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  1. #51

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    Peter Farrell is a motherfucker

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  3. #52

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    Quote Originally Posted by christianm77 View Post
    Peter Farrell is a motherfucker
    Not one of your more Academic Posts lol - but yes ...and he Plays 'pretty' and melodically too at times ...still using the GB *Time Feel.

    *But actually Peter Farrell is using Peter Farrell's Time Feel as inspired by Benson.

    You can't really 'copy' a Rhythm or 'Time Feel ' unless and until you internalize it and feel it yourself.
    Last edited by Robertkoa; 11-24-2017 at 04:47 AM.

  4. #53

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    It's a technical term with a precise meaning.

  5. #54

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    Quote Originally Posted by jzucker View Post
    yeah, peter's the real deal *AND* benson hand picked him to write the curriculum for the Benson Academy so despite the naysayers, it was George who went to Peter for this. I think I trust George and Peter's recommendations!
    'Naysayer' is about as accurate as 'hand-picked'.

  6. #55

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    Quote Originally Posted by jzucker View Post
    yeah, peter's the real deal *AND* benson hand picked him to write the curriculum for the Benson Academy so despite the naysayers, it was George who went to Peter for this. I think I trust George and Peter's recommendations!
    Haven't noticed one naysayer. It's just discussion.

  7. #56

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    Quote Originally Posted by DS71 View Post
    It's just discussion.
    Except when it isn't.

  8. #57

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    Naaaaaayyyyy!!!!!

  9. #58

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    Quote Originally Posted by christianm77 View Post
    Naaaaaayyyyy!!!!!
    Well then. There you go.
    lol.

  10. #59

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    Quote Originally Posted by christianm77 View Post
    Naaaaaayyyyy!!!!!
    Spell that 'neigh' - get on the good hoof. (With three fingers...)

  11. #60

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    Any News yet, when the actual George Benson Academy will be available?
    thanks!

  12. #61
    Quote Originally Posted by DS71 View Post
    Any News yet, when the actual George Benson Academy will be available?
    thanks!
    i reached out to Peter Farrell to get an update. Will report back soon...

  13. #62
    They are still awaiting funding. As soon as that happens it will be announced. In the meantime, contact Peter on facebook because he has a George Benson technique facebook group that he teaches on.

  14. #63

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    Yeah. Just a guess but GB probably selected Peter Farrel because on single lines Peter appears to be closest to George's Time Feel.

    Finally after 50 years...someone got it .

  15. #64

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    I'm most likely going to jump on board when GBA goes live. No shortage of things to work on at the moment, but I'm looking forward to it.

  16. #65
    I agree that Peter has the benson thing down. I've been saying for years that folks who get hung up on the wrist angle are not necessarily focusing on the right thing. The time feel, articulation, coordination and knowing how benson approaches the cross-picking are way more important.

  17. #66

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    Quote Originally Posted by jzucker View Post
    I agree that Peter has the benson thing down. I've been saying for years that folks who get hung up on the wrist angle are not necessarily focusing on the right thing. The time feel, articulation, coordination and knowing how benson approaches the cross-picking are way more important.
    I think this is just a part od the Benson aproach. I'm in the Peters Facebook group and I can say that there's more than just that. It would not be fair to Peter to speak more.
    I would advise to join the group. To many experienced player it would imidiatelly show a lot and to less experienced it can show the right path. And Peter's lessons are great and he's not hiding anything.
    Not affiliated...

    Sent from my SM-C7000 using Tapatalk

  18. #67

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    And you can ask Peter anything, he gives answers right away.

    Sent from my SM-C7000 using Tapatalk

  19. #68

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    Just chiming in as I thought Jack would dig this video, uploaded this week, of Peter Farrell AND a Gibson Barney Kessel!


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  20. #69
    Woah! beautiful playng and great axe Peter is playing there

  21. #70

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    Fine playing, indeed. Had he not been introduced, I would have thought he was Brazilian or had studied a lot of South American music, with that classical-guitar-like arpeggio thing. Beautiful playing. The video does highlight for me, though, the problem I had with my admittedly very short study of Benson picking: the pick makes a scraping sound on the wound strings, most noticeable on the sixth. It drove me crazy, and I assumed that I was doing it wrong, but here it is. I wonder that if it was his guitar, he would string it with flats. Once your ear picks up up on that scraping sound, it's hard to not hear it. Otherwise, somebody I'd like to hear more of, for sure.

  22. #71
    Peter usually uses flat wound strings as does Benson ....
    The scraping sound also bothers me when I'm playing round wound strings. Didn't bother me so much in Peters video.
    When I play round wound strings I revert back to a "normal" grip.
    Doing so is now very easy and in fact, my old grip tech has improved greatly......probably from so much technical practice.
    In the early days of changing to the more Benson way, I found it impossible to change back, but it seems that once you reach a certain point this is no longer the case.
    It's nice to be able to switch back and forth.

