@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!

@wertas

Hi!
Really glad that you liked that one! We just released "Voice Leading VOL. 2" which I think you'll like too, if you liked the melodic chordal movement lesson! Check it out! :)
Melodic chordal movement vol. 2 will be posted later on, but I have other lessons in the pipeline before, so it might be a little while before I make that lesson.
So glad you liked it and thanks for the feedback too! :)
Kind regards/E

@nikhilvanam
Voice Leading Vol 2 is now up on the site! :)
/E

@rover528
Welcome Dean!!

@joe_
No problem at all Joe!
Have a great day!! :) /Emil

@pedram

Hi Pedram!
So glad you're part of the forum and the site!!
Wish you all the best and that you and your wife can manage to find a good way of living in EU.
Much love! /E

@rover528

Hi Dean!
Thanks so much for sharing here on the forum!

You mentioned that you're getting mixed up where to jump in when you're playing with other guitar players. The good thing is that you're listening, and that is step one. Always listen carefully to what the other player is doing. To have a bit of trouble playing with others when you haven't played a lot in those situations before is super common, and it's just something that most people go through at first. I would recommend you to play together with recordings, and try some of your songs with a metronome and stick to it for a few weeks and you'll notice a difference. Try to play the melody only with a backing track or a metronome, and be as expressive as you can. You'll think its a bit tricky in the beginning but that's only natural and we need to keep trying. Record yourself playing with the metronome and you'll notice even more what you need to work on. You need the listeners perspective, because sometimes it's difficult to really hear how you sound when you're in the middle of playing a song. Therefore, recording yourself is essential to get better. The more yo play with other people the faster you'll learn how to do that. And for solo guitar, it's great to record and listen back a lot too!

Thanks so much for being part of the forum!
All the best/ Emil

@kavusha
Hi Kavi!! Glad you liked that one! :)
That idea could be looked at in several different ways. It starts off with a Am9 chord, followed by that Bbm into the D major triad. The Am and the D is the ii V progression, and the Bbm is just a passing chord that I won't dare to explain theoretically, other than; you can always play a chord up a half step from the chord you're currently playing - to get some tension. It's like we're playing Am --> tension (Bbm) --> D...

After the D triad we play that Bb13 (which can aslo be looked at as a E7(#9), just an altered chord leading to the 2 chord again.. This time it's a A13 instead of an Am9. But still a 2 chord! :)
After the Bb13 (again, a chord a hal step above the 2 chord to add tension).. we move that a half step down to the A13 which is the 2 chord. The next chord is the V chord. It's a D altered (D7#9#5), or you could see it as a Ab13 too, which takes us to the tonic, the 1 chord which is Gmaj7. So the chord just before the Gmaj7 is simply a V chord that leads us "home".

That Ab13 (or D altered) is a subsitution for D7. This is called a "tritone substitution" or "flat five substitution". I go through that concept in a clear way in this free YouTube video, check it out here if you haven't already: Tritone substitution

So the whole example is a variation on a ii V I, adding tension using passing chords, flat five subs and nice voice leading! Let me know if you have any other questions Kavi!
All the best, /E

@nikhilvanam Nice man!!
Glad you're part of the site! Nice production and sounds - yeah!
Glad you like the lessons! Will add Vol. 2 asap.
Kind regards/E

@peter-0
Hi Pete!
Unfortunately I don't have that one written out. Maybe there's a Chet Atkins book that has a similar arrangement of that tune but I'm not sure!
Kind regards/E

@wood-dog

Hi!
I sometimes indicate the slide symbol up to a certain note with a line that doesn't particularly say from what exact note to slide from. The reason is that it varies so much. I might slide from a half step below sometimes, and other times from a whole step below or more. So in the TAB that you're speaking of, you don't see what note I'm sliding from in the TAB. But you hear me explain it when I go through the example.
Kind regards/E