How to be an expert Jewish Guitar Player - Yossi Piamenta 1999

[Music] Heat. Heat. Okay. See Yes. Now this is Okay. It's now you don't need help on the right hand. You just [Music] So, yes, you're doing right. Can you turn a little bit so I see your fingers? Yeah. My fingers not so strong. Can you use your third finger first? You have to be able to bend the string and think like violin. You know, there's nobody who gives you up. You don't have frets. So, you have to know to do this. You have to be able to feel and that will will take you practice. So I show you some exercises how to bend to the right one. You have a tone here and you want to bend this to then you both of them. Both of them. Which not? >> Every note. It's not which note. Every note if you want to reach with bending. >> Yeah. >> You have to learn to feel when did you get to the right tone and hold it there. So the exercise for that would be that you take the scale that's flish. So [Music] Look. M. [Music] If you can do on every scale that you're playing, if you want to reach a note and go to it by bending thing. It's It's the key. It's It's the key to to to be able to to do it on tunes like uh Okay. How do you >> on the higher not easier? >> It's easier. No. No. You have to bend this. You have to bend every string. It's really harder on the first. And it's if I have to bend here, I would go here. Here. Heat. Heat. [Applause] You you you pick with this not with this beat. >> Yeah. >> Why? Can you go fast? Like this? Like this fast? No. Look again. Why don't you reach with the pinky all the way? Better >> voice here. If you if you pick with the string with the pick up and down, you double your speed >> because Yes. But then they have to sound exactly the same. you have to. So that's an exercise if you want to warm up your uh technique for me. >> Take from the beginning of the scale till the very end. >> Yeah, I that's the thing I should do. I had bought a books different uh >> books showed up. >> Yeah. >> I don't know this book. I don't know books but yeah. two and you got all the frets and backwards and then do different 2 3 4 1 2 3 4 1 and 3 4 >> like that's all >> and the first one is and the next and then back and then the next one is next one They're all different. >> And it starts to do that on each fret. Uh-huh. Go. Keep on going up. Why do you push this and not? Yeah. You should you should reach this string from up not from inside. Yes. Okay. See to it that you don't touch the soft pillow, but you touch this edge where the bone is behind. >> Yeah. >> After 2 weeks, it's going to be hard enough that you don't feel the strings anymore. First time it's going to hurt a little. >> Not a little, but >> so I'm telling you up and up and down has to have the same voice. Now if you can't do it fast with the same voice, slow down. I mean there will be a speed where you can do it with the same and don't use a little voice. First the pinky always is louder than the rest. Do it again. See this one is less loud than this one. Can you tell? >> Not really. Let's >> do it again. Maybe because I'm holding it longer. >> No, because you're pushing harder here. But you learn that a minute ago. You have to see to it that they when I do It's this exercise that you up and down. [Music] Yeah. That's your pinky. No. Yeah. Not this one. Yeah. Now take a look at the right hand. What's the up down? You see what I mean? Up down up down. Now once this is work for a month but once you do up down up down Huh? and back. [Music] You know the secret of your personal voice once you develop that is in the right hand. The way you hit the string that gives the that's the tone that Santana has different Eric Leon has different you can tell who's playing by and it's I mean it's not the only element that shows the sound but it's the most the attack now you know do do two on each string and see how it works. Now, can you hit softer? [Music] Okay. Okay. Let's go further because that's the kind of exercises that the more you do them, you do you have to do it with scales also. [Music] Okay. One. [Music] What's that one? >> I I'm I'm doing it clean. You You adding one note. It's no problem on improvise. You may >> No, I think that's Watch this note. Which note did I add? This >> do it. That's additional. >> Yeah. Okay. Okay. >> All right. Do the three. >> Yes. Okay. So now, same thing you do. It's 2 one 2 one 2 one >> two two on one one >> two one. You don't go You don't go 1 2 3 4 5. You do 2 1 3 2 4 3 >> I skip around the notes. You don't understand what Yeah. Make up your own exercises. How? Without the book, just your own. You Let's take pentatonic. It has five notes. Yeah. That's it. Now is this. That's the same already. So you only have five >> Yeah. >> tones. Now do [Music] just go back and forth between the chords. You Okay. I What you need to do is to work slower. It's a big secret balian music that to be able to play something really fast, you have to be able to play it really slow. And that means this you