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0:00

вступление

2:20

Теория легато

11:00

Все косяки от непоняток

13:30

Дистанция пальцев

16:00

Постановка рук

18:00

Зависимость от штриха

19:00

Первое упражнение

25:20

Второе упражнение на хаммер

30:35

Пулл офф

33:00

Первое упражнение пулл

35:30

Второе упражнение на пулл

40:10

Глушение

42:30

Первое упражнение глушения

46:30

Второе упр на глушение

48:40

Риффы на дом

УПРАЖНЕНИЯ ГРАММАТИКА С НУЛЯ УРОК 41 Основные неправильные глаголы английского языка

УПРАЖНЕНИЯ ГРАММАТИКА С НУЛЯ УРОК 41 Основные неправильные глаголы английского языка

Channel: ENGLISH GALAXY | Разговорный Английский язык

ГРАММАТИКА УРОК 45. Правильные и неправильные глаголы английского языка отрицание

ГРАММАТИКА УРОК 45. Правильные и неправильные глаголы английского языка отрицание

Channel: ENGLISH GALAXY | Разговорный Английский язык

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00:00:01

our new lesson in the cycle play for 60

00:00:04

minutes, today we will talk about

00:00:05

legato in the context of the transition to it from an

00:00:08

alternating stroke because we have already

00:00:10

devoted enough time to it, we have

00:00:12

sufficiently mastered the basic

00:00:15

principles and we can finally saturate

00:00:18

the basis and the change stroke is the basis for all sorts of

00:00:21

lyrical digressions

00:00:23

and techniques, including vibrato, in the future by

00:00:25

brands, but for now, League TV we will

00:00:29

talk about aspects of the nuances of staging

00:00:31

and sound production, including

00:00:33

transitions from string to string, how

00:00:35

cameras are made, how bad things are done about

00:00:38

everything in this plan and of course, all this

00:00:40

will gradually be layered on top of what

00:00:42

we have already learned so that the correct one

00:00:45

is learned

00:00:46

as accurately as possible, plus we will further

00:00:49

develop the topic of jamming the husband; we

00:00:51

touched on it in the previous lesson, but as

00:00:53

we touched on and in the plan, put water in the

00:00:55

right place and now I got a mark, that

00:00:58

is, the technique of jamming damped notes of a bass

00:01:01

note, including on overdrive, we

00:01:04

talked about improvement in terms of context,

00:01:06

so we play one clean note, it’s open, we

00:01:09

need everything else, we don’t need it,

00:01:10

we learn how to jam the sound, but we

00:01:14

You haven’t yet talked about

00:01:17

jamming in terms of articulation, we

00:01:20

have dynamics when playing the guitar and poetry,

00:01:22

but that is, as loud as possible,

00:01:24

well, the muted note, as you understand, is

00:01:25

maximum quiet, unless of course you are

00:01:27

talking about compression and genius high genius

00:01:30

in nature but in fact we have

00:01:33

muted notes, if we start

00:01:36

lowering them, that is, opening them, they

00:01:38

begin to approach open ones, but there, in

00:01:39

essence, the articulation is noticeably

00:01:41

louder, plus you can also hit them

00:01:43

and further expand our range, so

00:01:46

all the interest begins when we

00:01:48

start to combine

00:01:51

muted notes and our

00:01:53

own open notes during our performance and this is the main

00:01:55

pain of most of those who write to me and Luke I

00:01:58

can’t play non-metals neuro at least

00:02:01

on a pure sound because I can’t raise my

00:02:03

hand while releasing it and achieve

00:02:06

the necessary punchy notes and then stubs

00:02:09

and at the same time even thicker everything is superfluous, so

00:02:11

again we ourselves will layer the solution

00:02:13

on our basic skills and learn to

00:02:15

combine the open notes of the yagush, well, let's

00:02:17

start with legato, firstly we need to understand

00:02:22

that hammer pilaf and in general, in general, in the

00:02:25

general principle, legato is not a way

00:02:27

to replace the variable stroke and this is not

00:02:30

a way

00:02:31

to compensate for the lack of

00:02:33

accuracy speed in variable fears, in no

00:02:35

case if you have a crooked device, the stroke

00:02:39

means that your fingers are not equally

00:02:42

developed and some of you

00:02:44

hit harder, some weaker, some you

00:02:47

get it, but you are louder some are quieter, but

00:02:48

then you manage to fly your fingers faster,

00:02:50

some are delayed,

00:02:52

unevenness in the honey beat is not on the grid,

00:02:54

they work according to the notation in rhythm, all this

00:02:57

will be transferred entered the year outflow

00:02:59

multiplied by two, so you still have to

00:03:01

move to it consciously after the

00:03:04

alternating stroke

00:03:05

the second What should be understood here is that

00:03:09

legato will never replace the stroke in terms of volume and

00:03:11

dynamics; this is another

00:03:13

method of sound production; it just so happens

00:03:16

that

00:03:17

notes are, in principle, legato and tass; the main

00:03:21

technique depends, firstly, on your

00:03:23

technical preparedness, how

00:03:25

accurately you hit the notes and how much you

00:03:28

you have a good command of the skill and technical

00:03:30

component in terms of sound,

00:03:33

it’s also important to understand the sustain power of the

00:03:36

sensors, and if you see something

00:03:38

on someone’s TV, it sounds

00:03:40

super powerfully juicy with crazy sustain for them,

00:03:42

it’s not only his skill, it’s also the

00:03:44

technical part the question is

00:03:46

regarding legato, it has such a

00:03:48

feature,

00:03:49

first let’s define what

00:03:51

legato is and how the sound actually appears,

00:03:53

there is a theory that we hit the

00:03:55

string with our finger and from here the sound appears, this is

00:03:58

logical, this is the first thing that comes to mind and

00:04:00

you see something from here, many people think what

00:04:03

if you hit not the soft part with the harder

00:04:07

part of the pad because guitarists

00:04:09

have special super pads that are

00:04:11

harder, hit this part on the string that

00:04:13

sound will be louder more juicy and

00:04:15

from here the whole development

00:04:19

of this theory begins, well, let's see everything in the

00:04:21

experiment, take a mediator, it's not

00:04:24

tell Kostya how do you understand it gave or

00:04:26

hard if we turn it to the sides then it’s

00:04:29

generally impossible to crush it it’s super hard

00:04:31

lifting it along the string in general

00:04:36

[music]

