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Originally Posted by pamosmusic
But a wonderfully erudite reply it has to be said.
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10-11-2024 03:05 PM
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if you’ve ever sat down and read a chart and been like “goddam this is weird to read” it’s almost certainly for this reason.
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Originally Posted by ragman1
Is there a rule re: writing pick-up notes as sharp? - as in the F# > G in this instance.
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Originally Posted by Mick-7
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Originally Posted by Mick-7
In addition to Peter's explanation of differentiation between note spellings, sharps tend to be employed when ascending to the next note with flats used for descents.
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Originally Posted by GuyBoden
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Originally Posted by charlieparker
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Originally Posted by PMB
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Speaking of rhythm, has anyone noticed that the first five notes of the melody to Dexterity are identical to Anthropology except that they're displaced by a beat?
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This was played on my 1991 Washburn D-12 acoustic-electric guitar that I bought from Good Will for $200. I've been playing it a lot lately, even though it's difficult to play high speed pieces on it.
Dexterity, Take 2 (Acoustic) - Box.com
Last edited by Mick-7; 10-13-2024 at 04:13 PM.
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Originally Posted by PMB
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Originally Posted by GuyBoden
I prefer not to slur the D-Eb. Picking those notes separately seems to define the following descending slur from the F even more clearly.Last edited by PMB; 10-13-2024 at 02:14 AM.
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Here, I am playing measures 1-8 with the recording at half speed and I was already struggling to keep up.
I also attempted to play this over my own comping with a Charleston rhythm and it was a struggle without any drums or bass to really lock into.
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Originally Posted by charlieparker
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Originally Posted by charlieparker
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Originally Posted by Mick-7
I've also been messing around with the thumb and I've had to change the way I fret things. You can stay in one position if you're alternate picking, but the thumb only has downstrokes, so you have to rely on hammer-on/pull-off/slides into notes.
So I say, move your left hand around more, especially if it makes things easier and it helps to phrase things better.
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Originally Posted by supersoul
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So, playing down-strokes only didn't cramp my style much but it was harder because I had to concentrate on how I was picking, which is distracting.
First take is playing with down-strokes only, second take is much faster, with my usual picking style. Pardon the crummy sound quality, the recording was on the edge of distortion and I didn't feel like hassling with it.
Dexterity, Downstrokes only - Box.com
Dexterity, Fast - Box.com
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Originally Posted by Mick-7
It's not an either/or answer. Look at Wes, his left hand moves all over the place. There are different ways to do things. But... I would not say that the right hand is a separate issue from the left hand. To the contrary, when you're playing downstokes with the thumb, both hands have to work together, and that takes practice.
It would be much more helpful if you could post a video of what you're talking about. We can't see what you're doing with just audio recordings.
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Originally Posted by supersoul
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Originally Posted by pamosmusic
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Well done everyone who can play the A section at a reasonable speed.
I'm still struggling to get bar 6 correct, this could take me all week.
See below, I'm struggling getting this to sound correct. I won't be giving up, until I can play it reasonably accurate.
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I could play it up to speed strictly with down-strokes but I'd have to practice it because it is contrary to what I normally do. To play fast, I've found it's more efficient to pick in the direction of the phrases, i.e., picking down for ascending phrases, picking up (or alternately) for descending phrases. But as you suggested, one could pick it fast strictly with down-strokes by using hammer-ons and pull-offs, etc.
But really, charlieparker is the ultimate expert on what will work best for him, he could try it different ways to discover what may be limiting his progress. Tuck Andress said he once spent an entire day playing a particular phrase. His purpose in doing so was not to play the phrase well, but to dissect his technical approach to playing it, and observe any flaws or weaknesses in it. Sometimes a very minor change in your playing technique can lead to a big improvement.
Both hands must be in sync no matter how you pick, but I agree with you, as I just said, you may have to experiment to achieve your desired outcome.
I play it almost exactly as Peter did at the beginning of his video (3rd fret position) although he played D rather than Ab (to Eb) in the third bar, which is easier.
heavenly playing from a young Gilad
Today, 10:53 PM in The Players