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@brenna – That’s a lot smoother now! Great take overall 🙂
@willymac – Please do! 🙂
willymac – Beautiful playing, Brian! I’m going to share this today and send it to the folks at Kanile’a. I’m sure they’ll love to see it! So question, no swung feel? Just wondering why you went back to straight. And as far as the ending, I thought you handled it extremely well. As long as you don’t stop, most folks never notice mess ups.
suesbarn – Here is my feedback for you 🙂
k_ra11 – Wonderful job! Great feel and excellent job on the arpeggiated attack. The only thing I’d suggest working on is the rhythm in bar 14, which I actually just talked about towards the end of the video feedback that I left for Sue (above you).
@holly1 – My pleasure! You did so well 🙂 And, actually we are working on a course for clawhammer. The plan is to release it mid January. We picked some fun, catchy bluegrass tunes for it!
brenna – I like the dominant lick at the end, nice touch! I also dig the ritardando going into the strum section. Your performance was really good, the only thing that stood out to me was the transition going back into the fingerpicked section, felt a bit laggy. I’d also suggest keeping the ending lick a little more consistent in timing/rhythm. To me, I’m hearing a fermata on the last chord hit followed by that lick, but played in a steady tempo. Let me know if that makes sense, if not I can record a video demoing how I hear it.
holly1 – Dang, Holly! Super clean playing! Excellent job with bringing the melody note out in the strumming section. Keep up the great work!
stinyuke – Well done, Christina! The only thing that stood out to me was that you rushed into the strumming section. So you just want to hold out that last hit longer, while the pick up note falls on the last beat.
As far as your question, hang tight because we’re releasing a course on harmonics the first week of January; and I actually answer what you asked in exceptionally nerdy detail LOL.
You can play over any chord in the progression, which is called playing the changes. But that means to highlight the notes that are in that chord. So in this example: D F# A.
You don’t need all the notes to define a chord. The guide tones are needed (3 and 7), as well as (in this case), the extensions: 6 and 9.
@willymac – Give it a shot! Will be interesting to hear how it comes out 🙂
@jinajupiter – right, he’s playing out of G. C# won’t sound good.