A Modern Method for Guitar Vol 1 Pages 25 to 26

[Marty W]

Here's my attempt on second solo:

second solo.mp3 - File Shared from Box - Free Online File Storage

self-critique: This time I managed mostly to play the right notes, and not to play the wrong ones. As for letting the melody ring out, shaping a phrase, controlling the bass harmonies - I've got a l - o - n - g way to go.

Nice clear sound TLT. I can hear that you're shaky with it but I don't think you have t - h - a - t far to go. Way more pinky action than we've seen so far.

I think you missed the F in bar 24, I'm sure it was just a mistake. That's a tough one especially after the big stretch in bar 25.

I took some liberties with the time, playing it a bit rubato here and there and purposely (honestly) speeding it up at the B section. A bit rough, here it is:

Sounds great as usual fep. Are you including any rests in the B section? The reverb makes it harder to tell.

Here's my go at it:

I like the feel of this one fep. IMO, I'm finding the reverb to be kind of distracting for the purpose of the exercises. Some verb is great but it's adding a lot of decay to your notes and the rests aren't as clear.

Would like to hear you include the ritard on the end. Not sure how to do it with the duets other than making a custom click track. I did mine without the click and it wasn't perfect but was a good exercise. Just my opinions.

Nice, FEP. Sounds spot on.
Here's my attempt.
Etude No. 3, P. 26.mp3 - File Shared from Box - Free Online File Storage

Sounds good oldhead, you nailed the ritard. Did you use a click?

Mostly your parts are together but sometimes they're a little off, like mine was. You obviously can play it but you might be trying to go too fast?

[oldhead]

Hi oldhead. I honestly think that was too fast for you. It seemed to me to be about 120. 70-80 would be more helpful. It's an impressive amount of work into it nonetheless!

I was trying for the speed on the CD when I recorded that, which seems to be about 115. I agree, I was slipping around a bit. It's the only recording of that I have. That's not the file I was going to post but, unfortunately, I cut the tip of my first finger on the left hand right after recording that one and won't be able to play for a bit, so I thought I'd post what I had. Didn't want you to think I was slacking.

[ten left thumbs]

That's not the file I was going to post but, unfortunately, I cut the tip of my first finger on the left hand right after recording that one and won't be able to play for a bit, so I thought I'd post what I had. Didn't want you to think I was slacking.

That's too bad!

[fep]

Sounds great as usual fep. Are you including any rests in the B section? The reverb makes it harder to tell.

Hi Marty,

You are right, I just gave "Second Solo" a listen and in the B section I am holding most of the notes in the bottom voice too long. Thanks for pointing that out.

Reverb, I'll rethink that. I do like reverb but I'll see if I can tone it down and still be happy with it.

I like the feel of this one fep. IMO, I'm finding the reverb to be kind of distracting for the purpose of the exercises. Some verb is great but it's adding a lot of decay to your notes and the rests aren't as clear.

Would like to hear you include the ritard on the end. Not sure how to do it with the duets other than making a custom click track. I did mine without the click and it wasn't perfect but was a good exercise. Just my opinions.

The ritard: I haven't used the midi with my Reaper software. I do have it on my list... there's so much to learn. So doing that custom click track is going to require me to crack the manual and spend a bunch of time learning how to use midi with the software. And then learn how to do gradual tempo changes. At least that's what I think I need to learn. I'll eventually get to it.

On the other hand (just thinking out loud) I could record an audio click from my metronome and clip it right were the ritard starts. I think I remember you writing that you did that on one of the tunes. I'll give it a try.

Thanks for listening and for your comments.

[fep]

Nice, FEP. Sounds spot on.
Here's my attempt.
Etude No. 3, P. 26.mp3 - File Shared from Box - Free Online File Storage

I was trying for the speed on the CD when I recorded that, which seems to be about 115. I agree, I was slipping around a bit. It's the only recording of that I have. That's not the file I was going to post but, unfortunately, I cut the tip of my first finger on the left hand right after recording that one and won't be able to play for a bit, so I thought I'd post what I had. Didn't want you to think I was slacking.

Good job, yeah the tempo wondered a bit before the end but you got it back together. And the ritard was right on.

I went thru a finger cut about six months ago (a 20 gauge needle from a syringe, couldn't get the cap or but when I did I had a recoil and...). There's a recording on this site somewhere where I was playing with three fingers.

