sws626 I Want You (She's So Heavy) guitar lesson review upload
Nice job on a song that seems to use many different techniques. The intro/fingerpicking portion sounds particularly good, but I must admit that I don't know the song very well. Nevertheless, I enjoyed watching your video, and I will add that it hadn't gone un-noticed that you hadn't posted a video in a while. I was glad to see this one.
Great job Stuart, you have put a lot of emotion in your playing. Besides the timing (which I cannot achieve properly on this song), I would like to bring you attention to the picking section. When you use you fingers to pick, I noticed that you fingers seems, sometimes, to pull a bit forward (away from the guitar) instead of upward (same plane as the strings). Maybe it is to make it sound louder, but it distort the note a bit.
I think you did a great job on the song. By the way I do not see a reason not to show a song with an electric guitar, we have a few lessons of electric guitar.
Marc
I think you did a great job on the song. By the way I do not see a reason not to show a song with an electric guitar, we have a few lessons of electric guitar.
Marc
Stuart, Great job on I Want You. It definitely has some tricky sections. I liked your version of it. I do not think there is any rule against playing it on your 335. I think you should bust it out on one of your future songs! Keep on Strummin', Beaker.
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Sounded great to me Stuart! As others have said- the emotion really comes through in your version. The combination of picking, strumming and bends look tough to master. You're well on your way.
Hey Stuart,
Sure I'm glad to see you posting again.Seems to have been some time.As always,enjoyed watching and listening to play.Great job on one of the great Beatles songs.Thanks Stuart.
Look forward to listen to you again soon.
Kevin
Sure I'm glad to see you posting again.Seems to have been some time.As always,enjoyed watching and listening to play.Great job on one of the great Beatles songs.Thanks Stuart.
Look forward to listen to you again soon.
Kevin
Thanks so much for listening and for your encouragement, suggestions and warm welcome back. I just wrote a long response, but lost it to a break in the internet connection. I'll try again when my faith in technology recovers.
-Stuart
-Stuart
Stuart , that is really frustrating to loose a long text. I use to have a supplier that, when I was out of town, I could access my E-mails, but once out of three I had to redo the long reply I was sending. I have taken the habit that when there is more than 3 lines, I always copy the text before I submit it. I no longer wake up the neighbors when it happens.
Marc
Marc
Okay... second try. Hate it when that happens...
Thanks so much for your comments. You've given me much to think about, as always.
This really is a fun, challenging and interesting song to play with its changes in time (6/8 -> 4/4 -> 2/4 -> 4/4 -> 6/8) and key (creepy part in Dm -> bluesy part in Am). I'm not a huge Beatles fan, so was only vaguely familiar with this song before listening to Beaker's version and then looking up Neil's short lesson. Considering how many layers of overdubbing there are on the recorded version, Neil's arrangement does a fantastic job of making this convincing as a song for a single guitar, especially his incorporation of McCartney's distinctive bass lines and mixture of the Lennon and Harrison guitar parts (though Neil advizes in the lesson against trying to play the solo and the chords together). If you haven't checked it out yet, you should definitely have a look at the lesson. I think it is among the very best of the Target Shorts.
Pierre, I hear what you are saying about the bends. I've gone easy on them in the acoustic version. The 3d string on the Martin is 0.25" compared with 0.17" on the Gibson and its astounding how much difference this makes in the pressure required to get a full or even 3/4 step bend. I'm working on that.
Marc, you are right that my plucking is distorting some of the notes. I must have been trying subconsciously to reach the camera mic six feet away. But I didn't realize how pronounced this was until I saw your comment and went back to watch. Now that I'm aware of it, I'll think about how to address it.
Tony, Marc, & Beaker, I only need a very little bit of encouragement to break out the 335, as I hope to prove later today.
Craig, Bear, Tony, Michele, & Willem, glad to have entertained you with my guitar face.
Michele, I've been giving a lot of thought to your comment that "now you just need to work out how you want to perform it." Strange as it may sound, I've never thought of music in those terms. Even setting aside the complicated question of audience, its clear that there are important and useful distinctions to be made between "playing" and "performing" and I'm sure that it will help my playing a lot to think about the performative aspect.
Okay, this time I'm going to save this text before hitting "submit."
-Stuart
Thanks so much for your comments. You've given me much to think about, as always.
This really is a fun, challenging and interesting song to play with its changes in time (6/8 -> 4/4 -> 2/4 -> 4/4 -> 6/8) and key (creepy part in Dm -> bluesy part in Am). I'm not a huge Beatles fan, so was only vaguely familiar with this song before listening to Beaker's version and then looking up Neil's short lesson. Considering how many layers of overdubbing there are on the recorded version, Neil's arrangement does a fantastic job of making this convincing as a song for a single guitar, especially his incorporation of McCartney's distinctive bass lines and mixture of the Lennon and Harrison guitar parts (though Neil advizes in the lesson against trying to play the solo and the chords together). If you haven't checked it out yet, you should definitely have a look at the lesson. I think it is among the very best of the Target Shorts.
Pierre, I hear what you are saying about the bends. I've gone easy on them in the acoustic version. The 3d string on the Martin is 0.25" compared with 0.17" on the Gibson and its astounding how much difference this makes in the pressure required to get a full or even 3/4 step bend. I'm working on that.
Marc, you are right that my plucking is distorting some of the notes. I must have been trying subconsciously to reach the camera mic six feet away. But I didn't realize how pronounced this was until I saw your comment and went back to watch. Now that I'm aware of it, I'll think about how to address it.
Tony, Marc, & Beaker, I only need a very little bit of encouragement to break out the 335, as I hope to prove later today.
Craig, Bear, Tony, Michele, & Willem, glad to have entertained you with my guitar face.
Michele, I've been giving a lot of thought to your comment that "now you just need to work out how you want to perform it." Strange as it may sound, I've never thought of music in those terms. Even setting aside the complicated question of audience, its clear that there are important and useful distinctions to be made between "playing" and "performing" and I'm sure that it will help my playing a lot to think about the performative aspect.
Okay, this time I'm going to save this text before hitting "submit."
-Stuart