have 1 2 3 4. So now [Music] And what do you gain by that? I saw when you did it fast that some tones are shorter than the others. So if you play slow and you take the time of every note good so now to now if you uh Yeah. Well, I'm sorry. Now, three tones. No. What is this note? That's That's 1 2 3 4. So I do I do So what what did I show you to do? 2 1 3 2 4 2. Now three three of them is 1 2 3 1 2 and then and then you can H. [Music] You do all the combinations that you make up yourself. Then you take four notes. So what is this accomplish? This will give you a feel of the next tone. And if you improvising, you you won't have to think which is the next tone in a scale you're going on. You will reach it. You can build up sentences. It gives you more words in your vocabulary when you're trying to say something. For instance, That's a line from Led Zeppelin, but it's an exercise really. It's a [Music] >> You heard that before? >> No. So he he starts a solo with this >> just a scale. >> It's just a scale but it's a nice line. So suppose you're improvising now. [Music] All [Music] right. Heat. [Music] Heat. Heat. Heat. Heat. [Music] Heat. Okay. It can be louder than me if I if you do rhythm. One, two, three, four. [Music] Heat. [Music] Heat. It's very hard to to explain how to improvise. It has to come from the fingers. >> Exactly. Now that I want to know how >> there's one thing the more you exercise the technical exercises that I gave you in the >> be able to go on the more you can move >> no the more you have moves on your hand that are ready to go and then what's your job is to forget all about them when you improvise and try to tell a story try to make a melody around the theme. [Music] So that's along the harmony, you know, there there are steps about it. Because you you what you have to do with the try the start to say take the chord chords. Oh, [Music] a heat. Heat. Heat. N. Heat. Heat. N. [Music] Heat. Heat. N. Heat. Heat. [Music] It's it's a big secret to be able to move along a harmony and um and make up your own melody to it. You'll have to think now I'm composing a melody and what's given on this melody is that the harmony belongs to this song. So the theme of that song should lead you into making another thing that you have to think melody. You have to think [Music] It's hard to describe the way you build up. You have to feel it. You have to And I would say if you just try, you know, how to make a loop on on a tape that will just follow and do again. put it on a keyboard that will just repeat those chords. >> Yeah. >> And then improvise sit for a half hour just to improvise >> playing along with the tape is the same with the regular tape. >> Yeah. >> With the with the lead on it >> the same. >> No, no. What I meant was different. If you can >> of course. >> Yeah. If you could lock a loop. >> How do you do that? I don't know if the DX7 does that, but >> Oh, on the keyboard. >> There are keyboards that will give you just a harmony. >> Yeah. >> And you improvise on top of that. >> Now, like after messing around with that for like 10, 20 minutes, listen back. There will be spots where you like it very much. There will be spots that you don't like at all. So then you start to be selective with your own taste. I cannot tell you how to improvise because improvise means compose on the moment on the spot. >> Yeah. And that nobody will tell you. You will have to make it up yourself. You know you following me? Once you make it up yourself, you develop a taste of your own that you do. And the only the best offer for that is to jam with other people. >> They sell a thing that takes out the vocal from uh from tapes. >> You know, you attach a tape recorder to a machine and takes out the the lead vocal, the lead guitar. >> The lead vocal never bothered me. I would go along with him. So what? So I can play with the regular tape. >> Yeah. >> And now then I could solo over that. >> Exactly. But you should solo on everything that where you know where you are at the melody at all times. >> You can't get lost. Fall down on a different chord or something if you know what I mean. >> Yeah. >> You have to be sort of you can create your own exercise. Oh [Music] yeah. Heat. Heat. That's the right way to do This is the you >> I'm just going I was just going up and down the scales. >> Up and down the scales. Mess around with them. And little by little you're going to develop lines of your own that you that become your own taste about it. You know what I mean? >> Yeah. And then you will alone be able to create melodies on every harmony that you hear. Should know every every ki song has that kind of round harmonic. the repeat always get a harmony on the song. >> Yeah. >> So pull a car and first do the melody and then start to improvise. [Music] you know, try to bend the string and and get the I see that you already get this. >> That's good. Can you do it on a bending? Right there. So when do you do it? When you know how that you on the right. [Music] Heat. Heat.