That's a bummer, how long for the recovery?

[oldhead]

Good job, yeah the tempo wondered a bit before the end but you got it back together. And the ritard was right on.

I went thru a finger cut about six months ago (a 20 gauge needle from a syringe, couldn't get the cap or but when I did I had a recoil and...). There's a recording on this site somewhere where I was playing with three fingers.

That's a bummer, how long for the recovery?

Hi, FEP. Yeah, I was all over the place with the tempo. I was surprised I got it somewhat back together by the end.
The cut is not severe but it's right where the tip of my finger comes in contact with the strings. I did it tightening the legs on my music stand. I'm hoping that with some Liquid Bandage I'll be playing before the end of week, albeit it will probably be more with the pad of the finger. Time will tell. I will be practicing and reviewing in a somewhat virtual manner in the meantime.

[ten left thumbs]

Maybe there was a bit of a Ritard? I'd prefer to hear a lot more, to make it more dramatic. The way I interpret a Ritard at the end of a tune is that you keep slowing down for each beat until the last beat (now I'm questioning myself on my interpretation).

I don't think there's much of a science or maths to this. You rit how you want to rit.

[ten left thumbs]

The cut is not severe but it's right where the tip of my finger comes in contact with the strings. I did it tightening the legs on my music stand. I'm hoping that with some Liquid Bandage I'll be playing before the end of week, albeit it will probably be more with the pad of the finger. Time will tell. I will be practicing and reviewing in a somewhat virtual manner in the meantime.

Sounds like you grazed the skin off. Ouch - that will be tender to start to play again. It's a caution to us all. Best wishes for a quick recovery, it's miserable being injured.

[oldhead]

Sounds like you grazed the skin off. Ouch - that will be tender to start to play again. It's a caution to us all. Best wishes for a quick recovery, it's miserable being injured.

Thanks, TLT. It's actually a clean cut, somewhat like a paper cut, but it's where it is and the angle of it that's the problem. FEP said he played with three fingers when he cut his. I tried last night but it didn't work out so well.
With Liquid Bandage and a Band-Aid over top I can lightly touch the strings but not press down, so that's the way I'll practice this week. Hopefully by next weekend I'll be back at it.

[ten left thumbs]

To those of you that have the DVD...

Does the guitarist on the DVD play these rest strokes on the chords in a way that all the notes sound together or in a way were they a a bit separated as in a slow strum?

Just curious, as I'm finding it a hard technique to develop.

Hi Frank, The notes of a chord sound close together.

I've just been watching some of your submissions here, and comparing to both Larry Baoine (DVD) and also my teacher. They are playing archtops and there may be something in the angle, held lower, with the hand coming at more of an angle to the strings, rather than straight on. In other words, they have hand held down a little so that a rest stroke is more like righting the hand. The other difference is they have hands freer to move around - not anchored in any way.

An example:

You are or were doing a music course - do you have a guitar teacher?

[fep]

Thanks for the video. I believe you're saying he doesn't anchor his palm of his hand on the bridge (his pinky is anchored and slides on the pickgaurd which is something I do). He picks more with his arm than I do. I do like his light touch.

On the other hand, did you see the Al Dimeola video posted, post 130 here:

https://www.jazzguitar.be/forum/getti...-8-11-a-5.html

Al uses much more wrist and usually anchors the palm of his hand.

How about this:

Note how his hand is below the strings and the thumb is curved back (the thumb thing is something I often do), and notice how his wrist is rotated so the palm is facing more upward. This is a technique that some jazz guitarists put a lot of effort into duplicating. (I tried, but it doesn't work well for hybrid picking which I like to do).

I've tried various techniques and am able to use a few different ones. I often experiment and tweak things.

Edit: I should add, I've experimented a lot with my picking technique as I have never been able to develop very good speed. I do have some hand problems, cramping and tremors, I don't know how much those play into my difficulties.

[ten left thumbs]

Note how his hand is below the strings and the thumb is curved back (the thumb thing is something I often do), and notice how his wrist is rotated so the palm is facing more upward.

Yes, that's exactly what I mean. When I went for that lesson a week or so ago, my teacher pointed out, his hand position for jazz with archtop - it was exactly like that, and exactly like Larry in the DVD. And I believe in that position, a rest stroke makes more 'sense' than in the more straight-on position you and I use.