  23. #72

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    Peter Farrell



    As I stated earlier I'm a PF student. In our last lesson he said we can share what we learned, but not share videos he make for us. This is extremely generous. He is just great guy, great player and overall great person. George and Peter are starting GB institute and they already wrote 5 (or even more) toms of George Benson method. It can be applied to all instruments. There will be special books for guitar players. They will be released in a few months, so watch for them, they will be a bomb.
    Related to GB picking method, Peter and George always state that only right hand is nothing. The secret is in both hands. And boy, Peter really demonstrates this in lessons. To summarize:
    1. Both hands follow rules and work together - most important. Without it there's no fluency.
    2. RIGHT HAND
    A) going down - dwps with wrist motion,
    B) going up - alternate picking with forearm motion,
    3. LEFT HAND - this is my personal observation. PF showed us lines (i cant show them) but when I analyze them it comes down to this.
    - learn lines in major, mm, hm etc firstly in even numbers of strokes per string following right hand rules too. Odd number of strokes per string are allowed, offcourse, but up/down rules must be strictly followed.
    - all this may look complicated but it's not, the issues is that it has to be meticulously practiced every day. Just learn few lines with all this rules in major, mm, hm etc, play them to death and when they are fluent and fast add to them. Add more lines and more notes to the lines.
    4. Different tempos GB use different techniques. Above are rules for fast and furious (what we all want, don't we?).
    5. Divide neck/lines/everything in C Maj and A minor only. This is a secret of knowing the neck.
    6. Learn lines - That allows to think in bigger chunks. It's easier to transform them in smaller pieces than put together a lot of small pieces in bigger ones. It can be done other way around, but don't neglect lines. You'll have two worlds under fingers.
    This is just a scratch that PF showed us in first couple of lessons. We think about this rules now too, but much much less because they ingraine in hands pretty easily. Now we work on concepts. It so much fun.
    Others can join the gruop, but they have to pay all the lessons backwards. I know this is tough but it's worth. Peter really shares everything, without secrets and holding back. He also films personal videos for students if something is not clear and we can always ask as much as we need via messages.
    I'm not a professional musician, but I've been playing guitar over 25 years. Two years ago I switched to GB picking method and it was hard in the begging but I felt a lot of freedom in playing very fast. That wasn't enough because I thought the secret was in right hand. Fastly enough I found out that left hand is important but I didn't know what to do. I even made some mistakes by learning the scales in odd/even number of strokes per string and that only confused me more. Than I stumbled on PF lessons thanks to Jack Zucker to whom I thank a lot. Now it's easy to play what I want. I can play also those odd/even number of strokes per string scales too because I know how to play them (altough not so fluently). Investment in these lessons was the absolutely the best I had in my playing career.

    Another thing that helped me a lot was understanding of right hand moves that I learned by watching Troy Grady interviews. They are excellent. The issue with this is that he explains/show only one instance or move. As you can see GB use combination of them - dwps WITH wrist motion going down, alternate WITH using forearm going up. And there are other things but these two are most important. Also, he shows only right hand, no left hand (very often).

    I hope this shares some light to GB method. It's all thanx to PF generosity.

    In the end, I think it's possible to set another rules and move away from GB style. Like upwps instead of dwps and combine that with accordingly changed left hand rules. Ingrained those lines and have something totally different. Maybe I'll do just that. In another life, offcourse.

    Sent from my SM-C7000 using Tapatalk

  24. #73

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    Very much looking forward to this! GBI and the method.

  25. #74

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    Does Peter Farrell have a CD for sale ?

    I mean Music for listening ...not the "Method".

    His Playing gets me fired up in a good way...

    [I think it is absolutely GREAT that people wanting to learn the Benson Technique can have Direct Access to a Master Player like Farrell though..].
    Last edited by Robertkoa; 02-03-2018 at 09:11 AM.

  26. #75

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    Any more info? ETA on the book or GBI?

  27. #76

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    Quote Originally Posted by mikostep View Post
    5. Divide neck/lines/everything in C Maj and A minor only. This is a secret of knowing the neck.
    If your at liberty to say, would love to hear more about this...

  28. #77

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    Quote Originally Posted by DS71 View Post
    Any more info? ETA on the book or GBI?
    Book will come out in June or July.
    Last information on GBI is that only few small details needs to be addressed. BiG things are finished. No eta at this time, Peter just said very soon and he was very excited because he and George just had 18 days together about GBI and classes (imagine 18 days of classes with George himself). He didn't want to reveal more at this point.

