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Post by jonnymosco on Apr 24, 2018 11:27:29 GMT
Thanks Phil Taylor. I think that, on most instruments, subtle and sympathetic dynamics are sought after - but on the guitar they wouldn't be audible if played subtly. David Russell says always to play them greater than you think necessary as the listener hears probably half of what you think you are projecting. Jonny
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Post by vikingblues on Apr 24, 2018 19:23:43 GMT
Dynamics!!! Agreed Phil - important and produces much better music but and also tricky. Especially tricky in playing planned / written music. Easier in improv when I'm listening to what I play so much more effectively. Good advice Jonny. Mark
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Post by jonnymosco on Apr 25, 2018 21:03:05 GMT
Easier in improv when I'm listening to what I play so much more effectively.You hit the nail on the head vikingblues and may reveal why dynamics are so hard to integrate into playing: listening to what we are playing, whilst playing is a skill we often neglect to develop. If we can't do it, we don't know when to turn up, or turn down, the volume. Jonny
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Post by jackorion on Apr 28, 2018 7:26:31 GMT
Hey jonnymosco - do you have any tips for getting better tone from the ring finger? with my new collings I've found that it shows up bad tone as much as good tone, and I'm getting a bit of a thin sound sometimes from the top string unless I really move my third finger forward and make a conscience effort to push into the string rather than over it...
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Post by jonnymosco on Apr 28, 2018 7:37:01 GMT
Good question and the ring finger is always a problem, sounds like you're finding a solution though.
It's the angle of the hand (and finger) that will create a better tone, difficult to explain which angle... Look at this vid, the relevant bit starts at 1.00.
Congrats on your new guitar - a heavier gauge string would also make good tone easier, but you've probably tried that I'm guessing.
Good luck.
Jonny
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Post by jonnymosco on May 2, 2018 13:32:47 GMT
Here's a video on avoiding mistakes... or hiding them. This is just the tip of the iceberg of performance anxiety though, but the simple approach should help in a performance situation. Cheers Jonny
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Post by andyhowell on May 2, 2018 14:33:52 GMT
Another good one —your certainly right about rhythm. Keep the rythmn going and, as you say, people don't notice.
Knowing a piece or song really well prior to performance is very important — but there still has to be a first time :-)
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Post by earthbalm on May 2, 2018 20:09:17 GMT
Here's a video on avoiding mistakes... or hiding them. This is just the tip of the iceberg of performance anxiety though, but the simple approach should help in a performance situation. Cheers Jonny An excellent video in a mountain of great advice. Thanks for posting. Dale
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Post by jonnymosco on May 10, 2018 11:44:15 GMT
Thanks andyhowell and earthbalm. Here's a tip for everyone and a technique not used that much by steel string players: changing where along the string length the RH plucks. It's a shame it's neglected as it creates a whole world of interesting tones to make the music live. Those used to pinky anchoring may not be too keen though, never too late to change! Jonny
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Post by jonnymosco on May 12, 2018 10:20:30 GMT
Stopping the music sounding muddy is always a concern on the guitar as notes ring on - hope this video helps. Jonny
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Post by vikingblues on May 13, 2018 8:57:48 GMT
Thanks andyhowell and earthbalm . Here's a tip for everyone and a technique not used that much by steel string players: changing where along the string length the RH plucks. It's a shame it's neglected as it creates a whole world of interesting tones to make the music live. Those used to pinky anchoring may not be too keen though, never too late to change! Jonny A good point Jonny and a technique that has musical benefits for sure - something that is easier to remember when feeling all relaxed, but one of those techniques that doesn't spring so readily to mind if the nerves are jangling at all! On finger-style on a steel string I do like differentiating single notes played near the sound-hole with chords using an index finger upstroke or down-stroke near the bridge - helps keep the chords from overpowering the single notes and reduces chord muddiness. I sometimes feel that my judgement of how good a guitar sounds I'm trying for the first time is strongly influenced by where the guitars size and body shape causes my right hand to sit naturally. So that where there is a guitar that I feel is not as warm sounding it may just be that it's design dictates a natural right hand position for me nearer to the bridge. I think my preferred natural position on a steel string for my right hand is with the finger tips at the edge of the sound-hole nearest the neck - makes sense given my liking for a warmer sound. Mark
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Post by jonnymosco on May 23, 2018 15:41:00 GMT
Thanks andyhowell and earthbalm . Here's a tip for everyone and a technique not used that much by steel string players: changing where along the string length the RH plucks. It's a shame it's neglected as it creates a whole world of interesting tones to make the music live. Those used to pinky anchoring may not be too keen though, never too late to change! Jonny A good point Jonny and a technique that has musical benefits for sure - something that is easier to remember when feeling all relaxed, but one of those techniques that doesn't spring so readily to mind if the nerves are jangling at all! On finger-style on a steel string I do like differentiating single notes played near the sound-hole with chords using an index finger upstroke or down-stroke near the bridge - helps keep the chords from overpowering the single notes and reduces chord muddiness. I sometimes feel that my judgement of how good a guitar sounds I'm trying for the first time is strongly influenced by where the guitars size and body shape causes my right hand to sit naturally. So that where there is a guitar that I feel is not as warm sounding it may just be that it's design dictates a natural right hand position for me nearer to the bridge. I think my preferred natural position on a steel string for my right hand is with the finger tips at the edge of the sound-hole nearest the neck - makes sense given my liking for a warmer sound. Mark Thanks for looking Mark - your advice to differentiate between the melody and chords by hand position is really useful. All guitars have their own sweet spot too and sound best when plucked in a certain position. The next video in the series looks at sight reading and gives a few pointers to help learn the names of the notes in the higher positions - sorry about that! Jonny
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Post by jonnymosco on May 30, 2018 8:11:04 GMT
Here's a practical technique we should all employ to give our music a bit of sparkle: vibrato. Jonny
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Post by andyhowell on Jun 2, 2018 10:34:44 GMT
Here's a practical technique we should all employ to give our music a bit of sparkle: vibrato. Jonny Another simple but important technique. the push pull vibrato is especially effective on steel string — I think Martin Simpson calls this a blues vibrato! There's also the Lawrence Juber whammy bar technique which can be dramatic on steel string as well! SaveSave
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Post by jonnymosco on Jun 2, 2018 11:28:32 GMT
Here's a practical technique we should all employ to give our music a bit of sparkle: vibrato. Jonny Another simple but important technique. the push pull vibrato is especially effective on steel string — I think Martin Simpson calls this a blues vibrato! There's also the Lawrence Juber whammy bar technique which can be dramatic on steel string as well! SaveSaveI must check out the whammy bar technique! Jonny
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