00:04:42

if you can see there’s a bunch of pick left on the

00:04:46

string I hit it quite painfully including

00:04:49

we remembered how it sounded now

00:04:51

let's take it and beat it the same thing but with a finger

00:04:53

and

00:04:57

what is this sound you even fuller and louder

00:05:01

it turns out maybe everyday patina

00:05:09

or maybe another corner of the application

00:05:11

[music]

00:05:18

maybe take pool

00:05:20

[music]

00:05:26

what our experiment showed and what

00:05:29

regardless depending on what pad I

00:05:31

used, harder or

00:05:33

softer, at what angle I did it, I

00:05:36

used a stronger middle finger,

00:05:37

only a weaker ring finger, it all

00:05:39

sounded plus or minus the same, also in

00:05:43

comparison with a pick, so that its

00:05:45

structure was noticeably stiffer there was

00:05:47

no fatal advantage the fingers

00:05:50

sounded loud enough, if not louder, it

00:05:53

also seemed to me and even cleaner, which

00:05:57

means there is no need to go into the wall and

00:06:01

train the pads on the stiffness of the

00:06:03

debt with your fingers the wall, this fact can be

00:06:05

leveled off, but what can be leveled off

00:06:06

because the sound itself occurs

00:06:09

at the moment of fixation, the moment of fixation of the string

00:06:11

on the iron young one, in fact, we just

00:06:13

take our finger and lean the iron

00:06:16

string against the iron one, okay, as a result of which

00:06:20

part of the energy from the blow is transferred to the

00:06:25

string itself and forces it

00:06:27

from point a, the first where we fixed it

00:06:30

on the iron year, to point b on the iron

00:06:33

saddle, that is, we hit along the string, well, the sound

00:06:37

arises from the moment of energy transfer from

00:06:40

our actual collision of the string and the

00:06:43

iron fret along its entire length of

00:06:46

vibration, let’s listen

00:06:49

[music] I

00:06:56

think that’s enough and this suggests that

00:07:00

legato will never be comparable in strength

00:07:04

to the stroke of a mediator why

00:07:06

because when we we hit the string and

00:07:09

it starts to vibrate,

00:07:13

but you don’t even see it, it

00:07:15

vibrates a little

00:07:17

[music]

00:07:22

during the hammer and therefore no matter what we

00:07:25

hit, even with a hammer or a super mega

00:07:28

hard hammer, then still this

00:07:32

moment of force transfer will not force the

00:07:34

string oscillate just as if we

00:07:36

hit it with a pick because

00:07:38

the sound when playing with a pick occurs at the

00:07:41

moment of not hitting

00:07:43

me on the string, but at the moment of release grams

00:07:47

the volume of the pick we get on the string

00:07:49

depending on the load of the clamping depth

00:07:51

we pull it far enough

00:07:54

[music]

00:07:59

if that I’m specifically showing clumsily at

00:08:02

this moment we understand that when we

00:08:04

kill with a pick

00:08:07

we, in principle, move the string noticeably

00:08:10

further than the

00:08:11

moment of origin of the sound itself,

00:08:15

it is so far from pulled from

00:08:18

what the league gives us that the sound turns out

00:08:20

noticeably louder, it’s above understanding

00:08:23

the variable stroke is louder because that we

00:08:26

pull back the string at the moment of impact noticeably

00:08:28

more, it pulls back its amplitude and

00:08:30

then abruptly flies off it, no matter how much

00:08:33

force we have on it, we will not be able to develop the

00:08:35

same amplitude of the beating of the string as

00:08:37

when pulling back with a pick, this is understandable

00:08:40

from here, the legatus for the most part is often in

00:08:44

dependent on the variable stroke, my

00:08:47

sela chamber said that most

00:08:49

often guitarists combine

00:08:52

legato or with a variable stroke and it

00:08:55

looks like this

00:08:57

[music]

00:09:04

because in this case we get the

00:09:05

first note with the help of mediators,

00:09:07

we get the maximum impulse, the amplitude of

00:09:10

the beating of the strings then we just add a

00:09:12

finger and shorten the segment of the same

00:09:15

string beating, that is, the pulse, most of the

00:09:17

energy remains and as a result, by

00:09:20

compensating for the compression gain of powerful

00:09:22

sensors, we get two

00:09:24

notes of equal volume, or legato is combined

00:09:28

with

00:09:29

correspondingly bad my because gender

00:09:31

is also restraining the string as

00:09:33

with a pick, give it like this I’ll do

00:09:36

[music]

00:09:47

every time after a fall I

00:09:50

pull the string

00:09:51

[music]

00:09:53

and now I do it a little more

00:09:56

clumsily, which was noticeable to you a little more

00:09:59

aggressively, but you see, in any case,

00:10:02

we have a combination exactly with a strong blow

00:10:05

and the subsequent addition of a hammer so that

00:10:08

all the notes remain powerful,

00:10:11

loud and accurate, and partly this is due

00:10:14

to the fact that the natural effect of

00:10:17

legato performance is the fading of the sound, this is the

00:10:20

loss of sustain. Now I won’t be lazy, I’ll

00:10:23

run for the stratocaster, we’ll show you how to do the

00:10:26

same technique on a fox field and configure

00:10:28

it will sound in its own way

00:10:30

[music]

00:10:41

you hear the sound and noticeably less,

00:10:44

but at the same time if I add gel

00:10:47

[music]

