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> Take 2: David Gilmour Style Lesson, Lesson By David Wallimann
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post Jan 11 2015, 09:00 PM
Post #1


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Original lesson: David Gilmour Style Lesson by David Wallimann

Hi everyone!

It's been a while. I have decided to continue my training with GMC.
So, I've taken another approach on this nicely done lesson by David Wallimann.

Links to previous attempts at this lesson:

This post has been edited by dmitrybykov: Jan 11 2015, 09:04 PM
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Gabriel Leopardi
post Jan 12 2015, 11:54 AM
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Hi friend! Cool to see you here again!

I think that your playing is better compared with the previous take in which I said that you had to focus on bending's pitches. Now your bending technique is precise regarding pitches which is a very important improvement. Again, your timing is very good on this one as it happened on the previous take.

This means that you already have the basics for this one, now it's time to go deeply with your interpretation and focus on dynamics, articulation and vibrato which are three totally related elements that are tools to give more emotion or feeling to your playing. D. Walliman does a great use of them to give his solo an extra value and at the same time to emulate Gilmour's playing which is full of emotion and beautiful melodies.

In order to work on these things I recommend you to work again on smaller sections. For example take the first two phrases, listen carefully to which notes David add vibrato, which ones note (for example: you are not adding vibrato on bending, and David does). Play the phrases adding vibrato. Then, listen to the two phrases again and pay attention to the different intensities that he gives to the notes getting different accents and intentions. Your playing is very flat dynamically, try to emulate the original lesson's dynamics. Finally, do the time with groove and notes duration. Check how some notes are muted earlier while other's are longer, check the use of silences on phrases and between them.

All these precise analysis is not to become a copy of David's, it's to train the elements, feel them, to be able to apply them later to your own phrasing.

Give it a try and let me know how it goes.

I hope to see you more often here!

Have a nice day. wink.gif

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Cosmin Lupu
post Jan 12 2015, 11:55 AM
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Howdy mate,

I think that there is progess with this one, in comparison to the previous take! Your bending technique got a lot better in the mean time and you are hitting all the pitches with very little exceptions, such as the one around 0:38.

What I would suggest, would be to play this lesson as much as possible, in order to make it sound as natural as possible - maybe recording it over the original lesson, so that you can compare things in terms of dynamics and interpretation would help.

Keep rocking!


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Ben Higgins
post Jan 12 2015, 11:57 AM
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Hi Dmitry. You've got quite a good feel for this lesson. Your bending could still be improved. Sometimes the pitch is not quite right.. it might be a little too high or a little too low. It's not a massive error but it's noticeable enough so please continue to work at getting the pitch sounding nice and accurate.

Adding vibrato to bends will also help them settle into the correct pitch.

I notice that you mainly use your first 3 fingers. Try using your pinky as well for pentatonic runs like the one in the middle around 0:25 and the one at the end at 0:52. When you're on the B and top E strings you could play them with your 1st and 4th fingers and use your 1st and 3rd for the A, D & G strings. For the low E, you could again use 1st and 4th. You don't have to do this, of course, but it might benefit you to get your pinky working harder. It will make it easier for you to reach notes when you start playing harder phrases.

The run from 0:25-0:29 is rushed so try to relax and keep it on the beat.

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post Jan 13 2015, 06:29 PM
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