. Going from pentatonics to the full scale was a huge step, those missing notes are really vital to being able to find my voice on the instrument. I have kinda settled into a new "sameness" with the full patterns, but I hope as I continue exploring new ideas my vocabulary will grow.

2) Your idea of playing over small chord progressions ballooned into a deeper dive into what makes harmony/melody work together. I purchased an iRig Keys 37 and AutoTheory (which I later realized could basically be found in free VSTs) to allow me to create progressions quickly in my DAW. I had been playing over Youtube backing tracks, but now I've been trying to follow along on the keyboard to transcribe chord progressions of songs I like and see what makes them tick. These chord movement maps have been really useful.






This video was really great, visualizing inversions on the DAW Piano Roll is easy because you can see how close the notes are on the screen. Also, sometimes the piano chords don't directly map to guitar.
Do you have any suggestions for choosing chord voicings, like in the video at 5:30, but on guitar? Similar to the pentatonics, I feel stuck in barre chords and want to find those more subtle sounds and movements.

3) I've been spending a bit more time in GuitarPro, to transcribe progressions, and to export the resulting MIDI/Audio. Sometimes I play over the loops in GuitarPro and sometimes I'm putting it in bigger arrangements and reamping. That export/"reamp" technique has been a really cool find because I can download popular songs and take bits of the chords, bass, drums, etc... and use them in my own arrangements. It's kind of an unlimited library of MIDI loops to tinker with.

I actually feel like I'm getting close to being able to write the music I've always wanted to (what's in my head). I think I'm close to being able to actually get something out which I'm happy with. Picking speed is still a limiter for me, but I'm still working the Shred Journey too.

I wish I had more time to work on all this, as always I've got 100 other projects in the air too. I'm trying to rewire my house for ethernet and also writing a classic Gameboy game in assembly language as a gift. Oh yeah, I have a family too... So much interesting stuff out there in the world to absorb smile.gif Hope you're well!


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