00:10:48

yes, it’s still not lisp

00:10:58

sustain goes away faster, but you noticed

00:11:01

that it has become better, most guys

00:11:03

underestimate the technical part of the

00:11:06

sound and amplification during the lesson, why did

00:11:09

I start with this? Yes, because

00:11:11

as a result,

00:11:12

many people first of all focus

00:11:15

when mastering this skill on the volume of

00:11:17

notes, and it is based on the volume of the

00:11:20

note that they try to build their technique, as

00:11:23

a result of which, in order to achieve

00:11:24

the greatest impact with it, they hit the most

00:11:26

they also use not only the fingers but the

00:11:28

hand, in the end we will have these

00:11:31

movements and they are a mistake because

00:11:34

in fact this follows from the fact that

00:11:37

your fingers are not ready, your hands are

00:11:40

not in the correct position, your fingers

00:11:43

are not even as close as possible to the desired

00:11:45

impact points and you initially take them

00:11:48

somewhere far away and when you need to hit the

00:11:50

right moment you add here

00:11:53

your hand and fingers until the blow seems

00:11:55

more powerful but there is a lot of dirt plus you

00:11:59

will never be able to play quickly no about the correct

00:12:01

positioning your fingers should be in the

00:12:03

working area next to so here you

00:12:06

need to understand that yes, as I said, the sound

00:12:09

occurs at the moment of transfer of force and

00:12:11

this is a blow and before the force of the blow we are equal to

00:12:14

the mass multiplied by the speed, the mass of the

00:12:17

finger is almost impossible to change, as

00:12:19

you understand, it’s all about speed,

00:12:22

here, as always, the search for

00:12:24

adaptive optimal force begins and

00:12:27

now we are starting from the error, let's

00:12:29

try theoretically the concept of the meaning of

00:12:32

a blow, yes our task is to strike in order to

00:12:34

transfer the greatest amount of energy in

00:12:37

the beating of the string, if our fingers are

00:12:40

as close to the string as possible, we

00:12:42

minimize our movement, then we will be able to

00:12:44

develop at such a distance the speed we need

00:12:46

for a powerful yes no

00:12:49

psychologically we will lay the

00:12:51

greatest efforts, many

00:12:53

of you, I’m sure, but in fact it will go into

00:12:55

pinching the string, you have set the country and

00:12:57

you will press a little further, and

00:12:59

if we plus plus I haven’t seen

00:13:03

guys who know how to minimize

00:13:05

work in the left hand at the same time powerfully

00:13:08

panicked on the right and most likely you will

00:13:12

play in a location where, in principle, the attack the

00:13:15

beat no longer affects anything, and in this

00:13:18

case the movements are accepted until minimized,

00:13:20

but I haven’t seen the guys

00:13:22

playing, the dynamics rushed and beautiful

00:13:24

juicy articulation, I’ll add you just

00:13:26

from Hitler that’s all that there is a soul

00:13:28

shaking while minimizing in the hand

00:13:30

this is also something I haven’t seen so let’s go back

00:13:32

to the distance if we take too

00:13:34

great a distance and then also well the

00:13:38

whole principle is that we are again looking for the

00:13:41

optimal effort the optimal distance

00:13:43

it will be somewhere here like water if

00:13:46

there is a click, yes, that is, and we hit

00:13:48

Roslavl with our hand, we don’t hit with a clenched hand, it’s

00:13:51

just that in this case we will push again again,

00:13:53

we won’t have time in time and

00:13:54

relax and squeeze at the right moment, all the

00:13:57

same tail technique, so here too

00:13:59

if you are looking for the optimal force, then it the

00:14:02

optimal distance is, well, somewhere on

00:14:05

the order of well, the far-far amplitude is

00:14:11

probably about two and a half centimeters here, that is, very

00:14:13

few centimeters are obtained for legato to do

00:14:17

then the finger he returned, but two, in

00:14:19

principle, this is the optimal effort, that is,

00:14:22

we don’t have such and we don’t have a task,

00:14:26

minimize all this, we did it all

00:14:28

right, very carefully, we’ll assemble the gain because

00:14:31

we still have a humbucker again, and why am I

00:14:34

explaining all this to you that the main

00:14:36

mistake of most who try their

00:14:38

legato technique is that they are trying to

00:14:40

achieve the loudest sound possible it should be

00:14:43

achieved as evenly as possible,

00:14:45

not only vertically in dynamics but also

00:14:48

horizontally rhythmically so that your notes

00:14:50

are as

00:14:51

identical as possible both in rhythm and

00:14:54

dynamics when you hit the

00:14:55

grid with a metronome, I also teach without a metronome

00:14:57

you yourself will be your own that you play exactly

00:15:00

8 -mi 16 not so kicks him for

00:15:02

three more tyk tyk tyk such jumps of

00:15:04

some triplet accents when

00:15:06

the power is definitely working with power, you

00:15:09

can already add efforts, weaken efforts

00:15:12

and try to learn to control this

00:15:14

basis that you have already mastered, so let’s move on

00:15:18

to positioning of the hands, as I already said, if

00:15:20

we are going to play 6 at a time, it’s not to blame, then

00:15:24

accordingly we play,

00:15:26

our fingers should not be on the bottom,

00:15:28

then bam, we take it here, yes we play, the

00:15:32

fingers are always on the arguments for the one

00:15:34

we need later,

00:15:39

the effort is small, is it necessary to put

00:15:42

the finger on top, the thumb can be if you

00:15:45

essentially play the cord,

00:15:47

you need to make it from your brother, you need

00:15:49

a point of rotation, then okay, but its main

00:15:52

position is still if you don’t have

00:15:54

vibrato of some kind of turntables in the back, having a

00:15:58

finger behind you and you can control the

00:15:59

pressing force, you can lose

00:16:02

