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> Ballad soloing - Dynamics & Phrasing #2, Lesson By Darius Wave
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post Nov 29 2017, 06:22 PM
Post #1

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Original lesson: Ballad soloing - Dynamics & Phrasing #2 by Darius Wave

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Kristofer Dahl
post Dec 1 2017, 04:08 PM
Post #2

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Very cool choice of lesson! If you haven't already noticed in your playing - this one will give you lots of interesting phrasing ideas under your belt. I can tell you have done some serious work here, and I am expecting you to feel great progress of your over-all style.

There are some crucial aspects you need to work on to nail this one.

Vibrato - not an obvious technique to practice, but it needs to be addressed like any other. You don't necessarily need to replicate Darius' vibrato. However you should try to get away from that shallow type of vibrato - by using your whole arm to generate the movement, not just the fingers.

Sound - I can tell you have spend some time emulating the type of dynamics and break-up Dariuss sound has. To my ears the sound is still lacking top end ("presence") and it is too dry (experiment with delay and reverb)

Faster runs - most of the faster runs require more practicing. Important: I can tell you have been trying to push speed here - you must really take the time and slow down the fast passages - to make sure you can play them at a slow tempo without any mistakes. Only then will they sound convincing up to speed.

I will give a 4.

Keep up the killer work here, I am expecting to see some great progress from you. cool.gif

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Darius Wave
post Dec 2 2017, 11:40 AM
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Hey there mate! Nice to see you working on one of my lessons.

Ballad Soloing series is actually much more difficult than it seems. There may not be any kind of killer speed to challenge, but there is huge amount of details to make things sound the way we expect. Try profit of ballad soloing is to open your mind on playing dynamics and tone control from the hand. You are on the good path but still it's a kind of draft at this point. I mean...now the real thing begins - you got familiar with notes and positions so now you can start focusing on details. For example it does matter if you replace a default legato with a pick stroke. To much pick strokes with same picking strength make things sound square. When you listen to a lesson, try to capture how noted differ tonaly, try to imitate this at least partially.

As Kriss metioned, tone could have more space (reverb/delay) and a little more treble end. The trick is to have a sparkling tone tone sounds warm only when we make this to happen with our hands. So as default tone should be quite sharp. When you feel it's too sharp, try to adjust your hadns (pick angle, strength) instead of messing with the tone settings. Your hands and your brain are the tone. It's a thing we develope thorugh years of playing and it's nothing that anybody would expect you to know already but it's worth to think of these things since the very begining. I know that soem parts of playing are a kind of illusion. When we learn how to play, we see things totally different than they actually are. Same kind of illusion happens with tone. Most of us use a highly filtered (treble roll off) tone at the beginning, taking lot's of good presence as an affect of removing harshness. That's not a solution. Try to make your hands give the warmth even on the brigh and cripsy tone.

Remember - it's not that big deal to play the notes from a melody but to make them sound THAT WAY. Ithink your main task just begins so if you still have some patience it's worth to give this lesson some more time and focus smile.gif Hope to see you soon in REC again smile.gif
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Gabriel Leopardi
post Dec 3 2017, 08:24 PM
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Hi Pai!

I think that this lesson (as well as others from these series) is a great choice for you. I'm a fan of Darius ballad soloing lessons because he covers many essential techniques for guitarists as vibrato, bending, dynamics, double stops, alternate picking, and so, in a musical situation. The phrases are very tasty and inspiring so this also gives you some vocabulary for your own phrasing and playing.

From what I can hear on this take, there is still many work to do in order to adjust the whole lesson. Both Darius, and Kris marked the most important things to pay attention during the next days, and weeks of practice.

Techniques like bending, vibrato, require special attention to make everything sound in pitch at first, and then to give your playing the right feeling for this one. The faster alternate picking passages should be isolated and practice over metronome to put both hands on synch and make it sound clean and clear.

Work on smaller blocks, pay attention to details, and isolate the tricky sections. This one will get better with more practice, and your overall playing will improve a lot.

Keep on the hard work!

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post Dec 5 2017, 06:30 PM
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