The Jazz Guitar Chord Dictionary
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  1. #51

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    Very steady, oldhead!

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  3. #52

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    Could someone please talk a little about muting strategies on "Here We Go Again"? I'm having trouble especially with M. 2 of part one right now. How are you all muting the G string?

  4. #53

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    Quote Originally Posted by jaydogg
    Could someone please talk a little about muting strategies on "Here We Go Again"? I'm having trouble especially with M. 2 of part one right now. How are you all muting the G string?
    Hey jaydogg,

    What I'm doing is as I'm picking the open B string I'm setting the tip of my LH 2nd finger lightly on the G string to mute it, right at the spot where I'm going to fret the next note.

  5. #54

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    Quote Originally Posted by HighSpeedSpoon
    Hey fep: That was great - really an inspiration. Two very small things: One is about the crescendo/decrescendo (gradually louder / gradually softer) at the end: I find with a number of recordings - including my first ones last week - that the recording equipment seems to have a mind of its own regarding dynamics. It seems like the dynamics are compressed a bit. So maybe this is just me, but are you excecuting the crescendo/decrescendo?

    Second, I don't know how one does this with a metronome, but are you slowing at the end, or are you keeping pace with a metronome?

    Oh, and one other thing: Thanks for bringing back the "wag"!

    HighSpeed

    Yes you are correct, I don't hear the crescendo/decrescendo either. I think once I hit the record button I got so focused on reading the notes that I didn't see the dynamic markings. Thanks for the heads up.

    I was using a metronome supplied by my Reaper recording software, I don't know how to make it sound in mix-down... I'm sure it can be done, but I'm not that interested in figuring it out as I like the mix-down to not have it. Because the metronome was going I didn't try to do the ritard at the end of the tune. It would be hard to do when multi-tracking. But when practicing and not recording, that's a good time to practice the Ritard.

    You know what would be cool? A virtual conductor on the screen as you're recording that would include a Ritardando. Someone probably already thought of it and it probably already exists.

    The wag

  6. #55

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    I wanted to check with all the active participants...

    I'm thinking about whether to go for 3 or 4 pages next week.

    What do you think?

    I'm mostly interested in going at a pace where the active participants that are posting to this thread, posting recordings, and critiques and questions etc.; I want to go at a pace where those participants can keep up. I don't want to lose any of you as your posts are what makes these threads worthwhile.

  7. #56
    Quote Originally Posted by jaydogg
    Could someone please talk a little about muting strategies on "Here We Go Again"? I'm having trouble especially with M. 2 of part one right now. How are you all muting the G string?
    I use my right hand thumb. It mutes 3rd as I "plant" the pick on the 2nd.

  8. #57

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    @fep: I can tell you from my past experience and how fast I moving now that you'll be way past me very quickly at this pace. Which is fine by me if others are moving faster. Right now I'm iffy on "Here We Go Again". I had gotten past it pretty well before, but I wasn't trying to mute anything then :-) Before I started reviewing with this thread, I was around First and Second Solo, both of which I'm pretty stuck on.

    @matt and fep: Thanks for the muting tips. I'll continue to play around and see if either of those feel natural to me. I was working with the thumb method and it was hard to get the note on the B string to sound natural while also muting the G string.

  9. #58

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    Quote Originally Posted by fep
    I wanted to check with all the active participants...

    I'm thinking about whether to go for 3 or 4 pages next week.

    What do you think?

    I'm mostly interested in going at a pace where the active participants that are posting to this thread, posting recordings, and critiques and questions etc.; I want to go at a pace where those participants can keep up. I don't want to lose any of you as your posts are what makes these threads worthwhile.
    It should be fine on my side but will heavily depend on work. I don't remember what the next pages are about but I'll definitely try to keep up next week, or eventually work on the material in advance. Thanks for the initiative.

  10. #59

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    Quote Originally Posted by fep
    I wanted to check with all the active participants...

    I'm thinking about whether to go for 3 or 4 pages next week.

    What do you think?

    I'm mostly interested in going at a pace where the active participants that are posting to this thread, posting recordings, and critiques and questions etc.; I want to go at a pace where those participants can keep up. I don't want to lose any of you as your posts are what makes these threads worthwhile.
    My tuppunce worth - this week do 3 pages. That solo, beautiful as it is, is a step up. It's actually the start of lesson 3 according to the dvd. The etudes in the pages before it are good preparation, and plenty challenging in themselves.

  11. #60

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    Quote Originally Posted by jaydogg
    Could someone please talk a little about muting strategies on "Here We Go Again"? I'm having trouble especially with M. 2 of part one right now. How are you all muting the G string?
    I'm not muting it. I like the sound. It's one of the things that makes guitar special.