moving it towards you this is logical, of

00:16:04

course, not like that, not like that, not too

00:16:07

far because you have a

00:16:09

guy coming to press here, there’s no need to be here, plus

00:16:14

you’ll have to pull him further with you, he’s

00:16:17

located, plus or minus, here as always,

00:16:19

and on the back of the neck, yes, he can be

00:16:22

from above can be from below if you

00:16:24

need to stretch to a large stretch

00:16:25

the nose on its task, including dosing

00:16:29

your efforts on

00:16:32

even vibrato, you don’t necessarily need to

00:16:36

throw it over the pro you

00:16:37

can do it and

00:16:39

so with the help of putting a dot on top

00:16:43

again, that is, the

00:16:45

thumb is always in the upper part of the back

00:16:47

not here not here not here but here with a

00:16:50

soft pad and control

00:16:52

control the pressing of your remaining

00:16:55

fingers with this everything is clear if you

00:16:57

play on the bottom with us, then again

00:17:00

feel free to run away from the classics into a

00:17:03

side position and when we play on the

00:17:06

sixth string here We’ve already succeeded,

00:17:13

we need to hold the classics because in

00:17:16

this case our knuckles are exactly wrong, that

00:17:18

is, the

00:17:19

parallel line of burns will go away because

00:17:22

I need to reach with my little finger

00:17:29

[applause] I do

00:17:31

n’t need to reach with my little finger from 6 strings, but

00:17:33

if we move to the first string then

00:17:35

we It’s quite acceptable to use the

00:17:37

buzz position because, well, it’s

00:17:43

a little unnatural to play like this; it’s a different matter in the

00:17:46

blues position, in this case I have a

00:17:47

more powerful swing,

00:17:50

but here we already have it, it’s a classic, but

00:17:53

it’s a blues one, but here it’s

00:17:55

allowed and this kind of application is

00:17:57

yours the task is natural angles for

00:18:00

applying precise force, familiar to you,

00:18:04

but now let's finally move on

00:18:05

to the exercises themselves, as you already

00:18:07

understood, legato is also used, a

00:18:09

variable stroke can be used in 2 note

00:18:12

countries, in the case of the pentatonic scale, 3 notes on a

00:18:14

string in the case of scales, and most often the

00:18:16

linkage that is on

00:18:18

the index finger is used finger to us and or we

00:18:20

use pilaf, that is, we pull

00:18:23

the country

00:18:25

and get a loud note, or we hit

00:18:28

it with a pick and

00:18:31

add a hammer voila, that's all science,

00:18:34

that is, we get a loud note by

00:18:36

pulling the string and then we add

00:18:38

legato in itself, in fact this is

00:18:41

hybrid [ __ ] most often because the

00:18:43

guitarist intuitively understands that the note

00:18:45

will go away and begin to

00:18:48

compensate, it’s all

00:18:50

pointless if you started playing

00:18:52

loudly in the middle, you already have scales there,

00:18:54

you’ve lost everything and you’re lost in the mix,

00:18:57

so we’ll start practicing with for

00:19:00

such an exercise, we will simply hit the

00:19:02

string and add 2 notes with the gods on

00:19:06

one string, go up and down, what are we

00:19:09

striking on the first string,

00:19:12

add a finger and a second finger, well,

00:19:15

let's ground it like that

00:19:16

[music]

00:19:30

we need to avoid this

00:19:32

[music]

00:19:34

he

00:19:37

when you are not muffled, it is not muffled, I hit

00:19:39

the crack, after all, it lies here,

00:19:48

this is suitable due to the fact that you do not

00:19:50

hit it accurately with your index finger and also

00:19:53

put it on the second string and you

00:19:58

get a legato after striking with a pick

00:20:01

on the first string and on the 2nd string like

00:20:04

this duty finger and get an extra

00:20:06

overtone no, you place your finger

00:20:08

exactly so as to muffle in order to hit the

00:20:11

first string

00:20:13

the author needs to mute it, but

00:20:18

not so much that he climbed onto it so that it’s a

00:20:20

pity [music]

00:20:23

from a mistake

00:20:30

so no need to

00:20:35

hit exactly

00:20:37

[music]

00:20:39

at the same time after the fall,

00:20:43

I have the second string behind the tug

00:20:47

[music]

00:20:56

then we relax now we took 2 cameras

00:20:58

do not forgive attention

00:20:59

[music]

00:21:13

now we add a change in the

00:21:15

down-up stroke

00:21:16

[music]

00:21:34

I think that now the same thing will fall on us

00:21:36

for months

00:21:38

[music]

00:21:45

with the little finger by the way there is no need to try to paint the year the

00:21:47

second string because it is already

00:21:49

extinguished indicate now 7 8

00:21:51

[music]

00:22:07

I’m trying to use stronger ones with

00:22:09

weaker efforts a little bit south of me

00:22:11

and and you do it, study it, look for the

00:22:13

optimal one, listen to yourself, it’s clear,

00:22:16

it’s the same thing, play 7 10

00:22:19

then

00:22:20

[music]

00:22:23

already play with the first second finger, but

00:22:27

through it the

00:22:29

theme of parts is already bending, almost no

00:22:32

parallel griffin was walking

00:22:40

[music]

00:22:46

and

00:22:49

you can show that I was strongly invited,

00:22:51

in fact, everything is as easy as possible,

00:22:57

still slightly weakened, that the

00:23:00

strings of the survey will not press against me

00:23:02

[music]

00:23:04

all the effort is already wasted

00:23:07

[music]

00:23:14

but now we begin to combine

00:23:17

first through immeasurably through

00:23:20

the little finger [music]

00:23:44

voila third stage the same current

00:23:47

alternating stroke

00:23:48

[music]

00:24:02

you saw the look of my dog, he’s just

00:24:05

kind of looking at me but How much can you

00:24:08

do this crap? You neighbors are

00:24:10

here too, in fact, it doesn’t even

00:24:11

matter what finger you hit, where

00:24:14

you hit which country, the main thing is

00:24:15

to understand the mechanics, motor skills, that’s not enough.