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  29. #78

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    Quote Originally Posted by DS71 View Post
    If your at liberty to say, would love to hear more about this...
    1. 3 fret C Maj
    2. 5 fret A minor
    3. 8 fret C major
    4. 10 fret A min9
    5. 12 fret A minor

    Now, all this positions have a basic C major line. Sorry, can't show them, but i can say that they follow even notes per string rule and omitt 4th. Lines are played from top strings by alternate picking. Also, last note on string going must be upstroke because then you are above strings. Like Eric Johnson pentatonics filmed by Troy Grady.
    Beside these basic lines, arpeggios (cmaj, amin, emin) are used for each positions. Arpeggios use sweep picking when necessary. Sometimes, when you combine line and arpeggios and you actually combine sweep and alternate picking you must adjust order of picking to have all in line.
    So, these are basics of visualisation. There are other things too and many of them I discovered by myself when I applied basics.

    Other lines he shows to us (major, mm, HM etc) are also practiced in these 5 positions systematically. They are incredible and how they are connected and their application is amazing.

    It's much easier than caged and similar systems because you have to think only about 2 very well known chords. Then, in the beginning everything is practiced just in C major/ A minor key. When you learn this key well others are very easy because they are mirrored (example Fmaj/Dmin etc). It's very easy to see things this way, at least for me.
    About the lines - when you practice lines, you practice previously choosen best pitches of the scales (lines). They must strictly follow picking and fingering rules. Altough many players think that GB secret is in right hand, no, it is in left hand. In order to have right hand in function, left hand fingerings must be adopted.

    All of this will be explained in book, but I think watching Peter explain all this in videos and rewatching them in slow motion is faster way to learn. Also, you can film yourself playing and send it to him and then he explains everything to you. Invaluable. Offcourse, he also reveals a lot of other incredible tricks that makes playing so much fun.
    More later...

    Sent from my SM-C7000 using Tapatalk

  30. #79

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    Sounds interesting, if I had any time at all I would love to learn more, if only for my understanding rather than my playing.

    A somewhat modular approach to improv unless I’ve misunderstood?

  31. #80

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    Last night Peter had live facebook session for everyone. Check it if you can while it's still uploaded. First 40 minutes he speaks mostly in Portuguese but later in English.
    It was so much fun and so many incredible things.

    Sent from my SM-C7000 using Tapatalk

  32. #81

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    Quote Originally Posted by christianm77 View Post
    Sounds interesting, if I had any time at all I would love to learn more, if only for my understanding rather than my playing.

    A somewhat modular approach to improv unless I’ve misunderstood?
    What do to mean by modular, Christian?

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  33. #82

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    As in learning modules which you then vary and combine to create lines.

  34. #83

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    Exactly! Combinations are what GB is at, all the time.
    And when you put some effort in learning lines following left and right hand rules I've mentioned, after some time (actually very quickly) both hands "learn" lines and rules and they become subconscious. And then the fluid music starts. Totally fluid. But, this is just a tool you use for expressing. You can set a goal, like learn 10 lines in major, mm, hm, dominant scales, all basic arpeggios and use them for next step. And in next step he shows what George use in superimposing, reharmonisation, quartal harmony, what rhythms he hears when playing etc.
    So, you got great lines (it's easy to create thousands of them) which you use for learning reharmonisation etc and playing.
    So, Peter is like channel from George to us.

    Did you, by a chance find a time to watch the Facebook live from last night?

    Sent from my SM-C7000 using Tapatalk

  35. #84

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    I appreciate the insights you've shared here, esp the ones about getting the left and right hands in sync.

    Look forward to the material due out this summer.
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  36. #85

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    Quote Originally Posted by mikostep View Post
    Exactly! Combinations are what GB is at, all the time.
    And when you put some effort in learning lines following left and right hand rules I've mentioned, after some time (actually very quickly) both hands "learn" lines and rules and they become subconscious. And then the fluid music starts. Totally fluid. But, this is just a tool you use for expressing. You can set a goal, like learn 10 lines in major, mm, hm, dominant scales, all basic arpeggios and use them for next step. And in next step he shows what George use in superimposing, reharmonisation, quartal harmony, what rhythms he hears when playing etc.
    So, you got great lines (it's easy to create thousands of them) which you use for learning reharmonisation etc and playing.
    So, Peter is like channel from George to us.

    Did you, by a chance find a time to watch the Facebook live from last night?

    Sent from my SM-C7000 using Tapatalk
    Ha no, not really watching any new information atm as I have no time to learn to apply it. My practice time is already spoken for due to gigs, teaching and 10 week old baby.

    But it sounds very cool.

    You know a lot of people are down on the modular approach to improvisation. I think as long as you have enough ways of working with material it’s completely valid. I mean bird was pretty modular most of the time.

  37. #86

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    Do you have a url by chance? thanks!