  12. #61

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    Quote Originally Posted by jaydogg
    @matt and fep: Thanks for the muting tips. I'll continue to play around and see if either of those feel natural to me. I was working with the thumb method and it was hard to get the note on the B string to sound natural while also muting the G string.
    Imo, all this muting that we are talking about, I'm not sure it's very important for the folks earlier on in their guitar journey. Also, Leavitt doesn't discuss muting much in the book, so I'm guessing he didn't consider it too important at this point. I wouldn't let the muting slow you down and also don't think you have to perfect each lesson. I'm trying to focus on the muting as that is a new technique for me and the material so far isn't too difficult for me (although trying to do the muting does make it more difficult for me). I hope that makes sense.

    Remember that Leavitt continually writes that you should review all material. So, all of these pieces should be revisited and you'll get better at them as time goes by.

  13. #62

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    Quote Originally Posted by fep
    I wanted to check with all the active participants...

    I'm thinking about whether to go for 3 or 4 pages next week.

    What do you think?

    I'm mostly interested in going at a pace where the active participants that are posting to this thread, posting recordings, and critiques and questions etc.; I want to go at a pace where those participants can keep up. I don't want to lose any of you as your posts are what makes these threads worthwhile.
    Thanks very much for asking. I think it's an excellent idea to ask from time-to-time so long as everyone understands that you make the final call. That said, I have mixed feelings on the subject.

    OT1H … I'm behind but still plan/hope to post within a day or two. I like to think I'm only a little behind and can catch up, but that remains to be proved. I missed two days of practice last week, but life does happen so these will not be the last days I miss. Also, as TLT pointed out, this week's material seems to be a step up.

    OTOH … Being pushed and making a commitment to post recordings is effective for getting me to practice. I would regret falling significantly behind the group because the social participation helps motivate me. But at some point one has to slow down or get shoddy.

    Perhaps we should also ask how many are chomping at the bit to go on and do not feel that time extra spent in review or recreational playing would be well spent.


    Thanks again fep.



    HighSpeed

  14. #63
    Quote Originally Posted by fep
    Imo, all this muting that we are talking about, I'm not sure it's very important for the folks earlier on in their guitar journey. Also, Leavitt doesn't discuss muting much in the book, so I'm guessing he didn't consider it too important at this point. I wouldn't let the muting slow you down and also don't think you have to perfect each lesson. I'm trying to focus on the muting as that is a new technique for me and the material so far isn't too difficult for me (although trying to do the muting does make it more difficult for me). I hope that makes sense.

    Remember that Leavitt continually writes that you should review all material. So, all of these pieces should be revisited and you'll get better at them as time goes by.
    Agreed on all points. I just thought "Since he asked...", but if you're new to reading or the material's difficult, don't worry about it too much.

  15. #64

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    Quote Originally Posted by oldhead
    Page 19, Exercise 3, with all the bonkers. Now back the duet - again!
    Page 19, Exercise 3.mp3 - File Shared from Box - Free Online File Storage

    TLT, Amazing what new string will do!
    Nice job, well played and the muting was good. Nit picking, a few b notes rang a bit long into the next note, I'm probably only hearing it because I'm focusing on it... not really anything to worry about and...

    ha, some C9 chordal action at the end, you're just checking to see if I'm listening all the way thru

  16. #65

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    Quote Originally Posted by fep
    Nice job, well played and the muting was good. Nit picking, a few b notes rang a bit long into the next note, I'm probably only hearing it because I'm focusing on it... not really anything to worry about and...

    ha, some C9 chordal action at the end, you're just checking to see if I'm listening all the way thru
    Guilty as charged! Not really. I was so glad to get through that I was letting out my relief at the end. BTW, I didn't know that was a C9 - That's why I'm here - hoping to find out about things like that.

    As far as the 3 or 4 pages, I've been playing catch-up since I started 2 weeks late. Maybe 3 pages would be good relief for everyone struggling with this last set to page 19. For some reason I'm having a really hard time with the duet on p16. Hopefully I'll post some version of it later today. But I'm up for whatever you decide.

  17. #66

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    i've played everything in this section but haven't posted it yet. ran into an interesting problem along the way. i started holding my breath. maybe it started out subconsciously, but i'm more focused on breathing now than i am actually playing the piece. what i've got on tape (is it tape anymore?) isn't bad, but the rhythm is all over the place, especially on "Here We Go Again". so now i have to focus on breathing.

    i'm going to move onto the next section and will re-record these upon review.