00:24:18

movement is what you don’t knock out, no

00:24:21

older than the task, don’t leave dents from

00:24:23

Vlad’s strings, yes, like many many,

00:24:26

someone’s guitar is exactly the same, not even from

00:24:29

brands, the last one on the waters, but just the exact

00:24:31

kabuto slots, and with a pick, everyone

00:24:34

gouged out the same place, no yours

00:24:36

the task is to understand the mechanics to find the most

00:24:38

optimal amplitude of movement the most

00:24:40

optimal sound including

00:24:42

the complex of all this application of effort

00:24:45

and to train your brain to hit accurately

00:24:48

because it is one thing to know theoretically

00:24:50

and another thing to apply practically if

00:24:53

you know something theoretically this does not

00:24:55

mean but ideally then you will perform it, you

00:24:56

still need to train this skill,

00:24:58

you know what you are aiming for, this is good, but you

00:25:00

still need to practice so that it

00:25:02

works out better, your hands know offical

00:25:04

what it is like to obey with and

00:25:08

more accurately obey what you

00:25:09

want, well, let's move on, we will

00:25:13

deal with the transition of the articular string

00:25:15

of course pentatonic, including

00:25:19

now we are separately in chambers then in

00:25:21

bad way, so let’s take the usual box 58 on the

00:25:24

sixth string then 57 57

00:25:28

and again 585 8

00:25:31

let’s also take it absolutely relaxed,

00:25:34

loop the

00:25:36

strings

00:25:49

further

00:25:51

[music]

00:25:54

and for me it’s also relaxed for me you

00:25:55

even you can have it bending a little

00:25:57

in my lock,

00:26:02

let's move on,

00:26:05

don't build the string

00:26:16

again, play only yes, he's strict

00:26:18

[music]

00:26:22

you see how my

00:26:25

index finger moves every time,

00:26:30

I don't roll, I could

00:26:33

roll,

00:26:38

but first, let's better all-

00:26:40

move on

00:26:41

[music]

00:26:46

what we were here

00:26:47

[music]

00:26:55

and pay attention to how high he

00:26:57

rises when he moves

00:27:01

and

00:27:04

almost doesn’t rise at all, he

00:27:06

literally licks the next string for

00:27:09

how long you need to move and I’ve been asking you for

00:27:11

a long time this is a question so that in the

00:27:13

next position in the next position

00:27:16

of the finger you were able to slightly touch you with the

00:27:19

lying string and

00:27:22

for the tug and

00:27:35

and then add a change stroke and

00:28:19

and the next stage is like we already

00:28:22

did three strings ourselves, let's go

00:28:25

and shift the stroke so that it is

00:28:27

accentuated down up

00:28:34

down up

00:28:41

then again down twice a century

00:28:47

and and and and

00:28:51

down again and

00:28:54

accordingly the last ones, that's

00:28:57

all you need to do

00:29:01

at first also step by step only down

00:29:04

strings only two countries then changes

00:29:07

and accordingly we also take two

00:29:10

strings and then we take 3 each

00:29:15

we don't try right away

00:29:19

somehow we’re chasing everywhere at once, no, we

00:29:22

take four notes on two sides, I’ll just

00:29:25

add a touch so that nothing

00:29:27

distracts the striking hand at all, including the game,

00:29:32

I remember the next two notes

00:29:35

[music]

00:29:40

then we add streak changes,

00:29:46

then we start playing

00:29:48

[music]

00:29:53

then there is only then we complicate the task for ourselves

00:29:55

gradually with this it is also understandable this

00:29:58

exercise number two

00:30:00

of course the last one can already

00:30:03

connect them with anything with sick

00:30:04

slides and so on, then first master and

00:30:06

individual movements for the next we

00:30:09

will do it ourselves, this is bad here I have already shot

00:30:13

separate videos on legato it’s possible there

00:30:15

will even be a more complete look at it on

00:30:17

the wall, but the main task of the main

00:30:20

mistakes is that the guys are trying

00:30:22

to send 5 too much effort into the

00:30:25

guitar, that is, they are trying to do for the

00:30:27

guitar

00:30:28

[music]

00:30:30

pov this is when we not only hit the

00:30:32

country from above

00:30:34

but also did this and forced the

00:30:36

killer already and, accordingly, on the

00:30:39

fifth fret we clamp it, there is a reverse

00:30:41

movement to the hammer, in fact there is no but

00:30:44

that’s what they call

00:30:45

[music]

00:30:46

so you don’t have the task of going behind the fingerboard,

00:30:49

how will you do this when you’re

00:30:52

talking about the third trunk

00:30:56

when you try to do this, you

00:30:59

actually first

00:31:00

[music]

00:31:02

pull back on the string, it starts to be no,

00:31:05

but then yes, then do it

00:31:07

[applause]

00:31:12

so drunk, plus it turns out naturally,

00:31:15

you have to

00:31:19

pull the string a little away from yourself, you have to

00:31:23

[music]

00:31:25

pulls your finger a little from the fingerboard

00:31:28

[ music]

00:31:30

from minimal effort, as we already

00:31:32

found out at the beginning that we dogma is strong

00:31:34

and weak until it doesn’t really change,

00:31:36

such a small amplitude, that

00:31:39

is, vibrations, all this changes is what’s

00:31:41

behind us game guide or it has a greater

00:31:43

influence, although it would seem this tube

00:31:45

should be decided, that is, in fact, don’t

00:31:48

try to keep up with 5 too

00:31:50

much musina,

00:31:52

take the weakest rays from it,

00:31:54

otherwise move as weakly as possible

00:31:59

[music]

00:32:04

I added a little bit, it’s already happened on the first

00:32:07

string the same thing the same Potter

00:32:10

we’re learning

00:32:11

[music ]

