Wow that change to the 4 chord in the C position up high like that is really beautiful. Nickel Creek does something like that in their song Rest of My Life and I've always liked that really majory 7th feel on the 4 chord. Beautiful song.
Keennan, well done. I agree a major 7th on a IV chord is a beautiful sound, particularly in folk music where there aren't a ton of 7th chords happening. It's a lovely color to have appear!
2 things: You've dropped a couple of beats - one on either side of the high 4 chord. Be sure you're always hearing the song running in your head while you're playing. If you are listening to it in your minds ear you will be much less likely to make those kinds of mistakes. Dropping a beat is the kind of mistake that you really don't want to make. It affects the flow and interferes with the listener much more than if you're simply off by a fret.
Also, it sounds try slowing down and playing it beautifully. Exaggerate this; do it in a way that you would never actually play it in real life. But see how beautiful you can make it. Odds are you'll discover some things about it that you'll want to incorporate when you're playing it up to speed.
Loving this song more and more with each lesson! I've always wondered what Tony and other amazing bluegrass guitarists (including you) do to get that bluegrassy sound. Thanks so much! You rock!
Fantastic! I love the low lick at the very end just before the final chord. Super surprising but super cool! The B-part could be refined a bit, but that's being nitpick-y. 0:16 is really the only spot that could use a little help. You've added an extra beat there and glossed over the slur. Check out my video from 14:28-14:38 to get a feel for what it is up to speed. Listen, without playing to that loop for a minute or two until you know exactly what it is supposed to sound like. You can also make a loop from 14:53-15:03, but I would encourage you to not to do that unless you need to. Better to try and pick it up at speed, know in your mind's ear exactly what it is, and then figure it out on the guitar.
Also, watch the economy of motion in your left hand. Your fingers are traveling much farther than they need to.
Thanks so much. I've always loved how you construct solos and I know all of my scales but what I'm missing is the notes between the scales, resolving notes, etc that shape the solo and give music stylistic appeal. I've never thought aboud giving a solo a mood though thats a really cool way to look at that and I'll definitely work at that. Thanks so much.
Thanks so much. I've always loved how you construct solos and I know all of my scales but what I'm missing is the notes between the scales, resolving notes, etc that shape the solo and give music stylistic appeal. I've never thought aboud giving a solo a mood though thats a really cool way to look at that and I'll definitely work at that. Thanks so much.
Glad to see you on here! Fine job with the song - it sounds great. I especially appreciated the thoughful phrasing in your solo. Not a lot of people do that. 2 things to work on:
-I cover this in a later lesson, but when you play those bass runs, particularly the G and D-runs, it's stronger if you use rest strokes, especially on the last note (the open D, or in this case since you're capoed, the open F). It seems as if you are often using an upstroke on the last note to set up the next big down strum but with a little practice it will feel just as easy to go from the down stroke to the big down strum. To have the last note be strong really helps punctuate the phrases.
-vocal pitch is a little unreliable in places. I wouldn't fixate on it too hard because you're doing a good job of telling the song (telling the song is absolutely the most important part of singing!), but it is something to keep aware of.
Wow that change to the 4 chord in the C position up high like that is really beautiful. Nickel Creek does something like that in their song Rest of My Life and I've always liked that really majory 7th feel on the 4 chord. Beautiful song.
Keennan, well done. I agree a major 7th on a IV chord is a beautiful sound, particularly in folk music where there aren't a ton of 7th chords happening. It's a lovely color to have appear!
2 things: You've dropped a couple of beats - one on either side of the high 4 chord. Be sure you're always hearing the song running in your head while you're playing. If you are listening to it in your minds ear you will be much less likely to make those kinds of mistakes. Dropping a beat is the kind of mistake that you really don't want to make. It affects the flow and interferes with the listener much more than if you're simply off by a fret.
Also, it sounds try slowing down and playing it beautifully. Exaggerate this; do it in a way that you would never actually play it in real life. But see how beautiful you can make it. Odds are you'll discover some things about it that you'll want to incorporate when you're playing it up to speed.
Loving this song more and more with each lesson! I've always wondered what Tony and other amazing bluegrass guitarists (including you) do to get that bluegrassy sound. Thanks so much! You rock!
Fantastic! I love the low lick at the very end just before the final chord. Super surprising but super cool! The B-part could be refined a bit, but that's being nitpick-y. 0:16 is really the only spot that could use a little help. You've added an extra beat there and glossed over the slur. Check out my video from 14:28-14:38 to get a feel for what it is up to speed. Listen, without playing to that loop for a minute or two until you know exactly what it is supposed to sound like. You can also make a loop from 14:53-15:03, but I would encourage you to not to do that unless you need to. Better to try and pick it up at speed, know in your mind's ear exactly what it is, and then figure it out on the guitar.
Also, watch the economy of motion in your left hand. Your fingers are traveling much farther than they need to.
Overall though, very good Keenan. Keep it up!
Thanks so much. I've always loved how you construct solos and I know all of my scales but what I'm missing is the notes between the scales, resolving notes, etc that shape the solo and give music stylistic appeal. I've never thought aboud giving a solo a mood though thats a really cool way to look at that and I'll definitely work at that. Thanks so much.
Any suggestions on more embellishments?
Thanks so much. I've always loved how you construct solos and I know all of my scales but what I'm missing is the notes between the scales, resolving notes, etc that shape the solo and give music stylistic appeal. I've never thought aboud giving a solo a mood though thats a really cool way to look at that and I'll definitely work at that. Thanks so much.
Hey it's Keenan. This isn't the best device for video or audio but I hope you like it and have good critique!
Hey Keenan,
Glad to see you on here! Fine job with the song - it sounds great. I especially appreciated the thoughful phrasing in your solo. Not a lot of people do that. 2 things to work on:
-I cover this in a later lesson, but when you play those bass runs, particularly the G and D-runs, it's stronger if you use rest strokes, especially on the last note (the open D, or in this case since you're capoed, the open F). It seems as if you are often using an upstroke on the last note to set up the next big down strum but with a little practice it will feel just as easy to go from the down stroke to the big down strum. To have the last note be strong really helps punctuate the phrases.
-vocal pitch is a little unreliable in places. I wouldn't fixate on it too hard because you're doing a good job of telling the song (telling the song is absolutely the most important part of singing!), but it is something to keep aware of.
Cheers,
Chris