YouTube tuition video 1 (see link for video): https://www.youtube.com/watch?v=cXXxFpuQJ2E&t=1316s

Tune in Tone up have been releasing many audio podcast lessons over the past couple of years and are beginning to move into the video lesson arena with this, our first lesson about developing speed in playing. Our videos will take the form of a free organic guitar lesson in which Dan will teach me some thematic ideas on the guitar in order to develop my musicality.

Join me on my journey to become a better musician and a more competent guitar player.

Guitar Lesson 40: Practical applications for adding tapping and sweep picking into your playing (https://tunein-toneup.com/2018/11/22/guitar-lesson-40-tapping-sweep-picking/)

In guitar lesson 40, we look at some techniques and practical applications of those techniques. I ask Dan for some help in using tapping and sweeping in my actual improvisations and we begin to examine how you can practise applying these techniques over a backing track. With hints and some licks throughout, this promises to support adding some advanced techniques into my improvisations.

Main timings:

00:01:27 Dan's improvising over the back track from https://www.youtube.com/watch?v=LehMzv6V3b0 (Funky Blues Rock | Guitar Backing Track Jam in A)

00:06:42 Some thoughts about over intellectualising our playing and what level you should be to be in a band

00:09:14 Debunking waffle you might hear on forums and the myths surrounding the myths around the techniques

00:09:45 What is the complexity and difficulties you might find when tapping

00:10:40 Ultimately what does tapping mean - what function does it play?

00:11:44 Don't just play the same licks all the time - use techniques to incorporate into your sound

00:13:40 Debunking tapping 1: muting

00:16:15 Debunking tapping 2: get used to using lots of fingers to tap

00:17:00 Adding tapping into something else

00:18:54 Coming up with a lick that we can add a tap to...

00:21:09 Learning point: phrasing idea - borrowing from the rhythm of a lick to extend into further improv

00:23:39 Debunking tapping 3: if there's a note you can't reach then tap it.

00:24:52 Use the idea of tapping to reach notes out of reach of your right hand

00:25:31 Start of backing track with tapping hand sticking in the occasional note

00:31:39 Debunking tapping 4: Getting the rhythm right for tapping licks (often a tap is adding two notes)

00:33:29 Using open strings when tapping

00:35:35 hearing that lick over the backing track

00:36:33 Keeping it based around the pentatonic scales

00:36:41 Tapping in more places up the neck

00:37:06 Playing the pentatonic with the left hand over the tapped dorian scale

00:40:04 Steve Lukather style bending licks echoed in your tapping hand

00:41:09 Debunking tapping 5: Practise getting the same finesse of feel with your tapping hand as with your fretting hand

00:44:01 Backing track to conclude the part of this lesson on tapping

00:46:32 Debunking tapping 6: allow the vibrato and bends to come through from the left hand into the tapped note

00:47:13 Start a flurry with a tap off the right hand

00:47:50 Tapping an arpeggiated idea

00:48:51 Sweep-picking

00:49:23 Starting with three-string sweeps

00:50:14 Useful phrase where the top note keeps dropping chromatically

00:51:42 Slipping the three note per string sweeps into some improv

00:53:07 Go up the Am three string arp and come back down the C arp

00:54:18 Using the Am C lick

00:56:33 Now look at extending across more strings

00:57:41 The reason for adding the additional note - so the lick rhythmically fits

00:58:18 How to make the tone on your guitar sound better for sweep picking

01:01:28 Going up a swept arpeggio in chunks and smaller rhythmic phrasing

01:02:13 Take the sweeps and investigate through the scale. See whether you can find other uses

01:05:01 Summarise the part of the lesson on sweep picking

01:05:40 Sweep picking all the chords for Hotel California

Guitar lesson 39 is a study of chord types by working through many of the major and dominant possibilities. By adding each note of a scale to a triad, Dan shows me how to explore chord sounds rather than shapes. We also look at upper extensions and finally look at one way to use chords which are out of key. Dan also raises substitution as a way really build interest rhythmic parts. Thank you for tuning in and for all your comments and support.

Main timings:

00:01:26 Introductory questions and how to think about chords

00:05:43 How are chords formed and how do we name them?