00:32:31

let everything start to turn on, everything that

00:32:33

falls into these notes and the elongated nail

00:32:36

hits italy yes, for us, here it is

00:32:39

near, so it starts to turn on the

00:32:41

derivatives, this is our B axes, we also have it, I

00:32:45

want something thick, it starts to

00:32:47

kill, so we turn off everything for don’t

00:32:49

forget to turn off beating with his hand and then the

00:32:51

same with the little finger,

00:32:52

easily as easily as possible

00:32:55

[music]

00:33:01

a little bit I add effort

00:33:04

[music]

00:33:08

and now it’s

00:33:12

minimal,

00:33:14

I can’t even pick up the strings with this

00:33:16

effort,

00:33:18

then I add

00:33:21

and come, that is, here I have the minimum, here’s the

00:33:24

maximum, I’m

00:33:26

moving away so much still very far is enough

00:33:28

to move on, respectively, the same thing

00:33:31

can be returned first

00:33:36

we are looking for

00:33:38

[music]

00:33:44

here there is a nuance of knitting 1 2 fingers

00:33:47

of the index and middle finger, it is rarely

00:33:49

found pentatonics in boxes

00:33:51

you don’t find at all and so many blues

00:33:54

pedagogies of getting rid of notes of drag from the

00:33:56

temporary on the tonic, so the point is

00:33:59

that

00:34:00

here if you play

00:34:02

the blues one, then you will have to pull the bear down,

00:34:05

if it pulls the part towards you,

00:34:07

you just slide here, yes, that

00:34:11

is, you will have to kind of add a little

00:34:14

force until

00:34:16

so you can, in principle, switch to the

00:34:18

classics

00:34:19

[ music]

00:34:23

as you can see, it is more effective and the

00:34:25

blues guys who play

00:34:26

grammars are often in such positions

00:34:29

when it is necessary that the ligament plays these three

00:34:32

fingers, respectively, they are

00:34:33

already moving to more classical

00:34:36

productions, this is a nuance, these were blues

00:34:38

chromatic nuance in marriage, it is rarely

00:34:42

found therefore there but in fact

00:34:45

we go further than us again the little finger and the

00:34:50

middle finger goes

00:34:52

but you can throw up the lands

00:34:55

[music]

00:35:22

this is the most difficult combination that you

00:35:24

will encounter

00:35:25

a little bit and work out a little longer

00:35:27

for nothing and we will use the

00:35:30

same box that we had on the cameras and

00:35:32

at first, just learn it on hover

00:35:35

so that it doesn’t happen that you

00:35:36

remember it every time I have it here for 8 8 5 years even

00:35:39

with sevens concert 85 no, he

00:35:42

should already be in your head on an easier

00:35:43

movement to learn and he left, that’s

00:35:45

what we have here from below to two strings from

00:35:46

above, one because it’s so cut so that

00:35:49

now you can completely devote yourself to studying

00:35:51

mechanics, it’s bad because it’s [ __ ]

00:35:54

difficult, especially when switching from both country

00:35:56

and strings, but if you master it, well done, at

00:35:59

least try it anyway,

00:36:01

but it won’t work out otherwise we will

00:36:03

use the same stroke only

00:36:05

mirrored, that is, three strings

00:36:06

dividing 2 up one down

00:36:11

so that you can also understand by 60 divide

00:36:14

and excerpts three sides by 6 so we play

00:36:17

first we play

00:36:19

[music]

00:36:21

it sounds a little dirtier

00:36:24

[music]

00:36:26

because we when the volume we leave the

00:36:27

string

00:36:28

to sound

00:36:30

smaller helium bubu is cleaner, why should we

00:36:32

slowly give it the first string we

00:36:35

start with it moving the pick up

00:36:37

we have already done this

00:36:43

then we move to the second string here

00:36:45

the little finger hits the fret simultaneously

00:36:48

pinches it with the pick and

00:36:52

this is where the pyramid begins

00:36:56

to sound two countries we have the opportunity to

00:36:58

either roll so that it sounds first

00:37:01

1 and then we roll and it sounds like

00:37:04

2 and 1 course,

00:37:07

but in this case how are we going

00:37:10

to move further, we can’t roll

00:37:12

like

00:37:13

oo-oo-oo-oo-oo - so rotate anyway, yes,

00:37:15

we need to step, step to the side up,

00:37:18

so we use what principle we

00:37:21

dampen the second string, this is how it was when we

00:37:24

moved down and

00:37:25

then step, I realized that nothing was

00:37:28

visible, so I decided to raise it again like this so

00:37:32

that it would be

00:37:34

just like that the

00:37:36

stupidest thing is to give out what the

00:37:39

transition looks like I’ll turn the string

00:37:43

now slowly

00:37:49

without looking

00:37:51

[music]

00:37:54

I want

00:37:56

to find

00:37:58

we

00:38:02

cant

00:38:07

slowly super slowly

00:38:09

[music]

00:38:14

that is, I didn’t climb it after all, as it

00:38:18

was during the transition

00:38:19

in the chambers when to the upward movements

00:38:23

here I still step over,

00:38:26

yes,

00:38:31

but I also step over at such an angle as to

00:38:34

suppress the underlying sides, that is, the

00:38:43

most important thing here is to master it exactly smoothly

00:38:47

and with alternating movements with my

00:38:49

fingers, I also go

00:38:51

in turn

00:38:53

and

00:38:54

this move is the same, there is no such thing that I

00:38:57

need to step over faster 2 punkin there

00:38:59

is no such thing there is no need to hurry quickly, by the

00:39:02

time you put the first note

00:39:04

you will have

00:39:06

time to put the second note in place, that

00:39:10

is, in fact, the movement is what I

00:39:11

drink

00:39:12

[music]

00:39:13

splint I put I put

00:39:15

they make a catch but at this moment while

00:39:18

I put the bowl 1 moment go

00:39:21

[music ]

00:39:22

and and and

00:39:25

again I’ll try super slowly

00:39:28

[music]

