Lovely - very cool to have this kind of etude with a clean sound. Thanks for the inspiration Vasilije!
did not know neoclassical could sound like that! cool!
the jazzy neoclassical! awesome man!
very cool etude!
wow!! sounds SO different without the insane amounts of distortion!
Cool Lesson! Sound like some brazilian music style called "chorinho" ;o)
great neoclassical piece man!! i love the jazzy fell, amazing!
Thanks guys! I was thinking whether to put distortion or not, but I decided clean, it's much more challenging.
awesome..It is better to start practising this way because u can listen to all ur notes properly as opposed to distortion
Super cool etude, Vasilije! Love it!
Interesting discussion here . I would encourage everyone to practice both with and without distortion - as it allows for cleanest possible technique (practice only with clean sound won't teach you muting technique )
On the other hand, distortion really requires different picking approach, lighter picking, that again, opens up space for maybe different positions and arpeggio shapes instead this ones(for example). It also requires paying attention on "not accidentally hitting the strings", because thee is lots of noise that we don't hear when playing clean, which again is amplified after distortion is turned on.
Great demonstration of the style, man! I also practice without dist, you can improve your technique a lot this way!
Agreed Vasilije - when practicing only with distortion there is a big risk people never discover flaws in their technique. Best is to do both! (I think this happens naturally because most people dont always practice with an amplifier - that's the case for me at least)
Classical music can be very challenging, various scales and large arpeggios combined with fast tempo require tremendous control and precision. That is why this style is perfect for picking improvement as well as for general technique.
In the first two bars sweep picking arpeggios are combined with scalar sequences, using common shapes. In the second part we also play arpeggios but using alternate picking only, having in mind that positions in which they were played doesn’t really requires sweep picking. In the last part, harmonic minor is used to play 3rds down the whole neck, this requires lots of inside picking, which makes it even more difficult. 3 scales are used: G major, G minor and A# major
Harmony used is also very simple and typical: G, D, G, D, G, C, D, G, then G min, D 7, G min, D 7, G min, C min, D 7, G minor, then F 7, A#, F 7, A# , F 7, C min, D 7 G min, then F 7, A#, F 7, A#, F# dim7, G minor, D 7, G minor.