  18. #67

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    Page 16, Here We Go Again...
    Self-critique: Chunked chords, missed notes, rushed, new strings out of tune.
    I'll revisit this many time, I'm sure. Maybe by the time we get to about page 50 I'll be able to smooth this one out. Like, HSS, I'm just glad to have gotten this far.
    P16, Here We Go Again.mp3 - File Shared from Box - Free Online File Storage

  19. #68

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    Very nice oldhead, and I'm not just saying that to return the favor. The brisk tempo really worked and the notes were played in good, confident time. There was even a pretty ritard at the end, and if you were not playing with a metronome, then you are to be especially commended for keeping the time so well.



    HighSpeed

  20. #69

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    Good job all. I didn't realize you weren't using a metronome, oldhead. That was played at quite a clip. Ambitious!

    So, for the heck of it, I recorded HWGA duet with my classical guitar and then my steel string to see if I could glean anything interesting. Nothing jumps out at me but Measure 7 was easier to play clean with finger picking. How are you all playing that? I subconsciously hybrid-picked it on the steel string instead of strumming. Also, in both cases, I don't like the using ring/pinky. Much prefer middle/ring.

    Otherwise, G2 needs to be amped up and was a little sloppy in parts. Got to work on the crescendo instead of just suddenly plaing forte!




  21. #70

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    Quote Originally Posted by mjsarlington
    Good job all. I didn't realize you weren't using a metronome, oldhead. That was played at quite a clip. Ambitious!

    So, for the heck of it, I recorded HWGA duet with my classical guitar and then my steel string to see if I could glean anything interesting. Nothing jumps out at me but Measure 7 was easier to play clean with finger picking. How are you all playing that? I subconsciously hybrid-picked it on the steel string instead of strumming. Also, in both cases, I don't like the using ring/pinky. Much prefer middle/ring.

    Otherwise, G2 needs to be amped up and was a little sloppy in parts. Got to work on the crescendo instead of just suddenly plaing forte!



    Sounds good. M7 I just mute the fifth string w/third finger and strum as usual. I'm doing all mine with a pick; I have enough trouble doing that, let alone trying to learn hybrid picking.

  22. #71

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    Quote Originally Posted by fep
    Cool Marty, Both voices came out real clear (what are you using for your pan settings?)

    And the dynamics where real nice, and you even stopped the metronome (what do you have, three hands?) and pulled of the Ritard. Thanks for posting.
    I'm panning 100% left and right. For the metronome I made a click track that stopped two measures early.

    Thanks everyone for the comments.

  23. #72

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    Quote Originally Posted by mjsarlington
    Good job all. I didn't realize you weren't using a metronome, oldhead. That was played at quite a clip. Ambitious!

    So, for the heck of it, I recorded HWGA duet with my classical guitar and then my steel string to see if I could glean anything interesting. Nothing jumps out at me but Measure 7 was easier to play clean with finger picking. How are you all playing that? I subconsciously hybrid-picked it on the steel string instead of strumming. Also, in both cases, I don't like the using ring/pinky. Much prefer middle/ring.

    Otherwise, G2 needs to be amped up and was a little sloppy in parts. Got to work on the crescendo instead of just suddenly plaing forte!



    They both sound very nice. Even though Leavitt is plectrum oriented, it must be helpful in the general scheme of things to have classical, finger style skills.


    Quote Originally Posted by oldhead
    Sounds good. M7 I just mute the fifth string w/third finger and strum as usual. I'm doing all mine with a pick; I have enough trouble doing that, let alone trying to learn hybrid picking.
    What he said.



    HighSpeed

  24. #73

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    HSS - That's great work! You've got the idea, both for the quavers (8ths) and the chords. For the quavers, are you aware your tendency to race the metronome? In ex 3, there were a couple times you swallowed whole beats. It might help to have the metronome louder as you play, tap your foot or something. It'll likely just get better over time and you relax more.

  25. #74

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    Quote Originally Posted by ten left thumbs
    HSS - That's great work! You've got the idea, ... For the quavers, are you aware your tendency to race the metronome? In ex 3, there were a couple times you swallowed whole beats. It might help to have the metronome louder as you play, tap your foot or something. It'll likely just get better over time and you relax more.
    Hey TLT - Thank you so much for the specific and extremely important information about racing the metronome. Even as I play, I am often aware in a general way of not being tightly locked in with the metronome. I went back and listened to EX3 twice and did indeed hear me racing. (I could not discern swallowing any entire beats, although at the end I simply muffed some entire beats and resumed - in tempo I think - if that is what you mean.)

    I've been cutting myself some slack at this stage of my development, telling myself that timing will improve with better hand coordination. But coordination issues would account for random errors in timing - not for racing. So while I understand your point about relaxing, I now think the problems will only go away if I slow down and make it a priority to establish a tight, solid groove. No better time to avoid a bad habit than at the start.

    Thanks again.




    HighSpeed

  26. #75

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    Hey HSS,

    That's one benefit of doing all this recording we're doing, it's going to improve our sense of time.