00:15:53 Introducing the idea of adding each note in turn from the scale

00:16:38 Adding the 6 (A) = C6

00:20:47 Ear training, singing, melodies and active listening

00:35:09 The next note is the 7 (B) forming a CMaj7

00:39:43 Example of using as substitutions

00:39:56 Introducing the Blues as using dominant 7th instead of major 7th

00:44:55 Second octave

00:45:44 Forming a C9 by stacking the b7 and the 9

00:46:20 Stacking the major7 with a 9 = Cmaj9

00:47:25 Stacking a C9 (1,3,5,7,9) with an 11 = C11

00:48:56 Minor version with the minor 3rd instead of the major 3rd

00:50:49 Adding the 13 (A) = C13

00:55:39 Demonstrating substituting

00:59:23 Covering chords which fall out of the key

Detailed timings:

00:01:26 I introduce the lesson by asking for some input about how to think about and use chords

00:03:08 What chords (and scales) go together well and why?

00:05:43 How are chords formed and how do we name them to identify their structure?

00:10:39 Chords are not 'shapes', they are notes played together in quick succession

00:14:02 Using sus chords as passing chords

00:15:53 When considering all the different types of chords possible, then it is a case of adding each note from the scale

00:16:38 Adding the 6 (A) = C6

00:18:03 Attach a memory, meaning, name, sound to each chord to be able to audiate the kind of sound it will make

00:20:47 Identifying intervals by ear, attaching songs to different intervals and the value of singing

00:21:56 Playing and singing harmonies

00:24:26 Sing your licks with an example from Dan, developing your unique sound and playing melodically

00:32:36 You only get that personal stamp on your sound when someone chases the sound in their head

00:33:13 Make sure you practice engaging your ears and listening to the rest of the band when you play and be responsive

00:35:09 The next note is the 7 (B) forming a CMaj7

00:35:44 How the chords are structured with the order of the notes within the chords

00:36:48 Another exercise is to keep the different chords close together on the fretboard

00:37:59 Recap of all the chord types we have got so far and using them as substitutions when playing rhythm

00:39:43 Example of using substitutions

00:39:56 Introducing the Blues as using dominant 7th instead of major 7th - or chords forming from the Mixolydian mode instead of the major scale

00:43:58 Mustang Sally as 7th chord song

00:44:55 So now we move to the second octave

00:45:44 Forming a C9 by stacking the b7 and the 9

00:46:20 Stacking the major7 with a 9 = Cmaj9

00:47:25 Stacking a C9 (1,3,5,7,9) with an 11 = C11

00:48:56 Minor version with the minor 3rd instead of the major 3rd

00:50:15 The need on the guitar to drop some notes - first the 3rd, or 5th

00:50:49 Adding the 13 (A) = C13

00:53:47 The other thing to do when exploring chords is to find inversions

00:55:39 Demonstrating substituting dominant chords - C7, C9, C13, etc..

00:56:23 Demonstrating substituting major 7th chords with maj9 maj13, etc.

00:56:30 Homework: take other scales and run through the same exercise (perhaps also the modes)

00:59:23 Covering chords which fall out of the key and a quick discussion of George Harrison as a guitarist

01:00:52 Lick from I Feel Fine

01:01:06 Mention of Chet Atkins influence on George Harrison

01:02:19 Return to the topic of quick discussion of chords which fall slightly out of key

Guitar Lesson 38: What we can learn from the style of Slash with a focus on Paradise City, Sweet Child of Mine and November Rain:

https://tunein-toneup.com/2018/08/23/guitar-lesson-38-style-of-slash-podcast/

Guitar lesson 38 is a study of Slash, with a focus on what we can learn from Saul Hudson’s style and approach to writing licks, riffs and solos. We start by using a Paradise City inspired rolling lick and then move onto the legato solo from the frantic end of that song. Next we examine the riff from the beginning of Sweet Child of Mine and what makes it tick. Finally we consider what learning points we can take from the repeated phrase from the end of November Rain. I’m sorry it’s taken so long to get this episode out but I promise there will be more soon. Also, keep looking out on our YouTube channel for some new videos, including one from this lesson. Thank you for listening and for all your comments and support.

Main timings:

00:01:35 Start

00:02:38 My thoughts on what I like about Slash's playing

00:03:08 Dan's explanation of Slash as a guitar player and where he stands in Dan's pantheon of guitarists

00:06:47 Quick mention of the E harmonic minor run in Sweet Child of Mine solo

00:07:40 An explanation supporting our method of taking a "style of" approach to identify learning points rather than a note-for-note copy

00:09:11 Dan's riff in the style of Slash using a continually rolling theme like in Paradise City

00:12:18 First learning point: using chromaticisms

00:12:45 Second learning point: put the root above the 5th - root on the D string with 5th on the A string

00:13:51 Using the two together for dynamics between verse and chorus

00:14:13 Third learning point: Double string bends

00:14:52 What is the use of studying someone else's playing?