It was a bit of a lightbulb moment for me. I've tried, I can't get my hand into that position, my arm comes from too high up on the guitar. There's something a bit more slouchy about they way they play archtops.

you know me, I'm no expert. I just observe what I can about technique.

Maybe for hybrid picking one needs to adopt a different approach?

Edit: hand cramping and tremors? Seen a doc? Physio? If all else fails, a teacher?

I got baoding balls after my last brush with rh problems. I play with my balls, every night, one hand at a time. Have to say, hands have never felt better!

[fep]

Yes, that's exactly what I mean. When I went for that lesson a week or so ago, my teacher pointed out, his hand position for jazz with archtop - it was exactly like that, and exactly like Larry in the DVD. And I believe in that position, a rest stroke makes more 'sense' than in the more straight-on position you and I use.

It was a bit of a lightbulb moment for me. I've tried, I can't get my hand into that position, my arm comes from too high up on the guitar. There's something a bit more slouchy about they way they play archtops.

you know me, I'm no expert. I just observe what I can about technique.

Maybe for hybrid picking one needs to adopt a different approach?

Edit: hand cramping and tremors? Seen a doc? Physio? If all else fails, a teacher?

I got baoding balls after my last brush with rh problems. I play with my balls, every night, one hand at a time. Have to say, hands have never felt better!

I'm not opposed to having a couple of approaches, but with the Benson hand position, I had to shift my hand and my thumb for the hybrid picking. I'm a bit torn between the DiMeola and the Benson approach, they both have their advantages.

My guitar playing and other things brings the cramps out, but I'm pretty convinced that the tremors and the cramps are due to drugs that I'm taking. I try to drink 3 liters or more of water a day and that helps with the tremor and cramps (and also helps my liver and kidneys). I've had a long battle with cancer that hit a peak about a year ago with high dosage chemo and a bone marrow transplant. Feb. 2nd was my transplant anniversary which I've adopted as my new birthday as it's not so close to Christmas and my actual Dec. 21st birthday. I'm cancer free now but will always be a transplant patient.

"Seen a doc?" Probably 100 times in the last year. lol... I just try to keep smiling.

And... hey you're up kind of late.

[ten left thumbs]

Hey Frank - belated Happy Birthday, many happy returns, and may you live to 120! OK, cramps not a direct result of playing guitar, I understand.

The DiMeola position is exactly what caused my last injury, so I find that one difficult to watch.

[Will Glen]

I forgot the ritard on the Etude No 3 and flubbed some notes coming up after hitting the lower bass notes along with some issues not giving the notes their proper value.

On the first one, it was the first time going without a metronome. I'm keeping at it everyday and I'm committed.

Great to hear everyone improving. I'm getting alot out of this method.

Second Solo pg 25.mp3 - File Shared from Box - Free Online File Storage

Etude No 3 Duet pg 26.mp3 - File Shared from Box - Free Online File Storage

[ten left thumbs]

Hi will, just listened to the solo. Bravo, well done!

[oldhead]

I forgot the ritard on the Etude No 3 and flubbed some notes coming up after hitting the lower bass notes along with some issues not giving the notes their proper value.

On the first one, it was the first time going without a metronome. I'm keeping at it everyday and I'm committed.

Great to hear everyone improving. I'm getting alot out of this method.

Second Solo pg 25.mp3 - File Shared from Box - Free Online File Storage

Etude No 3 Duet pg 26.mp3 - File Shared from Box - Free Online File Storage

Nice job on both, Will.

[jsepguitar]

I spend some of my time each day reviewing previous pages, especially the ones that I find difficult. I have to admit I'm still getting my butt kicked by "Second Solo." Am I the only one?

[Will Glen]

I spend some of my time each day reviewing previous pages, especially the ones that I find difficult. I have to admit I'm still getting my butt kicked by "Second Solo." Am I the only one?

It was challenging for me as well and I'm still not content with where I'm at on the Second Solo.

I had to isolate some of the parts and work on them "technically" one measure at a time. I've read and learned that when practicing sight reading you should start and for no reason should you stop reading but I think at this stage of the Method developing technical proficiency is equally important. If we are not able to technically play the notes, then reading them is secondary.

