evolucian wrote
@ Dom - your speed limitation isn't too slow. its perfect for what you want to achieve and what you went for.
yeppers, thanks. i know i'm no speed demon - so i go for expression, which is why i really dig the comments you make below:
In this particular scenario, with the approach you laid out, you need to let your lines breathe. A smooth gentle vibrato on notes that linger will do the trick. You have a constant wall of sound and no rests. Now, rests don't have to mean silence. That vibrato thing I mentioned lets it breathe just as good as rest.
vibrato is definitely one of the things i'm working on. i'll have a look at a few more vibrato breaks, as you put it, to give a bit more interest to it.
You'd want to seperate your phrasing, be consistent with your theme. I liked your motive. In the second part of the track you could bring it up a 5th and then into the octave. But attack your notes, play a note hard, dig into it. Let it breathe with a bend and vibrato. Bends are such an emotional thing in music and it just makes one pay attention. End on a bend going high... you want a climax - not a descending line because that brings it, the music down. Think about the ending of the rhythmic piece, does it sound like its going into an acoustic jangle chorus or a heavy chorus with a full sound? Think about it as you attempt another one... if you plan on it that is. Keep practicing with the track, incorporate as many ideas as you can. Find new ways to say the same thing. Eventually you'll land up with an idea that soars and screams to be listened to over and over again.
wow, that's quite a lot to take on board, but definitely good stuff to work on. one thing you point out, which, when i think about it, i'm very often guilty of, is going down musically to a climax. i don't think it's always a bad thing, but doing it always probably is, if you know what i mean. i'll take it into consideration for this exercise. and yes, i definitely plan on attacking this a few different ways. first, by taking this version and trying to improve on it and then by coming at it from a few different tacks.
As mentioned in the post to V8, check out those songs of Zakk Wylde's soloing. It doesn't matter if we can play like him or not... what matters is that we learn the principle behind it. Seriously forget the wow factor of any famous artist and just listen to flow and understand how to incorporate it.
will do. i've been breaking down a few solos - looked at hendrix' solo from purple haze, for instance. it's not that complicated, or that quick, but there's a heluva lot going on there. tons of expression, for instance. if i could nail that...
anyway evo, thanks again, first for the exercise, then for the personalised feedback. this must be taking up a fair degree of your time. very selfless of you bud.
dh|