00:17:50 What can we play over the top of the Slash-style rolling riff?

00:18:51 Dan playing an improvisation in the style of Slash over the top of the rolling riff

00:21:13 Putting a little bit of Dorian in

00:22:33 Playing in a laid back fashion

00:24:08 Classic double bends

00:26:45 The Slash inspired solo so far

00:27:08 Gary's turn

00:27:41 utilising the overbend as a tool

00:30:17 How to play in a frantic furious way like Slash in Paradise City

00:32:02 Our frantic riff

00:32:23 Slash inspired figure taken from the end of Paradise City

00:35:02 What you can learn from this chromatic, legato 3NPS lick?

00:36:57 Demonstration of the legato lick

00:38:07 The riff from the beginning of Sweet Child of Mine and what makes it tick - G F C G

00:40:26 How did Slash's riff form and take shape

00:41:46 Learning point: have a note that you keep going back to and a familiar figure which outlines the chord tones

00:45:37 Andy Summers from the Police taking chords and writing the Every Breath you Take with add9s

00:47:11 Let's look at one more final aspect of Slash's playing taken from November Rain

00:47:39 Slash's repetitive motif for the epic guitar journey at the end of November Rain

00:48:46 Learning point: Having a figure or theme which you keep returning to in a solo really grounds your playing and gives the listener something to latch onto

00:49:05 How this also comes up in the structuring and phrasing of Gary Moore solos

00:50:48 How Prince used this at the end of the Purple Rain solo

00:52:38 Another example of repetition of a phrase to ground your solo is Running Down a Dream - Tom Petty

00:54:20 Quick thoughts on the quality between vinyl and other formats

Guitar Lesson 37: Taking your playing from the woodshed to the stage; from podcast to performance

Our article: https://www.musical-u.com/learn/podcast-performance-tune-tone/

Thanks Musical-U: https://www.musical-u.com/

Guitar lesson 37 is a slightly different format to usual. We have written a guest post for Musical-U, a company who are committed to music education and developing musicality in people through a dedicated team who maintain a subscription-based website, a wide-ranging set of articles and a fantastic podcast. We are honoured to be part of Musical-U’s growing set of resources. Our article, called “From Podcast to Performance” offers advice for how to use podcasts and other media to develop your playing, includes a description of our “Tune in Tone up” and ends with a section on how you to take your playing from practicing on your own to performing with others. This podcast episode is a companion to this and features some of Dan’s advice on how to achieve this.

Main timings:

00:01:40 Introduce the partner article which we wrote on using podcasts in musical education for Musical-U

00:06:52 1) One option to begin playing with others is to look in the small ads, Gumtree, internet, Facebook and so on

00:08:30 2) Playing music with friends and family is a great way to develop your confidence to perform

00:10:29 Something which contributes to our reluctance to perform are our own misconceptions and our self-doubt

00:11:58 3) Open mic nights and low pressure performances are a great option when you are looking to get your playing out there

00:15:08 Advice: When working or playing with others, you need to ensure that what you are all playing fits together nicely and you're listening to eachother well

00:16:28 How do you organise yourself as a novice to start playing an Open Mic night?

00:18:43 Advice: Don't compare yourself to professional musicians - it's not fair on yourself

00:20:09 Scenario 1: I had a possible slot on an Open Mic at a wedding. Here's Dan's advice for this

00:30:25 Advice: Build confidence through good preparation, a sense of perspective and some bravado

Guitar Lesson 36: Right hand techniques – rhythm, arpeggiating, hybrid, economy and sweep picking

In guitar lesson 36, we focus fully on the right hand rhythmic and lead picking techniques. We start by looking at how you can arpeggiate chords interestingly using the pick, briefly in the style of Green Day and Guns ‘n’ Roses. We also look at a mix of pick and fingers. In the second half of the lesson we get technical and revisit economy and sweep-picking. A bit of an advanced lesson – if you’d like any tabs, then get in touch.

