![]() ![]() The presentations/lessons using charts and examples super imposed and then accented are brilliant.Īnd while not missing a lick on the video really shows the thought you put into the smallest of details, and how to convey them in a way that makes the lessons so fluid and helpful to understand. My blues are not blue enough, my rock is not rocky enough and my country has to much city. ![]() I guess one would describe my lead playing on a non cover, with too many notes of a chord, and not getting that blues note in the mix, or at the right time, or other licks in the mix, when mostly just putting some kind of lead to a generic jam track. You explained the timing, and that is part of it, but this really opened my thinking. Maybe you could compare a non arpeggio lead creation, with this lesson. ![]() When a lesson inspires one to want to dig deeper, you know the information was right on track. I actually thought an arpeggio was more of using the chord notes but up and down like a scale.Įxcellent and well done lesson as always. I see where I tend to build leads with maybe too many arpeggio type notes.īut like any excellent Teacher, this lesson not only helped me understand much more about arpeggios, but at the same time picked up on some of the stuff I don’t do correctly. ![]() And youve most likely noticed that these five-note sequences sound A-OK. This lesson amplified some of my frustrations with creating leads. If youve soloed over a 12-bar blues at this early stage of your guitar education, youve probably been given a pentatonic scale or two to play atop the entirety of the progression. I read many comments hinting maybe part 3 or more of the arpeggios, and I would like to add my vote to that. A great example of the heart of a Teacher. I would bet 15 minutes of lesson, comes from hours and hours of planning and tweaking, which can only come from years of dedication and practice, and the effort it takes to share so much knowledge. The empathy and sympathy you extend “not a lot to choose from and a lot to stray from” around 12:40, which was so funny I had to start over, is also a great example of the patience, thought and time you put into everything. Indeed, the lesson is #150, but the true amount of lessons throughout are infinite. I have not really got any theory for this, which is why I think it would be a great idea if you could eke out a lesson using double stops as reference points for soloing (and finding your way around the fretboard) in both the major and minor (or a combination of both) pentatonic scales.Absolutely a Teacher. For instance, I am working on a solo for the House of the Rising Son starting with a double stop on the fifth fret (a minor) and then using your tips about about the minor pentatonic scale to move up and down the neck while emphasising the chord structure with and playing off double stops. And I am now using these on the guitar together with the inspiration you provide. I use double stops a lot on the mandolin to find my positions on the fretboard and to solo around. The suggestion of a chart or a lesson on “small chords” is quite good. I tend to dip into you lessons and take parts to fit into tunes rather than learn the whole part. If other people could suggest tunes that could benefit from your tips and lessons I think that would be great for us all. I nicked Marc Woodward version’s for my mandolin playing (octave mandolin ). I think I will nick some parts of this for my version of The Thrill is Gone. ![]()
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