00:39:37

on me, yes, I still have a sideburn

00:39:41

and

00:39:42

[music]

00:39:48

now I can see

00:39:51

[music]

00:40:01

with my eyes

00:40:03

[music]

00:40:08

[laughter]

00:40:11

basically, as for the mechanics of legato,

00:40:13

everything is here, but we’ll come back to it later

00:40:16

compositions now, before you are completely

00:40:18

tired, let's move on to the second part of

00:40:19

our lesson, this alternating

00:40:21

stun is still more fun that

00:40:24

we cheered up very often in my video

00:40:27

reviews of the game, some metal body

00:40:29

sketches, all this is done and all

00:40:32

this is based on plus or minus in one

00:40:34

movement it looks like this,

00:40:43

or just gave lines

00:40:47

here, no difference, in fact, it’s just a

00:40:49

slightly different sound and

00:40:51

you write Ilyukha what is this writing

00:40:54

about I write about and still in the end it doesn’t

00:40:56

work out for you and why and because no the

00:40:58

skill of alternating gosh is not a plus, there are

00:41:00

accounts like sketches

00:41:03

[music]

00:41:12

where you are a little balancing on the brink,

00:41:15

so he is, but here they are very wilderness, he and

00:41:17

I are

00:41:18

open, but that already sounds quite good, so

00:41:21

let’s go in order

00:41:23

how jamming happens in this case

00:41:26

metal Kursk muffling down I hit that is the

00:41:28

first question you left you always have the

00:41:30

sixth string no of course if

00:41:32

the muffler was always this I will have to

00:41:34

take some angle and play this whole

00:41:35

thing like this like this again for a second

00:41:38

we need to refocus now here

00:41:44

it is it doesn’t sound staccato and we need

00:41:47

to achieve the sound

00:41:48

[music]

00:41:52

when I hit downwards

00:41:56

I put the brush down and

00:42:00

when I hit up the brush flies up

00:42:04

and is already hanging in the air that’s the whole secret and

00:42:15

teaching

00:42:18

in fact is always the whole law if you

00:42:22

play down lines then it turns out

00:42:25

more difficult for me here, here I hit down and the second

00:42:29

time I also hit down, but from the guitar,

00:42:34

more precisely, a blues guitar even flies up,

00:42:48

that is, the first hit definitely leads to strata

00:42:51

frames of a stratocaster frying pan

00:42:53

[music]

00:42:56

and then by

00:42:58

you,

00:43:02

I’m as if cast after the hit

00:43:04

[music]

00:43:08

yes, but Tibbetts and

00:43:09

[music]

00:43:20

and

00:43:22

[music]

00:43:36

you can hear that the down strings

00:43:40

in the course a little gives more dirt, in

00:43:43

particular because we are landing,

00:43:45

you can do it more carefully,

00:43:49

you can come back here forward to

00:43:52

play more carefully, you can take a

00:43:54

normal fender stratocaster guitar

00:43:55

with a single bridge but one way or another, it sounds

00:43:59

different, this one is

00:44:02

brighter, it’s more smoothed out, we have notes that sound

00:44:05

darker, and it’s openly

00:44:09

applied, it depends on how

00:44:12

you want to sound right away, it’s

00:44:15

very difficult to master, very difficult, so we’ll

00:44:18

start with the simplest exercises, as

00:44:20

always let's take some 3

00:44:23

notes, the same positions we know

00:44:29

from play the first one, let's try to play the

00:44:32

open

00:44:34

wilderness then he and

00:44:36

[music]

00:44:42

it will make you fly up

00:44:50

then rise again

00:44:52

[music]

00:44:57

it's my fault I'm looking at the camera not at the guitar

00:45:07

now let's play 1 wilderness

00:45:10

[music]

00:45:19

how can he show

00:45:23

under the ice so minimally, that is, in fact, I

00:45:27

fly up slightly turning my hand, but

00:45:30

so much so that I my finger

00:45:31

thumb here we 9 after all, everyone will

00:45:33

fly up with this Draco, he won’t be able to be

00:45:35

on the line

00:45:38

in fact on the hitting part remains almost

00:45:42

at the same distance from the country

00:45:47

like this, by passing

00:45:50

you will be able to pass alternating you will be able to

00:45:55

train your hand to fly up to fall

00:45:57

while doing that they will simply understand this

00:45:59

when they just put the brush down,

00:46:02

nothing complicated, but alternating accents

00:46:05

is more interesting now that you

00:46:07

have learned, let's try catch

00:46:10

the moment of the moment of removing the brush, let's play one

00:46:14

note

00:46:15

[music]

00:46:19

here you have open ones, there are muted ones and

00:46:23

[music]

00:46:28

try to find something between them

00:46:32

[music]

00:46:49

okay now I can try the same thing,

00:46:51

plug on the variable

00:47:03

we will

00:47:15

roll it's all such small rises

00:47:19

and the movements that

00:47:21

show them on camera are difficult, you

00:47:23

can feel them yourself by the fact that I don’t move my

00:47:26

hand back at the right moment, it doesn’t move back and

00:47:29

forth as many thought, wrote

00:47:31

no, and I’ll think about just raising and

00:47:34

releasing the string, while you need to understand

00:47:36

that contact strikes with the strings remain

00:47:39

because I was always always

00:47:50

pasha one way or another this is a little

00:47:51

bit of rotation

00:47:53

this is the first option the second option you of

00:47:56

course still have to try to

00:47:58

master this kind

00:48:00

of under the ice let's

00:48:03

come up with a reef net

00:48:06

shitty

00:48:08

[music]

00:48:11

came up with it myself in the body maybe even the

00:48:15

first album of the song 88, she is also metal

00:48:17

corey, so bankable in itself, but there

00:48:20

is a passage through the country when all this is

00:48:22

nearby [music]