I start the podcast today with my recommendation for Musical-U and the Musicality Podcast

Main timings:

00:03:48 Review of the pick 'n' fingers (Guthrie Govan) exercise from an earlier episode

00:04:43 Review Dan's crosspicking exercise idea from episode 35: D D U D D U D U

00:05:14 Discussion of the merits of ability to play with a pick or fingerstyle

00:06:44 The question of whether to experiment using a thumbpick

00:07:28 Green Day type demonstration of Dan's preferred style of picking chords

00:10:52 Chet Atkins style jam

00:11:34 Dan's rule or hack for arpeggiating anything

00:12:51 Use a pick to string skip pick arpeggios in chords D(a) D(d) U(g) D(d) U(b) U(g) D(d) U(e)

00:14:32 Picking the same strings as the previous exercise but using pick 'n' fingers

00:15:15 Picking and fingers instruction P P 2 P 3 2 P 3

00:16:22 Paradise City picking discussion

00:18:27 Economy picking recap and revision

00:25:06 Sweep-picking revisited with some suggestions, advice and observations

In guitar lesson 35, we address a question and topic given to us on Facebook about how you can increase the speed and fluidity of your playing. Dan first draws out some ideas which can increase the interest in your rhythm playing (including fills and flourishes). We then do some improvising over a jazz fusion track and look at how you can improve the fluidity and form of your licks and phrases and polish what you are already good at.

Main timings:

00:02:28 Introduction to the topic of speed and fluidity

00:10:41 Scenario 1: Coming up with a rhythm on the spot

00:22:57 Scenario 2: Comfortable with song and now adding licks, fills and flourishes

00:26:34 Using the minor and major pentatonic ideas to build confidence in fills

00:31:08 Organising your playing by keeping 'voicings close' together

00:37:40 Mini summary on this chordal section of fluidity

00:42:42 First jam over a Jazz Fusion track

00:51:17 Top tip! Polish your licks and what you are good at

00:59:02 Giving form to your licks and chops

01:05:18 Summary...

1) rhythm and playing chords

2) use major and minor pentatonic for fills

3) play chords on three strings

4) go in gently

5) give your licks some form

6) work on what you're good at

01:07:46 We finish with a quick jam over the same backing track

Detailed timings:

00:02:28 Introduction to the topic of speed and fluidity as requested on our FB account

00:10:41 Scenario 1: Coming up with a rhythm on the spot and analysis of it

00:22:57 Scenario 2: Comfortable with song and now adding licks, fills and flourishes

00:26:34 Using the minor and major pentatonic ideas to build confidence in fills

00:31:08 Picking pattern style keeping 'voicings close' together

00:32:54 Using 'organisation' into 3 NPS groupings to build speed

00:33:06 Using 'symmetrical patterns' to reduce stumbling with the right hand

00:33:57 Keeping your chord voicings on three strings to increase picking speed

00:34:11 Me learning three string 'crosspicking' D D U D D U D U

00:36:31 Making things easier to learn by retaining one right hand picking or strumming pattern

00:36:50 EXCERPT We are Scientists acoustic version of Textbook

00:37:40 Mini summary on this chordal section of fluidity

00:42:42 First jam over a Jazz Fusion track

00:51:17 Top tip! Polish your licks and what you are good at

00:56:31 Reference to Chris Green on sweep-picking Lesson here: https://www.youtube.com/watch?v=-g37WOXC17U

00:59:02 Giving form to your licks and chops

01:05:18 Summary...1) rhythm and playing chords, 2) use major and minor pentatonic for fills, 3) play chords on three strings, 4) go in gently, 5) give your licks some form, 6) work on what you're good at

01:07:46 We finish with a quick jam over the same backing track

Webpage: https://tunein-toneup.com/2018/05/22/guitar-lesson-rhythmic-eddie-van-halen/

In guitar lesson 34, Dan and I continue our study of rhythmic playing with a focus on the style of Eddie Van Halen. A true monster of the guitar, Van Halen is someone who Dan has studied closely over the years and he is eager to share his knowledge. Dan introduces a rock lick and looking particularly at the technique of muting slowly builds complexity into it. With some final thoughts on the trem bar and piano technique, there is so much in this lesson.

Main timings

0:02:24 Who are our top 3 rhythm guitarists?

0:13:05 Several different types and uses of muting

0:15:06 Starting to study a bit of Van Halen and how we will tackle this

0:16:02 Building up our rock riff and adding complexities

0:17:32 The basic riff without embellishments and rhythmic ideas

0:19:21 Again, a fairly simple rock rhythm

0:23:57 Dynamics - using muting and arranging to bring the sound down

0:39:33 Adding fills to rock riffs

0:54:10 Tremolo bar

1:02:54 Summary

1:07:04 A final thought on piano style

Detailed timings

0:02:24 Who are our top 3 rhythm guitarists?

