@steviepee
Hi Steve!
So great to hear that you're working on the Banjo Rolls lesson! It's a big lesson with lots of information and the level of the examples are advanced. When it comes to the bpm, and when you can move to the next example;

For me, I've always thought of it like this: If I want to learn how to play something really fast, then I need to practice it slow for a long time first until it's in my fingers and I don't have to think about it anymore. Then increase the tempo. BUT, in a lesson like this the most important thing is to keep things interesting to yourself - in other words - staying for too long on one example can be quite boring, and to be able to learn something new, we have to stay inspired. I'd definitely move on to new examples even if you don't feel like you can play an example up to speed yet. You can always come back later! And when you practice the more difficult examples, it will "level up" your technique and the more simple examples will be even easier.

In the video, I say something like this: "play slow until you're comfortable, and then move on to the next example.."
But, you don't have to master each example up to speed before you move on. Stay inspired - cause that will make you want to practice!

I don't have a certain bpm goal that you should reach before moving on. I just suggest you to keep playing and have fun! :)
Thanks for watching the lesson Stevie, and have a wonderful day! Kind regards/E

@dpmcleod
Hi Dan!
Thank you for your question!

This is a very common thing that most of us can identify with.

It definitely takes time and lots of practice to be able to hear what you want to play, like Joe said. But it's definitely not impossible to achieve.

Overthinking is something that most of us do from time to time, and I think the more I've practiced soloing over common progression the less I have to think when I play. I try to simplify things as well, for instance, the ii V I progression that happens in (almost) all jazz standards as well as in the Jazz Blues. I often times don't think too much about the ii chord. (Dm7 in your example). Joe Pass said once that he completely disregard the ii chord in a ii V I progression in the blues. He's thinking V I.. that ii chord is just "something that comes with it"... a suspended V chord, in a way. So you could use all the "tools" shown in the "Jazz Blues" lesson, and start playing the diminished (for instance) already when the ii chord comes up.. cause it goes by so quick and we actually just hear that V chord being altered in some way, we don't think about the clashes that may happen when playing altered scale over the ii V or even the diminished scale.
But that was just a side note.

The difficult part can be to learn to resolve the line on the next chord. It's important to land on a good note and I think this is very good to practice. That's when we hear the changes, when resolved in a good way. If you add some practice time where you only focus on playing simple ideas that resolve in the right place. Maybe play a line and resolve on the 3rd of the chord, 5th of the chord or something.. that helps a lot for me. So maybe play a simple line over G7 (like an ascending G7(b9) arpeggio starting on the note B, (major third) over the G7 chord and then resolving on the major third of the C chord.. for instance note choice could be: B, D, F, Ab then down a half step to G, then F, and then D, D# to E, in a chromatic way to resolve on that E.. Difficult to explain in text, but Maybe you can try a simple lick like that and really really nail the resolution and use it in different places in the jazz blues when playing on a chord that leads a 5th up like G7 --> C or E7 --> Am.. (but then resolve on the minor third of the A chord obviously)

You'll be able to hear more of the lines the more you practice and get comfortable with the changes.

Hope this helps a little and let me know if you have more questions! The "JAZZ LINES" (vol 1) lesson about the ii V I can be a good video to watch for you I think!
Kind regards/Emil

@pehlmanr

Hi there!

I’m using two microphones, and usually it’s a couple of Neumann TLM 102.
From there I go into a simple preamp/daw which is called steinberg UR44. I use an iMac with protools.
When I record I have one mic around the 12th fret and one mic on the bridge.
In any recording software program like protools or similar, you can pan the channels right and left - and I usually pan one mic around 35 to the left and 35 to the right.
I do a simple eq mix where I usually cut a bit of bass and get rid of a couple of harsh frequencies in the upper midrange etc. maybe boost the highs a bit on the bridge mic.
And I add reverb to both channels.
Very simple recording process and I don’t do much at all really, just two mics and a bit of work with eq and then add reverb.
Kind regards /Emil

@fabs
Hi!!
Thanks so much for the feedback. I'll look into if this is possible to do!

I'm glad you look forward to the lesson! Happy practicing! :)
Kind regards/E

@dengqinghua_42
Hi!

When I make a pull off like that, I mute the e string with my left hand index finger. I do it without thinking about it, and it will become something you do without thinking about it if you’ve done it enough times.
Kind regards /Emil

@al_tennant Hi man! I asked a really good friend of mine who knows a LOT about this.. Here's his response.

Lots of changes.. before I tell you all the changes ,, I will say .this..is 90 percent in your hands.. but some things hold true about the construction
54 were usually one piece ash.. good tone wood.. and then sprayed or painted with a natural lacquer.. by late 60s they would chop down young "green" still moisture in it.. trees glue then to get her and spray polyurethane on them.. (plastic"
The pickups changed dramatically using inferior white and parts...any little difference to save money... shape of the neck.. even some of teh routes were different...

