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Matt,
don’t know from which background you are coming, but from my beginners POV this is really ok! I tried to listen attentively to your first chorus. What I felt:
– Bars 1 and 2: a bit linear, the start into your solo could stand some more swinging articulation.
– Bars 3 to 8: just great! Relaxed and bluesy walk meandering up and down, sounds absolutely accomplished and wanted, not like a student ruggedly stitching together licks. The little slides into some of the notes are perfectly set.
– fretting of some notes in the turnaround failed–nothing that couldn’t be fixed after playing a few times. I wonder if the reason for these little failures might be that your confidence of the V7 fingering is not as distinct as the other two. At least that is the reason for similar errors that I tend to produce–the five chord occurs scarcely in the blues chorus.Hope it was ok to comment on your playing, since you didn’t ask explicitely for that… But I think we could have a bit more exchange among Richies students here in the forum.
Robert
P.S.: How did you record your playing together with the backing track (gear/software)?
Yes, part of my living I am making as a freelancing graphic designer. Because of that, I have an idea about the huge amount of work that went into the setting of your instructional material alone. Well done!
Robert
Your fingering for pattern 7 differs from Ritchie’s. He has the upper octave 6th on the second string, while you have it on the third. Just thought I’d better mention it.
@ Rob — I shouldn’t have drawn all the shapes before actually learning them. Now I checked all seven fingerings on Richie’s original PDF’s, the diagram in posting #3171 is corrected. Thanks for taking care, Rob! My diagrams are supposed to be helpful — in the first place they are for me. And of course the should show exactly what Richie is teaching.
Robert
Oh, sorry! It wasn’t my intent to start mayhem…
@ Rob — I don’t play it this way, I just drew it the wrong way. I changed it, and realized, that the graphic obviously isn’t embedded in the post, it is linked to my server. So I updated the file and it should be ok now in my first post #3171.
@ James — You’re right! First module has patterns 1, 4 and 5–which is what I am working on. When I was drawing the diagram, I decided to do them all, so I shouldn’t start again later. I made another version showing the position of the intervals 3 and b7, reduced it to patterns 1, 4 and 5 for you:
Robert
For me it is helpful to see all seven fingerings drawn on fretboard diagrams with their correct relative position. I tried to do this with the seven mixolyidian fingerings from Module 1:
So you can see that each fingering is is overlapping with his neighbours (fingering number +/- 1) by three frets. All together cover the complete fretboard, at the end of fingering #7 (which are the three left frets of #7, we are going right to left by increasing fingering numbers) we have the overlap to #1 the start of #1 again.
Covering the complete fretboard, there are no gaps–compared to approaches with five fingerings, this is an advantage, at least for me.
Robert
(My first post here, I have no idea if the link to my picture is working. I would have preferred to upload a printable PDF, but didn’t find a way to do that…)