Can you go into more detail what is giving you difficulty on this piece? Is it the technical aspect of fingering/fretting, picking or reading perhaps? I can only assume it is technical but do not know for sure. For me personally it was muting open string notes and skipping strings when picking.

Keep moving forward. Don't let this piece hold you up. Just keep reviewing it daily along with the upcoming material. I understand your frustration and hang in there.

[fep]

I've read and learned that when practicing sight reading you should start and for no reason should you stop reading but I think at this stage of the Method developing technical proficiency is equally important. If we are not able to technically play the notes, then reading them is secondary.

You all are doing this correctly by working on these pieces the way you are. This book is teaching you how to read but those pieces aren't intended to be "sight reading" exercises. On the other hand, you don't need to perfect them either. Get through them, get as comfortable as you want, and move on. You'll get better as time goes by and with review of the material.

Check out the instructions on page 64 & 65. Those pages are intended to be "sight reading" studies. There are additional sight reading studies after that in the 2nd half of the book.

[jsepguitar]

Can you go into more detail what is giving you difficulty on this piece? Is it the technical aspect of fingering/fretting, picking or reading perhaps?

Yes, my issues are entirely technical. I'm not having a problem with reading in the open position. I'll probably have more reading issues when we get further up the neck. My issues are related to switching from chords to single notes, holding down notes for a longer duration while I play other notes, getting the muting down so notes only ring for as long as they should. A couple of the fingerings are giving my problems. The toughest is in the first two beats of measure 23 where you hold the F# with the 4th finger and play notes on the first three strings. My hand can do the stretch, but I'm having a hard time getting the notes to ring out. Then in the next measure in beat 3 where you play the F & A with fingers 2 & 4, I'm not used to using my 4th finger for this note, but I can see the advantage in this passage.

I'm working through this a couple times a day as part of my review and I continue to make progress. I guess I'm just surprised at how long it's taking me, but I guess this is why we practice. Take something that seems difficult and work through your weaknesses until you get it up to par. Per fep's advice,though, I'm not letting this keep me from moving forward in the book.

[ten left thumbs]

The toughest is in the first two beats of measure 23 where you hold the F# with the 4th finger and play notes on the first three strings.

No kidding.

[Will Glen]

Yes, my issues are entirely technical. I'm not having a problem with reading in the open position. I'll probably have more reading issues when we get further up the neck. My issues are related to switching from chords to single notes, holding down notes for a longer duration while I play other notes, getting the muting down so notes only ring for as long as they should. A couple of the fingerings are giving my problems. The toughest is in the first two beats of measure 23 where you hold the F# with the 4th finger and play notes on the first three strings. My hand can do the stretch, but I'm having a hard time getting the notes to ring out. Then in the next measure in beat 3 where you play the F & A with fingers 2 & 4, I'm not used to using my 4th finger for this note, but I can see the advantage in this passage.

I'm working through this a couple times a day as part of my review and I continue to make progress. I guess I'm just surprised at how long it's taking me, but I guess this is why we practice. Take something that seems difficult and work through your weaknesses until you get it up to par. Per fep's advice,though, I'm not letting this keep me from moving forward in the book.

Have you tried to isolate the sticky measures and play them repeatedly rather than the entire song?

A good pinky workout I've done before is to play with the ring finger and the pinky alone going across the fretboard and the index finger and pinky finger and the middle finger and pinky finger. Just play with the pinky and one other finger. You probably already do this but I thought I would mention it.

I've been doing these a little each day. Just thought I would share.

Tedesco 2.JPG - File Shared from Box - Free Online File Storage

Exercise 8 and 9 in particular.

[jsepguitar]

Have you tried to isolate the sticky measures and play them repeatedly rather than the entire song?

A good pinky workout I've done before is to play with the ring finger and the pinky alone going across the fretboard and the index finger and pinky finger and the middle finger and pinky finger. Just play with the pinky and one other finger. You probably already do this but I thought I would mention it.

I've been doing these a little each day. Just thought I would share.

Tedesco 2.JPG - File Shared from Box - Free Online File Storage

Exercise 8 and 9 in particular.

Yes, I've been isolating the parts that give me the most trouble and working on them separately. Although my progress is slow, it's still progress.

Thanks for the exercises. I'll work them into my practice.

[Clamps]

second solo is presented here