0:04:49 EXCERPT - Tommy Emmanuel: Amazing Grace

0:09:33 Dan's top 3 players

0:11:24 Hendrix style fills and rhythm

0:13:05 Muting 1: the Metallica metal thing

0:13:21 Muting 2: Open out a sound using muting and release

0:13:43 Muting 3: Hendrixy funky style licks

0:14:13 Muting 4: double stops

0:14:23 Muting 5: double stops on top strings

0:15:06 Starting to study a bit of Van Halen

0:15:49 Dan introducing what we're going to do this lesson

0:16:02 Our rock riff 1 - Playing off our A string

0:16:13 Our rock riff 2 - An A power chord

0:16:30 Our rock riff 3 - 5th fret of D and G (C5)

0:16:40 Our rock riff 4 - 7th fret D and G string (D5)

0:16:56 Our rock riff 5 -7th fret (D5 / Asus4)

0:17:04 Our rock riff 6 - An A shape

0:17:11 Our rock riff 7 - 7, 6 and 5 on the D, G and B

0:17:17 Our rock riff 8 - resolving to a A5 power chord on the 7th of the D and 9th of the G

0:17:32 The basic riff without embellishments and rhythmic ideas

0:19:21 Again, a fairly simple rock rhythm

0:19:56 Me giving the simple riff a go

0:20:45 Our rock riff 9 - with an upstroke added

0:21:36 Our rock riff 10 - Last powerchord is on the up stroke

0:22:24 MUTING. What might be the reasons for using it?

0:23:57 Dynamics - using muting and arranging to bring the sound down

0:25:07 Playing individual strings with muting

0:25:27 Playing the strings lightly

0:26:33 Dynamics 2 - using muting and individual string

0:33:59 Rolling back the volume

0:34:06 The degrees of muting

0:35:24 Changing the release off the mute and picking pressure

0:39:33 Adding fills to rock riffs

0:40:12 The Dream is Over

0:41:16 Rhythm figure with some fills

0:42:50 Pull offs in the key of A

0:44:11 That lick from Randy Rhoads Crazy Train

0:44:15 Crazy Train

0:47:44 Hot for teacher

0:53:25 So if you're trying to get all that into the original lick...

0:54:10 Trem bar

0:55:33 Musical U - the musicality podcast https://www.musical-u.com/

0:59:41 catch harmonics on the way back up on the trem

1:01:08 Using trem VH style so no upward movement

1:02:06 yanking trem back

1:02:19 Bringing to the 0 point

1:02:54 Summary

1:07:04 A final thought on piano style

https://tunein-toneup.com/

https://tunein-toneup.com/2018/04/29/guitar-lesson-33-rhythm-playing-mechanics-valerie-open-mic-night/

Guitar Lesson 33: Rhythm playing mechanics with a focus on the song Valerie for an Open Mic Night

In guitar lesson 33, Dan and I examine some of the obstacles you might come up against, particularly in your rhythm playing, when playing an open mic night. In this lesson, which is in response to some questions by one of our listeners, we look at the rhythm part to Valerie with some hints to help your performance, including pick mechanics, dynamics, muting, percussive hits and compressors.

Main timings

0:01:32 Introduction and discussion about issues playing an Open Mic

0:09:31 put a mute on the 1st beat for some drumming-like dynamics

0:12:49 How to add anticipation on the A chord to lead back to the verse

0:18:15 Rhythm Mechanics 1: choosing all downstrokes and muting

0:20:25 Rhythm Mechanics 2: using the low strings for the percussive hit

0:21:13 Rhythm Mechanics 3: using a rhythmic fill to increase interest

0:31:16 Rhythm Mechanics 4: Keeping your strumming hand loose

0:37:19 Practice playing quietly and loudly by your pick attack

0:46:17 Compressors - main discussion about them

0:59:33 Using a drive pedal

1:00:36 Summary of this lesson

Detailed timings

0:01:32 Introduction and discussion about issues playing an Open Mic

0:05:13 EXCERPT - Valerie originally done by Zutons

0:05:37 EXCERPT - Amy Winehouse in key of Ab

0:07:32 Dan's approach to rhythm in a song like Valerie in Key of D - Dmaj7 Emin7 / G F#min / A

0:08:30 Dan advocates playing on the offbeat all downstrokes

0:09:07 A quick runthrough on the verse

0:09:31 put a mute on the 1st beat for some drumming-like dynamics

0:10:29 Second runthrough picking up on that percussive element as a guitar player

