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Jockey Full of Bourbon (solo at 1:20)
Hoist That Rag (solo at 1:45)
- obvs not as well played as him, I hasten to add!!!!
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Tender Surrender
Die to Live
For the love of god
Windows to the soul
Satch:
Always me always you
Apart from the overall technical aspect, there's a real focus on the style of each note building up or ebbing throughout the songs which instills a great sense of prescience in my mind when I'm playing, don't just play the note, play the note with a determination to make it standout from the next time you play that note.
Another good example is ACDC Rock n roll singer
Satch's AWMAWY helped me improve my legato
All of them have some measure of subtlety that isn't immediately apparent, but made me think "Ohhhhhh!" when I tried to play them. However, they're all so long ago now that I can't remember exactly why they made me think that.
https://www.facebook.com/benswanwickguitar
https://www.facebook.com/benswanwickguitar
I can now do sh*te blues improv all over the neck.
The interesting bit for me was trying to work out the best way for me to play the run of 16th notes at 160bpm consistently. I managed to work it out, with no help from live videos, but it still took a bit of tweaking/sanity checking from @Clarky.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
the first is the most obvious.. what are the notes?
the second can be less obvious.. where and how to play it?
this is because the majority of the notes can be played in several different places on the fingerboard
so choosing the right fingering makes a difference [especially if you have no video footage for reference..
and then there is technique.. which if you can usually hear if you listen out for the presence or absence of the pick attack.
picking patterns are important too.. all down strokes / alternate / economy / hybrid..
as this can be the difference between something being more or less difficult to play..
it's like solving a puzzle where you only have part of the picture
so there's an element of experimentation in amongst the close listening and trying as best you can to hear the details..
interestingly, one of my students has been interested in learning some of my own solos from various pieces..
even though I have the original multi-track recordings so that I can totally isolate the guitar..
coupled with the fact that it was me that created and played the solo..
I still found myself scratching my head in places wondering 'how the fk did I play that?'
and so I ended up going through the hard listening and experimentation to try to figure out wtf I actually did..
that really took me by surprise... lol..
Jazz/Blues: Revelation (Robben Ford)
Jazz: Donna Lee, Giant Steps.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
My band, Red For Dissent
“Theory is something that is written down after the music has been made so we can explain it to others”– Levi Clay
rather than individual solo's, I'd say learning the styles of specific players
Hendrix - Hey Joe - similar phrases but modified each time to make it more interesting, and some good examples of note skipping to prevent it sounding like straight scales.
Cult -Lil Devil - moving positions during a solo, with three different styles linked together.
pretty basic but is helping me develop.
Ebay mark7777_1
Seriously: If you value it, take/fetch it yourself