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I did some practicing, and here is my shot at playing with Mr. B's faster rhythm track. This is pretty much maxed out tempo-wise for my abilities, although I am working on relaxing more in order to be able to play faster tempos.
I know this started out as a fingering/position thread for this tune so I'll tell you some of my thoughts on how I approached that.
I based myself on the 3rd fret Ab major scale position.
I used arpeggio shapes to accommodate the phrases and give me a context for the changes I'm playing over. Just go where the shape is regardless of position or ergonomics.
I played the B dim arp. near the end starting on the A string second fret because I don't like the tone of that first note on the low E string
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05-11-2024 06:23 PM
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Excellent stuff Mr B and alpop, this is why the internet was invented. Was the first track at at 140/150 and the second at 180/190? Yes to all
Great fun. More please.
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Bars 15-17 make a nice iiVI lick.
Here is the lick transposed to C Major.
Are we moving onto bars 17-20?
They are a repeat of bars 1-4.
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How about we take the week for folks to catch up and post their takes of the full first 16?
Next week we can start with 21-24?
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I like that.
Originally Posted by pamosmusic
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Sounds good. I have a busy week as is and my allergies are currently set to "feel like hell."
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Here goes!
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Oops miscounted. Did 12 instead
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What's in that fish tank? Is it guppies? I have an endler colony going and they're so fun. Originally Posted by jazznylon
Oops miscounted. Did 12 instead
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Yes Originally Posted by AllanAllen
My Dad tends to them. We have 2 fish tanks one for babies and one for adults
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I did that at first, but I quickly had too many fish. Now they live together.
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Nice job, you've done some work. Good of you to post. Would you be open to some well-intentioned advice? Originally Posted by jazznylon
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Bumping mm 1-16 up to 180. Also, I really enjoy playing this old Aria Pro II PE180, aka "Poor Man's L5ces" or at least, the less-affluent man's L5. Recorded direct from the Fender Tone Master Twin with the Hal Leonard backing track.
I've switched how I finger the last bit. Actually I used to play this at about 210 and lost it, and I've been watching my old clips to remember how I eventually worked out the fingerings. I've gone downhill...
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Sure thing! Originally Posted by alpop
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Okay, cool. Originally Posted by jazznylon
My advice would be to play from beginning to end with a consistent pulse. If you have to slow down to do so, that's fine.
Get out the metronome and find the tempo that you can play at without losing the pulse. Do some repetitions until you can lock in, and then increase your tempo from there.
Hope this is helpful!
Alan
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Sounds good. Thanks for the help! I'll do it better next time Originally Posted by alpop
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Good advice. And maybe a quick note — the big danger when you do the really good slow practice is that you can sneak by with inconsistent fingerings in the right hand. Helps a lot to write in the picking, or in this case the right hand fingering. That way it’s consistent all the way up to tempo Originally Posted by alpop
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True. As one who struggles to play even moderately fast, I've learned that playing fast is a different kind of playing than playing slow. If I choose a fingering and picking pattern at, say, 140, that I can play flawlessly, it's still possible that up at 180+ it will be unplayable due to the shifts, stretches, and skips required. But of course practicing at high tempos means mistakes, and we don't want to "teach" our muscle memory mistakes. So I often push the tempo up and try to play an abbreviated figure from each measure just so I can nail the right lead-off or emphasized notes at the right point. Kind of hitting the landmarks at a fast tempo, then slowing down to learn the whole. But if the goal is playing fast, the old idea of playing slow and just increasing a little has limitations if you have fingered the thing and set up your picking style for slow playing. Originally Posted by pamosmusic
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Thinking more about playing slow and fast and how they are not just a matter of higher metronome settings. Something you can play slowly that are very hard to ever play fast. Playing fast requires its own techniques and efficiencies.
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Weirdly enough in my case I find it really difficult to throw in a lot of slurs at higher tempos rather than mostly just fingerpicking. It can get pretty confusing having to mix the two things often
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That’s a thing too. It’s always a balance between efficiency and consistency. Sometimes it might be more efficient to throw an a finger in or to slur or something, but as tempos get faster, it can feel like taking two steps in a row with your left foot.
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Has anyone been experimenting with simply landing the guide tones and main chord tones for the changes? I get really paralyzed thinking about soloing over a tune like this, so I've been just playing over the changes trying to hit the guide tones, passing tones, and arpeggio fragments just to learn to negotiate the changes. Strangely enough after a bit of that, I find coming back to play the head is actually easier.
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Absolutely. Playing an arp solo or running the arps is the best way to get the changes in your ear and hands for linear regardless of the tune.
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I'm struggling to put all the pieces together and keep tempo. It's like playing 4 different songs back to back right now.
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Yes, an approach I've found that is effective: (1) Play the appropriate scales for the chord progressions in the tune - that's progressions, as in II-V-I, not a scale per chord approach. (2) Play arpeggios of the chords, and (3) Connect your scales and/or arpeggios with notes a half or whole step away. Originally Posted by lawson-stone
Examples:
Arpeggios: Dm7: D-F-A-C -- G7: B-D-G-F -- CMaj.7: E-G C-B - etc.
Scales (with a few passing notes): (Dm7) D-F-Eb-E -- (G7) G-F-A-Ab -- (C^7) G-B-D-C - etc.
"I'm struggling to put all the pieces together and keep tempo. It's like playing 4 different songs back to back right now."
This is precisely why one should practice playing a piece from beginning to end without stopping, ignoring mistakes made along the way. It's not only good practice for sight-reading a piece, as was mentioned in another thread, but for playing it, period.
This is how classical music performers I've known are taught to practice a piece. Then they'll go back and work on their weak sections later.
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