It's common to hear the idea that guitarists need pitch and drummers need rhythm. These are both half true, as guitarists and drummers need both pitch and rhythm. Could you imagine what a duo band like the Black Keys would sound like if Dan Auerbach had bad rhythm? Not so great. Playing great riffs out of time is sort of like driving a Ferrari into a wall.
We have learned a large portion of the piece, and for this new lesson I'm going to set you a rather difficult challenge. At this point in the piece, we are meant to repeat in full everything we have learned so far. I thought it would make a fun challenge if we played everything one octave up for this repeat.
Something about this simple categorization really jumped out at me. When you stop to think about it, those three areas are all you really need to worry about when it comes to vocabulary. No matter what sort of material you’re practicing, you’re basically either working on the rhythmic, harmonic or melodic aspect of your playing.
When you're recording, you can use all kinds of exotic instruments for embellishing sections of a song. But you probably would like to be able to recreate your recorded performance live. It would be cool to be playing something on a six-string and have certain notes of the melody jump out with a 12-string sound and attack.
While it might sound alien to someone who wasn’t born in Brazil, or who hasn’t spent time in the country studying its music, learning the bossa rhythm on guitar can be broken down into three steps in order to quickly learn this fun rhythm on the fretboard. In today’s lesson, we’ll be studying this three-step process as you begin to apply a bossa rhythm to a I VI ii V progression in C major.
In today’s lesson, we focus on a couple of exercises to help you develop and maintain technique. Once you are familiar with them, exercises like these also can serve as good warmup drills before recording or performing. And it’s worth noting that mastering exercises like these can go a long way to enhancing your general musicality and confidence.
Welcome back to "Learning Mozart's 25th Symphony in G Minor!" It's been about a month since the last installment (which you can check out here), and I've been reviewing the previous parts. I have a few changes I'd like to suggest that I think will improve what we've already learned. I'm learning this piece section by section, so as we progress I might go back to previous parts with new ideas and suggestions.
This lesson takes the same ideas discussed in my last lesson, "Increase Left-Hand Strength and Produce Great-Sounding Sequences,” and applies them to the diatonic major and minor three-note-per-string scales. It will help you get the seven positions of the major scale memorized, increase your left-hand strength, solidify your alternate picking and deliver some great-sounding sequences.