00:48:27

in flames of songs when it turned out to be

00:48:29

a bit heavy, and when through the country you

00:48:32

have to fly up because you need to

00:48:34

get around the fifth one,

00:48:37

you have to somehow bypass the template and

00:48:39

assemble it right

00:48:41

there, right

00:48:48

now you’ll get it, I’ll play only on the

00:48:50

second try, you already know how to cross

00:48:53

the country and jump, we

00:48:55

did this a month and a half ago and you’ve been

00:48:57

practicing it all this time, absolutely,

00:49:00

let’s try the schedule slowly

00:49:02

after 6 strings

00:49:06

2 hits of the guitar then

00:49:10

rejoicing is the

00:49:18

same only until we hold down the facsimile

00:49:27

but then through openly

00:49:28

[music]

00:49:41

that’s when the changes

00:49:43

[music]

00:50:02

and now down time

00:50:07

and you can immediately hear between this and

00:50:09

[music]

00:50:11

because

00:50:14

we break through the string it beats water but in In

00:50:18

this case, we have to

00:50:21

fly up more,

00:50:29

here we need to understand this reef will become your

00:50:31

pain for the next month, but on it you

00:50:34

will all understand that one more thing for

00:50:38

us to sound today is jiang since

00:50:40

it became us recently again heard in

00:50:42

San-Trop the boys of the forests now I know there

00:50:45

they're getting high, or rather

00:50:46

drinking for a week, that his songs got into the sun

00:50:49

through, although not even that, that's why

00:50:52

it's played so

00:51:03

pretty badly, we'll also play it

00:51:06

on cameras

00:51:13

[applause]

00:51:16

why did I take this particular riff because there

00:51:19

are these [ __ ] 1 5 countries and as

00:51:22

soon as you start playing a piece like

00:51:30

as soon as you start investing in the

00:51:31

instrument and your pools and or cameras are

00:51:33

more than necessary, you will not be able to quickly

00:51:35

jump over 3,

00:51:38

you will do this

00:51:41

by pressing everything as far as possible, especially

00:51:44

if we go further and we will go further

00:51:45

we still have a finger and we need to

00:51:48

work them out too

00:51:49

[music]

00:52:08

then the little finger has it, but we will

00:52:11

also do it through the tone

00:52:13

[music]

00:52:21

wala like this and here’s a nasty exercise

00:52:23

that will make you work, you need to legato

00:52:26

and remember the 2007 great great

00:52:28

album the bullet will fly for a long time, in theory, we

00:52:31

could give you another fourth riff a

00:52:33

place for my head

00:52:35

[music]

00:52:47

these are Berlin dan dan they can

00:52:50

scare away many, however, if you strengthen it,

00:52:52

work out, don’t jam it, open

00:52:54

it to the maximum, including

00:52:57

today we will finish, I think

00:52:59

because I’ve been filming frequently for five months, it

00:53:01

wasn’t a heavy month, so there was such a

00:53:04

gap, I had to do this, in general,

00:53:08

no one cares, we’ll work, we’ll

00:53:11

work on it, write your questions, what

00:53:12

doesn’t work, write busty from the word busty,

00:53:15

PM me on VKontakte, PM me, not a group,

00:53:17

PM me there and there is a notification in the

00:53:19

group for some reason the notification doesn’t come

00:53:21

so write, I will try to answer all of you with

00:53:24

videos answer video responses

00:53:26

to shoot everyone try to keep up with everything before the

00:53:30

new videos while

00:53:31

doing it, train, be cleaner

00:53:34

more precisely and in

00:53:36

general the most maple of me so far

Description:

Поддержать меня и подглядывать доп.контент можно подписавшись на Бусти: https://boosty.to/sokolovmjtv (русскоязычный сайт) Далее вы получите в подарок доступ в закрытые группы: Группа по теории музыки: https://vk.com/mjtvoc Группа с практикой и общение: https://vk.com/mjtvaction После поддержки просто напишите мне со слова Бусти: https://vk.com/sokolov_ilia Если не получается перейти на бусти легко найти по яндексу "бусти соколов илья" Также вы можете поддержать канал и помочь мне делать новые видео прямым донатом: Карта канала : Тинькоф: 5536913868648078 Сбербанк: 5228600520989981 После написать мне в личку и так же попроситься в группы с доп контентом: https://vk.com/sokolov_ilia Подпишись на другой крутой контент от меня: Телеграм канал: https://t.me/sokolovmjtv Сообщество ВК: https://vk.com/teatyanguitars Мой Ретро-паблик: https://vk.com/retruxa Второй канал: https://www.youtube.com/watch?v=8czDoo_YC90 Я Вконтакте: https://vk.com/sokolov_ilia Наш гитарный чат в телеге: https://t.me/+QXCvJc3n9ig4OTFi Яндекс Дзен: https://dzen.ru/id/6221a1f1d5872b0d6edd677c Рутуб: https://rutube.ru/channel/24122536/ 00:00 вступление 02:20 Теория легато 11:00 Все косяки от непоняток 13:30 Дистанция пальцев 16:00 Постановка рук 18:00 Зависимость от штриха 19:00 Первое упражнение 25:20 Второе упражнение на хаммер 30:35 Пулл офф 33:00 Первое упражнение пулл 35:30 Второе упражнение на пулл 40:10 Глушение 42:30 Первое упражнение глушения 46:30 Второе упр на глушение 48:40 Риффы на дом Скидки от меня на гитары и комплектующие ПРОМОКОД: mjtv LMarkt: https://lmarkt.com/ - 10% STRUNKI.RU: https://www.strunki.ru/ - 7% SKIFMUSIC: https://skifmusic.ru/ - 5% Скидка 5% на FENDER/SQUIER в Музторг промокод: Sokolov5M Ссылка на каталог со скидкой: https://fas.st/alY5o Отдельная благодарность: Nick Kozobrod, Aleksander, SvenX, Евгений Столбиков! Спасибо за просмотр моих видео! ....и удачного дня или вечера)

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