0:11:21 Now if we go to the chorus and look at G F#min and A

0:12:49 How to add anticipation on the A chord to lead back to the verse

0:13:42 Dan playing through a whole cycle

0:18:15 Rhythm Mechanics 1: choosing all downstrokes and muting

0:18:31 Our chords are barre chords

0:20:25 Rhythm Mechanics 2: using the low strings for the percussive hit

0:21:13 Rhythm Mechanics 3: using a rhythmic fill to increase interest

0:22:05 Some detailed discussion and stories about rhythmic playing

0:28:52 EXCERPT: Ultra Nate - Free

0:30:14 EXCERPT: DNCE - Cake by the ocean

0:30:24 EXCERPT - Pirates of the Caribbean

0:31:16 Rhythm Mechanics 4: Keeping your strumming hand loose

0:31:45 My run through with Dan's embellishments

0:32:29 So when Dan played in the band - adding two note chords and double stops

0:32:56 Recommendation to listen to lesson 31

0:33:27 3 string chord solos

0:34:42 Back to Rhythm Mechanics 4: Relaxation and effect on the pick

0:36:41 Using a compressor part 1

0:37:19 Practice playing quietly and loudly just by changing the grip on your pick

0:40:25 Guitar is like quantum physics

0:42:48 Adrian Legg on perfection

0:44:34 Cornford Amps

0:45:23 Guthrie, Satch and Kotzen signature Cornfords

0:46:17 Compressors part 2 - main discussion about them

0:59:33 Using a drive pedal

1:00:36 Summary of this lesson

https://tunein-toneup.com/

In guitar lesson 32, Dan and I take a look at some general ideas which you can take from David Gilmour’s playing. He plays with such meaning and purpose and the most incredible tone and yet what he plays is not usually technically too difficult. Using a style backing track, Dan and I look at how Gilmour uses dynamics, phrasing, bending, vibrato and intelligent note choices deeply connected to the chords which he plays over. We hope that this type of exploration, rather than note for note copying, will help you to actually be able to incorporate some of this in your own playing.

Main timings

02:29 Initial thoughts about Gilmour’s playing style

10:16 Backing track jam 1 with lick trading and improvising from both Dan and I – This is the shortened version (go to our website to hear the whole thing

11:56 What can we notice from trying to play with Gilmour in mind?

17:09 Think in terms of notes rather than scales

27:25 Incorporating bass notes

28:48 2nd Backing track improvisation

33:00 Gilmour: Flangers, choruses, MXR Dynocomp, delays and reverbs for atmosphere, MGP SPC, powered pickups

43:53 Bending exercises

49:13 Theory on vibrato

Detailed timings:

00:33 INTRO

01:26 START

02:29 First thoughts from both of us considering what it is about Gilmour's style that is so enthralling and popular

02:51 EXCERPT Shine on you Crazy Diamond

09:33 so what we're gonna do is take a style backing track and improvise over it to see what Gilmourisms come out

10:16 Backing track jam 1 with lick trading and improvising from both Dan and I

11:56 What can we notice from trying to play with Gilmour in mind? Dynamics, space, bends, pentatonic patterns, swapping notes, positional playing, economical playing

13:56 EXCERPT Comfortably Numb

17:09 Players looking for things in the wrong places - think in terms of notes rather than scales

19:26 For example, play minor pentatonic over Blues but just include the major 6th

22:19 Connecting to chords by thinking about the notes, targetting and listening carefully to the chords you play over

22:28 EXCERPT Echoes

27:25 The rich, gutteral, growly, gritty bass notes and using them when others don't so much

28:48 backing track again just after sorrow

30:52 Using the volume and tone pots to peel it back or let rip

31:19 RECAP: bass notes, volume and tone, listening, effects

33:00 Gilmour: Flangers, choruses, MXR Dynocomp, delays and reverbs for atmosphere, MGP SPC, powered pickups

34:11 EXCERPT Sorrow

37:23 He manipulates his sound with effects to take his bluesy style and make it more psychadelic, atmospheric and spacey

39:09 EXCERPT - Time

40:34 Any questions: I ask Dan about big slides and interpositional pentatonic playing, bending and vibrato

43:53 Bending exercise 1: Go up the major scale in bends using each string

45:56 Bending exercise 2: bend a whole tone then a semi-tone and back down the notes

47:03 Bending exercise 3: Pentatonic blues lick

49:13 Theory on vibrato a) after a bend vs b) from a static note - the string must return to the 'zero' point

51:37 Same problem as vibrato with tremolo bar systems - i.e. don't hold onto the bar