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mheiden – Here is my feedback for you 🙂
annefgodfrey – Anne, that was so beautiful. It was an honor to listen to you perform it. 🙂 The only feedback I can offer is to continue working on the second half of the tune. But again, awesome job! I’ve been looking forward to listening to your rendition.
Welcome, Steffi! Start here. I’m always around if you need help or have ?’s on the lessons 🙂
Hi Becky, check out this lesson.
lisadmh – That was excellent, Lisa! I can tell you put a lot of work into it 🙂 Here’s my suggestion for you. Play along with Matt. Slow the tab player to 65 or 70% and take an 8 bar section. Try to match his feel. So your goal is to get a little bit more of a relaxed feel.
Heads up for next month’s live lesson. I spoke with Matt yesterday and I asked him to make next month’s topic, “playing with finesse”. This is going to be a great one for everyone to check out because the focal point is: Not only playing the correct notes, but instead, focusing on how you play them.
When not pushed in, you are playing through the clean channel. So that amp has 2 channels, dirty and clean 🙂
O.D. is over drive. It makes your uke sound distorted – think electric guitar in rock bands, like AC/DC. Gain controls the level, i.e. more or less O.D.
Yes, only works if that O.D. button is pushed in.
laurakarr12 – Way to go! Here is my feedback for you.
@sprintingyogini – That was beautiful! Congrats on one year of playing 🙂lyndallk – That was so awesome! I’m definitely going to be sharing this on our social 🙂 And that’s so cool that you picked up the record on release day!
gaberdude – Excellent job! First thing I noticed is that your playing has great feel and tone. So you’ve got the Intro and most of Melody A down really well, but I can hear that it starts to get a little loose around Bar 15 and throughout Melody B. So I would target your practice there.
The other thing I noticed was that your thumb sticks out a bit too much (for ex: 30 seconds), but then at other times it’s at the perfect location on the back of the neck (for ex: 1:08). Try to keep it at the latter throughout. And for those of you that are reading this feedback, here is why.
kirpuff – Well done, that’s a hard one to play! You’re playing sounds great overall, but my focus would be on the subtleties. So what does that mean, well this is a fairly quick paced tune; but before we play it at that tempo we need to make sure that every note sustains for the entire duration, and sustain so that it connects one note/chord to the next.
Listen to bar 13 in your take (28 seconds), you can hear where this falls a bit short. But if you listen to the bars before it, you are nailing the above. So you’re at the stage where you want to analyze your playing and target your practice to fix areas like this. I’d also suggest to slow the tempo down a notch when working on this.
Hi guys! Here is the PDF for tonight. 🙂
Please make sure you are logged in to download it.
Great questions, Jina! Let’s jump into it.
“I have a question on the diagram included. I do recognise the C A G and F form, but not the D in the last Diagram. I connected the dots or notes in red.”
Those scales follow a 3 note per string pattern. You would need to substitute the C on the 8th fret of string 2 to the C on the 12th fret of string 3. Giving you X 12 12 10. You could apply the same logic to move the G (7 on 3 to 12 on 4) to complete the full shape, although that is not a very comfortable fingering.
How do I practice these forms? Do I fiddle around in all five forms until I master them and then glue them together?
I’d practice one a week. They will help you learn the notes throughout the fretboard and allow you to play out of the scale at any location on the neck. Call out formula (1 2 3 4 5 6 7) and notes (C D E F G A B).
“Is it like that if I mastered all five forms I am able to play major and minor in all 12 keys just shifted to another fret?”
Yes, if you shifted it up a whole step, you’d be playing in D Major. This is not minor, unless you thought of it as the relative minor and/or considered it a mode. But then the “home”, as in the root note, would be different.
“I figured that the C string goes one tone higher every position from c until g in the D form. Are there two more forms where the first note on the C string are an a and b?”
An octave of the root is not required in patterns. The C form would repeat at the 12th fret, no more patterns.