GAMBALE SPEED PICKING PDF

Dec 25 Over the years of playing, performing and teaching guitar, one of the biggest problems encountered is not with the left hand fingerings as much as with the right hand picking technique. Many guitarists openly admit that their picking is pretty bad. Unfortunately, there is not much written on this particular subject and that is the purpose of this book, to give you an insight into the techniques that I have been developing and using that really work. The basic idea has been with us for many years and can be used to achieve mind-boggling speed and flawless accuracy while being completely relaxed in the right hand. Gambale explains and demonstrates sweep arpeggios, speed picking licks, harmonic superimpositions, sequence licks, and more!

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Chris: A suggestion that might be of use to your fans, current and prospective students would be to follow up the "easy" arrangement with a difficult arrangement of the same tune. That way, the Hi JohnoL, jimmy blue note, I'm on one of my favourite subjects here! I'd be happy to contribute whatever I can. In The Advancing Guitarist, if you move on from the section dealing with the The OP asked for some ideas for learning more about jazz, preferably in short lessons.

Hi, JF, I enjoyed your playing. Find a nice Latina vocalist and go get some gigs. Good playing. Hey Johno, let's make you the guinea pig.

Tell me where you are as far as your fingerboard knowledge. I'll walk you through a treatment of a piece at your level, you ask questions, Ever since I got a Byrdland last year I've been fascinated by carved spruce top electrics. It's a got mellower attack, richer tone and more dynamics compared to my other guitars.

But I don't prefer I played it a few weeks ago, the one with two humbuckers. I was there for a test drive on the Heritage which I didn't like. I thought the neck on the Romeo felt a little fatter than my T Yes, I had pages marked off!

These pages also include a nice summary of Drop voicings. Thanks neatomic - I hadn't seen that version of a mount. I had seen the ones from eureka sound Sound Hole Pickup Mounts They looked a little flimsy.

The Pickup Cradle looks more Andy, many jazz players use just their fingers. Check out Martin Taylor, for one. It has taken too long for someone to mention working and living conditions. It should be said importing from China is not the same as a Japanese import or even Korean. What makes me sad is when I If it was good enough for John, it's good enough for me.

Search Titles Only. Frank Gambale Speed Picking. Thread Tools. Jean-Luc Ponty is also part of this lineup. Frank is an old friend of Chick's and was part of his Electric Band. About two minutes in, the burning starts. The Jazz Guitar Chord Dictionary.

Join Date Dec Posts 6, Don't like most of his CDs. My favorite is Brave new Guitar. Read a review in the "Wall Street Journal" of all places and took a shot. Not my usual fare, but the guy can fly and he's damned musical about it.

Join Date Jun Posts He makes some cool faces when he is playing. Kinda like he's saying, "That felt good didn't it? Not long ago one of his students was Pat Metheny Join Date Oct Location No. Originally Posted by Rob MacKillop. Jerry Garcia was a huge fan as well I distinctly remember Pat saying in an interview that he had started taking lessons from Frank. He said Gambale had really sussed the right hand pick action, and he wanted to learn from him.

That was about five years ago. Unfortunately I can't remember where I read it! If they did, I'd love to hear more about it. As a result, most players fret better than they pick. Further, he refined the use of "sweep picking" in smaller doses -the archetypal use of sweeping is for arpeggios running from the low to high E strings, and one reason some people dismiss it is that it turns unimaginative adherents into arpeggio zombies.

Although Frank doesn't sound like Eddie Van Halen, they have one thing in common: however fast they play, it always flows and never sounds mechanical. Well, I would not like to be the source of a false statement, so as I am not per cent certain, all I will say is that is what I seem to recall. I do small sweeps here and there, certainly not systematically.

I often wish I could, but I keep thinking there is something unmusical about it. I know, who am I, etc? But when you start moving away from strong and weak strokes lining up with strong and weak beats, something gets lost, I feel.

But, I do wish I could play faster when needed Jimmy Bruno doesn't like the term "sweeping" but says it's pretty much what he recommends: move to a higher string with a downstroke and to a lower one with an upstroke. Here's a taste of Frank showing a adding the second to triads -1,2,3,5: a bedrock jazz 'cell' and then b playing a tasty blues solo. I even picked up a fluorescent yellow Gambale saber to see if some of that mojo would rub off on me. I never reached that level of technical prowess, but I certainly did incorporate his economy picking into my playing, and after a couple of decades, it's now it's sort of an ingrained part of my style.

I also typically use those 3 note per string scalar patterns, gleaned simultaneously from Gambale and watching Racer-X play.

Of course, after a period of "too many notes" excess in my playing, I eventually came back to that whole "taste and restraint" thing, but I had a better level of technical ability to execute those more musical ideas. On a related note, Gambale certainly seems to have really branched out from his earlier more fusion-centric playing. Oh, I'm sure he could ALWAYS play various styles, and play more melodically and tastefully, but I seem to be hearing more and more of that from him as time goes on.

That, to me, is what "fusion" should be. I like the three-notes-per string scale patterns. Originally Posted by markerhodes. Join Date Apr Posts I wanted to hate, I couldn't stand what he did earlier in his career, this I like.

I prefer a cleaner tone but the note choices sound nice to me. Join Date Dec Posts 2, Not my cup of tea stylistically or tone-wise, but the chops are certainly there.

When I listen to fusion of this elk I often find myself wondering "what is the point? It's also music musicians like. It's also tuneful, so non-musicians enjoy it too.

It was a weird off-shoot of bebop for some jazzers to think that unless heads are hard to play and harder to hum, they ain't jazz. Electronics have a lot to do with it: because electric basses are used and drums are mic-ed, the rhythm section is not "playing for the band so they can play for the people who can hear them. My ideal for this sort of thing is Donald Fagen's "Kamakiriad. Well, he certainly is fast. I would love to have that speed in my playing.

One of my weaker points is that I just can't play fast enough to my liking during short runs. I'm pretty booked up with my daily regimen, but I could squeeze in an extra 10 min a day if you thought that would help. I'd love to show off a little bit when my senior recital rolls around in April of next year. Typically, a noticeable improvement in chops takes an hour a day for several months. Well, as I said, I have a recital in April - that's 6 months, give or take.

I'm not looking for blazing speed I can work on that after I graduate If there are other methods that might yield faster results, I would consider those.

Join Date Jan Posts 4, The longer you wait to develop speed technique Not trying to be negative I've always dug FG's playing with other great Jazz players Don't like his blues playing

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