Comments

• paul.provosty New Orleans, LANew Altamira M01

  April 2016 Posts: 16

  mandocat wrote: »

  Good stuff Paul. I think you're f***ing hilarious and the shredder's point of view is welcome. I believe Gonzalo discusses using chromatic filler to make picking easier and land on the target note in his 2 books. I agree with Anthony about the count-in but it's not a bad exercise to have to figure those things out.

  
  Yeah, in his books he basically just created long 8th note patterns that would just map out the arpeggios he wanted to hit for each chord. And sometimes that requires adding some chromatics, and unless you just want to be repeating the arpeggios just up and down (boring) gotta add some "color" right??? Chromatic meaning color haha, so no biggy in my book if you gotta add some color to your playing to make it interesting, and also easy to play!!
  
  The count in and playing things in context is something I'm really going to focus on in future videos. I think what might even be really cool is displacing the licks maybe a 16th note triplet off, so we can hear how it works in different areas of the measure. Experimentation is really the key here I think, and I definitely don't wanna turn people into Gonzalo robots. It really is best to just take the information I'm putting out there with a grain of salt and put your own spin on it. I the end, that's what creates the uniqueness in all of our playing!
  

  
• rob.cuellari ✭✭✭✭

  April 2016 Posts: 114

  what i appreciate here the most is the context of other django phrases. this allows me to have some kind of reference point better than just memorizing this is a X scale or X arpeggio. (i can hear the django references in my head without having to worry about what they are in terms of theory)
  
  
• Scoredog Santa Barbara, Ca✭✭✭✭

  April 2016 Posts: 919

  I think the easiest way to deal with the starting the lick in different places in the bar is how you lead into the phrase, then you can leave the rest alone. I also mess with other areas but the beginning is the easiest place to work on for starting on 4 and, on the beat or 1 and etc

  

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• paul.provosty New Orleans, LANew Altamira M01

  April 2016 Posts: 16

  Scoredog wrote: »

  I think the easiest way to deal with the starting the lick in different places in the bar is how you lead into the phrase, then you can leave the rest alone. I also mess with other areas but the beginning is the easiest place to work on for starting on 4 and, on the beat or 1 and etc

  
  Yeah exactly, I think that's where this lick's practical application comes into play. Displacing how you start the phrase. Maybe on the 1? Maybe the (one-e-and) UH of the first beat? Maybe on the upbeat before 1! Just experimenting can lead it to so many different places!!
• wim ChicagoModerator Barault #503 replica

  April 2016 edited April 2016 Posts: 1,580

  It's a great lick, but you can't really use it because Gonzalo already used it 10,000 times ... So now everyone would just think, pfffff he's ripped that off gonzo... )
• paul.provosty New Orleans, LANew Altamira M01

  April 2016 Posts: 16

  Wim Glenn wrote: »

  It's a great lick, but you can't really use it because Gonzalo already used it 10,000 times ... So now everyone would just think, pfffff he's ripped that off gonzo... )

  
  My life would be complete if someone thought, even for ONE second, that I sounded like Gonzalo hahahah. Talk about a compliment We all imitate our "guitar idols" and sound like them to some extent whether we can help it or not! I mean, that's how music evolves right? Everyone's playing is just a big meting pot of all of the players they have listened to, guitar, keys, sax, whatever!
  
  I would only use that lick to get me out of a sticky situation, but it's probably more beneficial to just use his "approach" and create unique licks to make develop your own sound