Through the 60s they basically left the design alone.. into the 70s ..just like cars here in the usa.. they started trying for a higher profit margin.. one way by making with cheaper components.. the general result was a heavy, non resonant shiney guitar....but having said that. Jimi Hendrix made so early 70 s guitars sound pretty good........

I'm happy to be part of ProGuitar! This will be fun!

@Fabian-Leandro Welcome Fabian!
Just saw your jazz blues take in Bb! Happy to see you here on the site!
Kind regards /Emil

@rghammond
Hi Richard! Great to see you here on the site! I'm glad you liked the rendition of Jingle Bells! It's a fun arrangement for sure! Welcome to ProGuitar! /Emil

@FlorianFaber That's awesome!! Thank you for playing it.. more fun stuff will be available as we begin to build this website more and more!

@doug744
Hi Doug!
I don't have a lesson on it, but I'll send you an email on this song.
Kind regards/E

@speedzone
Hi there!

Let's take Cmaj7 as an example to demonstrate this.

Cmaj7 has 4 notes,
C, E, G, B

Cmaj7 root position, would have the C note in the bass.
For example: C, E, G, B.
The order of the rest of the notes (all the notes except the bass note, C) doesn't really matter how you voice them, as long as you have the C note played as the bottom note.

If we'd play a Cmaj7 chord 1st in version, then the 3rd would be in the bass. 3rd meaning major 3rd of the chord, which is the note E.
For example: E, B, C, G. (as you can see, the 3rd (E) is now played as the bottom note. The rest of the notes, B, C and G can be voiced in any order that you like and that is physically manageable on the guitar. Some voicing that are really easy on piano might be really difficult on the guitar, because of how the instrument works/tuning etc.

If we were to play Cmaj7 in the 2nd inversion, that would be playing the 5th in the bass (meaning 5th of the chord - which is the note G).
For example: G, C, E, B.

And finally, the 3rd inversion is playing the 7th in the bass..
For example: B, E, G, C...

Like I mentioned above.. the order of the rest of the notes is all up to you. The main thing you need to learn is that
Root position means playing the chord with the root in the bass
1st inversion means that we play the 3rd in the bass
2nd inversion means that we play the 5th in the bass
3rd inversion means that we play the 7th in the bass.

Let me know if you have any further questions! I'm always happy to help!
Kind regards/Emil

@fsantisc
Cool!!
Glad you're part of ProGuitar Academy!!
Stay in touch! /E

@fsantisc
Hi Francisco!!
So glad to hear that the site has helped you become a better player!
Are there many fingerstyle guitar players in Chile?

Have a great day!!
Kind regards/Emil

@rosco
Hi there!
The best way to develop speed when it comes to banjo rolls for guitar, is to play together with a metronome at a slow tempo and build it up. It can feel a bit overwhelming to practice for 20-30 minutes on the same roll in a slow tempo, but that's what we need to be able to increase the tempo. Give it time and don't rush it. Example:
Practice for 20 minutes at a really slow tempo
Take a break
Practice for 20 minutes with an increased BPM tempo (maybe increase by 8 bpm or so)
Take a break
Practice for 20 minutes with an increased BPM again.. and so forth. This is how I built the speed,
Kind regards/E

@gpak Hi there!
Thank you so much for your kind words and for being part of the platform!!
Since I don’t know your level at the moment, I cannot say exactly what I would suggest you to start - but the most important thing is to get your thumb more independent from your fingers if you haven’t got that down already. So the the lessons called Fingertsyle basics is where I suggest everyone to start if they want to get into fingerstyle. After getting the thumb more independent, you can go in different directions depending in what your goal is. If you’re interested in playing solo guitar for others, I suggest you to try a couple of the tunes from the site that has a “boom chick” bass line. Like the tunes in the fingerstyle basics lessons, and then maybe Folsom prison blues, wellerman or something like that. If your also interested in improvisation and learning how to solo, I suggest you to start with the improv level one course and then level two, followed by “jazz up your blues”, “arpeggios”, “country guitar soloing”. Then move on to some jazz lines if you like that stuff too! There’s really a ton of stuff on this site that can help you become a better musician, and it’s really up to your own taste and what you’d like to be able to do with your music and your playing. Please let me know your level and what your goal is and I’ll suggest some ideas! Kind regards /E

@the-glenn
Wonderful to read your post Glenn! Thanks so much for checking out our lessons! Don't hesitate to ask me anything if you need help with something.
Tack Glenn!
Kind regards/E

@thelostmoonstone Welcome to the site Björn! :)
/E

@fabs
Hi!!
Thanks so much for the feedback. I'll look into if this is possible to do!

I'm glad you look forward to the lesson! Happy practicing! :)
Kind regards/E

@wang-wen Very nice work!! :)