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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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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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Originally Posted by jazznylon
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Originally Posted by AllanAllen
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I did that at first, but I quickly had too many fish. Now they live together.
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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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Originally Posted by alpop
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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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Originally Posted by alpop
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Originally Posted by alpop
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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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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.
Jerry Lee Lewis - Trouble in Mind
Today, 09:21 AM in Other Styles / Instruments