    QUOTE=mikostep;842196]Exactly! Combinations are what GB is at, all the time.
    And when you put some effort in learning lines following left and right hand rules I've mentioned, after some time (actually very quickly) both hands "learn" lines and rules and they become subconscious. And then the fluid music starts. Totally fluid. But, this is just a tool you use for expressing. You can set a goal, like learn 10 lines in major, mm, hm, dominant scales, all basic arpeggios and use them for next step. And in next step he shows what George use in superimposing, reharmonisation, quartal harmony, what rhythms he hears when playing etc.
    So, you got great lines (it's easy to create thousands of them) which you use for learning reharmonisation etc and playing.
    So, Peter is like channel from George to us.

    Did you, by a chance find a time to watch the Facebook live from last night?

    Sent from my SM-C7000 using Tapatalk[/QUOTE]

  38. #87

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    Quote Originally Posted by DS71 View Post
    Do you have a url by chance? thanks!

    QUOTE=mikostep;842196]Exactly! Combinations are what GB is at, all the time.
    And when you put some effort in learning lines following left and right hand rules I've mentioned, after some time (actually very quickly) both hands "learn" lines and rules and they become subconscious. And then the fluid music starts. Totally fluid. But, this is just a tool you use for expressing. You can set a goal, like learn 10 lines in major, mm, hm, dominant scales, all basic arpeggios and use them for next step. And in next step he shows what George use in superimposing, reharmonisation, quartal harmony, what rhythms he hears when playing etc.
    So, you got great lines (it's easy to create thousands of them) which you use for learning reharmonisation etc and playing.
    So, Peter is like channel from George to us.

    Did you, by a chance find a time to watch the Facebook live from last night?

    Sent from my SM-C7000 using Tapatalk
    [/QUOTE]Peter Farrell | Facebook

    First 40 minutes he speaks mostly in Portuguese but later in English.

    Sent from my SM-C7000 using Tapatalk

  39. #88

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    Quote Originally Posted by christianm77 View Post
    My practice time is already spoken for due to gigs, teaching and 10 week old baby.
    What's the baby's name? Boy or girl? Most adorable of all possible children ever or no? Best wishes to you two and the mother. Henceforth you should stop saying "I'll sleep when I'm dead" and instead say, "I'll sleep when she's two." (Then three, then four, then...)
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  40. #89
    2. RIGHT HAND
    A) going down - dwps with wrist motion,
    B) going up - alternate picking with forearm motion,
    it 's my understanding that rest strokes are used for going down with economy picking and wrist motion, but when going up there 's alternate picking with some forearm motion without the rest strokes? Also what do you mean by dwps?

    (going down (ths strings) means actually going up the scale and vice versa)

  41. #90

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    Quote Originally Posted by Alter View Post
    Also what do you mean by dwps?
    Downward pick slanting. The pick 'leans' a bit towards the ground/downward. I actually use 2 way pick slanting. DWPS for somethings(usually 2np).

  42. #91

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    Quote Originally Posted by MarkRhodes View Post
    What's the baby's name? Boy or girl? Most adorable of all possible children ever or no? Best wishes to you two and the mother. Henceforth you should stop saying "I'll sleep when I'm dead" and instead say, "I'll sleep when she's two." (Then three, then four, then...)
    Haha, Maisie is her name! How did you guess?;-)

  43. #92

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    Quote Originally Posted by DS71 View Post
    Downward pick slanting. The pick 'leans' a bit towards the ground/downward. I actually use 2 way pick slanting. DWPS for somethings(usually 2np).
    Oooh FANCY! Coming here with your fancy motions.

    DWPS - Gravity always wins.

  44. #93

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    Check out Peter's Facebook. He posted another great video.
    He talks about rhythm, left and right hand secrets, his approach to "Wes" thumb, superimpositions etc.
    Downloading and slowing down his videos are fantastic.

    Sent from my SM-C7000 using Tapatalk

  45. #94
    Check out these new videos from Peter & Bill Moio having fun.




  46. #95

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    I just joined his FB group today, will be checking out 1st lesson tonight when I get home from work.

  47. #96
    Quote Originally Posted by guitarplayer007 View Post
    I just joined his FB group today, will be checking out 1st lesson tonight when I get home from work.
    Where did you find the fb group?

  48. #97

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    You can't see group without joining and paying, it's a private group

  49. #98
    Quote Originally Posted by guitarplayer007 View Post
    You can't see group without joining and paying, it's a private group
    Ok. So you just messaged him or something?

  50. #99

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    Quote Originally Posted by matt.guitarteacher View Post
    Ok. So you just messaged him or something?
    Yes, or contact him on peterfarrell1818@gmail.com.

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  51. #100

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    words 'method' and 'Benson' somehow do not go together in mind... except maybe 'method of promotion' but it is not about it I believe?