Thread about details to fix

AndreasOberg

In this thread you can post the printing mistakes in Gypsy Fire so we can fix it for future prints.
Best Regards
Andreas

AndreasOberg

I just found two things myself.

In bar nr 37-40 of the Minor Swing-solo, there's some really big stretches for the third finger. This is the way I actually play it but the fingerings of the book is supposed to work for people with smaller hands as well and we just forgot to change them while we edited the fingerings.
So...feel free to use the fourth finger if it hurts with the 3rd

On the discography-page, there's a list of songs from my first album with Yorgui&Ritary. Melodie a Crepuscule is listed there but it's not on the CD.

Best Regards
Andreas

Tom Conway

Hi Andreas,
I believe there's a minor text error on pg. 15, ex. 17.1 where it says "this pattern can also be used over E, G, Bb and Db diminished chords". I was thinking it should probably be F, G#, B and D diminished chords instead.

Regards,
Tom

MichaelHorowitz

Thanks Tom..I found that one the other day. Sorry about that...


'm

Patrick

Hello Andreas and Michael,

In the example 15 page 14 measure 2, I'm surprised by the position of teh few pull-offs you marked. Actually, I usually tend to think that, when playing very fast lines, pull-offs are rather used when playing 3 notes on a string so that the right hand movement keeps steady. But here, you mark pull-offs on a the 2 notes played on the G string (2nd to first fret pull-off. When playing this run, I find it most logical to play a pull for the three notes being played on the B string, then no pull-off for the G string and then the pull-off on the D string.

Am I wrong or are you ? Would that be a mistake to play the line with the pull-offs I mention instead and would that still sound clean and powerful enough. When playing it, I really hear the gypsy sound with the required power in my opinion.
what do you think ?

thanks in advance for your lights and still my congratulations on the great work achieved for this book: it is a great book.

Patrick from Paris.

Patrick

Here's another slight difference that I noticed:
in example 10, it seems to me that gypsies play this line by using 2 adjacent notes and notes two consecutive open notes.
Thus, it would make the line start with a (12 11 0 fret) pull-off sequence and so on...

Here again, maybe I'm wrong but I watch quite a lot of gypsies and it seems that's the way they actually play that type of line. Moreno uses this one a lot and Jorgui also.

Thanks in advance for your answers on this one.

Patrick

A last one for today but it's more a question than something to fix:

In example 5 page 5 you end the thirs measure with a pull-off. Can't we just pick all the notes. Even when playing ultra fast it seems compatible and gives a very strong power to the line... The pull-off seems to weaken the power of the notes and also the clear articulation. The note that isn't picked sounds a bit weaker and it does make a noticeable difference in sound.

ain't that better to pick all the notes on such a passage or is that really the way gypsies play such lines (especially players like Jimmy and Stochelo who use these chromaticisms a lot ? Do they play it with pull-offs ? And why if it's possible a to pick them all ? do they seek a less stacato effect for once here ?

Take care,

Patrick.

AndreasOberg

Hi Patrick!
First of all I'm glad you enjoy the book, thanks. I'll try to answer your questions.

1.
Example 15
The pull-off's are usally used when playing three notes per string(as you mentioned) but in this example you get a really good rhytmic drive and if you're playing the phrase like it's written. You can of course play the phrase like you suggested BUT then you won't get the same "accents" especially when playing it fast. You can do a pull off on the 2nd string as well if you like (a matter of taste) but it's the 3rd string pull of that makes that distinct rhythmic sound of the phrase in my opinion. Try to hit the first note on the G-string (in this case A) a bit harder than the other notes(followed by the pull-off) and you'll probably notice what I mean.

2.
Example 10
It works just as well doing it the way that you are suggesting. It's just a slight variation of the same phrase, gypsies like Jimmy uses both.

3.
Example 5
I would recommend you to do the pull-offs.In my opinion the phrase gets's stronger and not weaker IF you hit the first note on the D-string (in this case A) a bit harder than the other notes(followed by the pull-off). This is once again what gives the phrase rhythmic accents and it's really common among the dutch gypsies.

All the best to you Patrick!
Sincerly Andreas

Patrick

Hello Andreas,

Thanks for your detailed answers to my questions: it's much appreciated. I'll give a serious try to the exact pull-offs you marked in the book although, since I've doing the other way for quite a while now, that might feel unnatural at first to me.
I see exactly what you mean by the rythmic accents in fact and it's true it makes a slight difference: definitely worth the try.

Take care,

Patrick.

AndreasOberg

Found another printing error. It says that Jörgen Smeby plays guitar on the Young Jazz Guitarist CD but he is in fact the bass player..
This can be found in the discography at the end of the book.
Regards
Andreas

Patrick

Hello Andreas and/or Michael,

I'm still curious about one thing though after the answer Andreas gave me above. I really heard the difference in rythmic pulse that the pull-offs mentionned procure although they surprised me at first since they're done with 2 notes per string which is not hard to pick each note normally.

But my question lies in the fact that when you compare the lick 16 in the gypsy fire book and the phrase that is page 56 measure 20 and 21 of the gypsy picking book, you don't have the pull-offs starting on the same pick direction, although the two licks are every much alike.
In fact, in gypsy picking, I noticed, most pull-offs are attacked on an up-stroke (which is actually more the way I would play theml naturally first since they're close to the alternate picking approach).
But, on the other side, the pull-offs in gypsy fire and as Andreas insisted must be attacked on a down-stroke and even axaggerated for a better rythmic affect...

So ? which approach is the one gypsies use and why is there this difference ?

thanks in advance for any explanation of this difference and why you would use such or such approach.

Finally, when playing and more medium tempos, Andreas, do you still use these pull-offs or do you really try to pick all the notes then ?

Take care,

Patrick,
France.