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> Blues Comping, Lesson By Chris Harrington
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Total Votes: 3
  
tflava
post Jun 27 2016, 08:00 PM
Post #1


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Original lesson: Blues Comping by Chris Harrington

He guys, Here my take of this great blues lesson. Greetz Tim

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Darius Wave
post Jun 28 2016, 03:47 PM
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Hey Tim!

I like the direction you've chosen. Working out your dynamics sensivity is one of absolutely most important skills you can get.
There is one thing that needs a parallel workout once you decide to extend your playing dynamics. It's the way you adjust your tone for a best dynamics response. As you can hear in original lesson, the tone is muhc brighter but not sharp enough to hurt our ears. It the magical balance between gain and treble level to find the sweet spot that will make your softly played notes sound warm but not muddy and your hard strokes to sound sharp and sparkling. It's a little harder to make it on the humbucker pickup but it's possible. Of course you can try to use a split mode of your neck humbucker. The target is to find the tone that 100% translets what your fingers "talk". Your current tone is a good direction but I would definitely give it more treble.

As for my playing field advice. The trick in blues playing is to play some of those staccato runs the way, that notes between accent are being played so soft, that they almost get the kind of legato tone. In your take they sound too square, sharp and a little lack of precision breaks through. We've been through this a lot of times. It's very hard to precisely translate how to get that blues vibe, but there are some guiding tips to get closer and closer. I would start from a tone research and increasing contrast between accents and "fills".


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Gabriel Leopardi
post Jun 28 2016, 06:14 PM
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Hi mate!

This lesson is a great choice and I can see how you could get even more from this lesson by working on each part deeply. There are 3 elements that make the original lesson pure treasure: tone, dynamics and articulation.

Your playing is not bad but I would dedicate some more time to each element at a time, working on very small blocks. For example, listen to the first lick played by you, then listen to the first lick from the lesson, focus on dynamics. Are you close? yes? no? in the case of not being close, what's the reason? Is it the tone? is your playing?

Dedicate some time during the next days to this analysis and your playing will keep on improving. wink.gif



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Ben Higgins
post Jul 9 2016, 10:21 AM
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Hi Tim, I like this lesson. It's a good one to help give you ideas for phrasing and to work on tone.

When performing the double stops, notice that Chris plays some of them with no pause in between. So, the 1st chord slide should be played with no break in the sound. Then the 2nd and 3rd ones have a pause. Try practising the first double stop with no pause. Slide into position and keep it there until it's time to play the next shape.

With the soloing, that's more complex and we can't expect a dramatic shift in this area in a small space of time - this includes all the important elements like bending, vibrato, timing... so all those aspects are things that you're always working on anyway. One of the hardest things to get right with the blues is timing so I would emphasise trying to copy Chris's timing as closely as you can.


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Fran
post Jul 9 2016, 12:34 PM
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