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Chris
I really appreciate the things you pointed out !! I need to do more of them ..... Joe Diorio not long ago told me that a lot is learned away from the guitar.... Ken
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12-28-2015 12:29 AM
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Originally Posted by Irez87
Bear in mind that classical technique is addressing a specific list of considerations. Anyway I learned classical early on so there is some of that in my technique. I can do pure classical left hand if necessary.
But to be honest that school of players interests me less than more melodic school (Charlie. Wes, Grant Green etc) who tend to use a more three fingered approach. I don't think these players would have sounded better using four fingers and positions. Exactly the opposite. It's actually the 'untutored' left hand I struggle with...
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Hi
I made a video of ear training using Fourths and Fifths ....... Hearing the Bass is a great help in following the chords..
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01-09-2016, 11:58 AM #129destinytot GuestOriginally Posted by Stevebol
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Originally Posted by Groyniad
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i've found that two octave series starting on low a or low a and ending on high b or high e come very naturally. i try to repeat the fingering pattern for the lower octave in the higher one - and i try to keep the chromatic passages (with 8 note scales) on the same string
this produces a pattern that is stretched diagonally across the neck more than one that goes straight across it
if i do three octave series the diagonal pattern is even more pronounced. but even one octave passages seem to sit better and are easier to play fluidly if they involve a 'position' shift and this produces more of a diagonal pattern than a straight-across one
pleasure to be asked to elaborate...
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Ascending from the 6th string, are you going to HIGHER fret numbers to arrive at your destination on the 2nd string? I'm assuming "yes" now, based on what you said about chromatics. Symmetrical (fingering)/sliding scales, for example, are usually going that way, diagonally, HIGHER fret numbers at the end of an ascending scale .
At the same time, stacked thirds/arpeggios tend to go the other way. You can begin on the six string, higher frets, and end up at lower fret numbers by the time you arrive at the first string, with fewer gaps or skips, LOWER fret numbers at the end of an ascending scale .
Busy curious as to the specifics. Thanks.Last edited by matt.guitarteacher; 01-09-2016 at 04:28 PM.
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i'll do a quick vid. in the next day or so
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Awesome. Thanks.
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Technique should be developed to play what one hears, I think. A good basic technique is necessary, but beyond that, one should really try for an identifiable style, so that your mother could recognize you on the radio. This conclusion was thrust upon me when I developed focal dystonia in my right hand years ago, and lost almost all my classical/flamenco chops. I was forced to simplify and go for the feel, the flow and the melody, in the meantime I cobbled together workaround techniques. As it turned out, very few people even noticed, because, while I had thought my technique was important in building a following, my fans were there because of the feeling and passion they felt from the bandstand, from everybody on it, not just me. I was very fortunate during that time to have in my trio one of Ahmad Jamal's former rhythm sections, so they were extremely helpful, to say the least.
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