What a surprise. Thank you so much, Andy, for the kind words and for sharing this! I’m truly honored by your shoutout and support. It means a lot coming from a great musician and friend like you, grazie mille!!
When you are a beginner, mountains are just mountains and rivers are just rivers. When you start to learn, mountains are no longer mountains and rivers are no longer rivers. When you achieve mastery, mountains are just mountains and rivers are just rivers.
Roberto is also a great teacher. And a wonderful guy. His camps in Italy are super fun. Highly recommended! You guys should do a camp in the US. I’m in :)
You sure enough got a fantastic tone out of that martin guitar! And I could not agree more about sticking to the melody and keeping it understandable and pleasant to listen to.
I am 100% with you on this. So often I hear players just going off into a stream of fancy licks and leaving the melody by the side of the road, and my eyes just glaze over. To go maybe a stage further, to me the ultimate skill of great players is to be able to improvise around it without ever losing the melody.
@@keithchilvers7434 I have found that to be the hardest thing. If I hadn't had a ten year phase of playing nonsense, I'm not sure if even be able to do it, but that's just me
@@mandohat It is hard, I agree. One way I try to do it is to try to think like a harmony singer - what would I sing if if I were harmonising to it, and then try to play that.
That was sweet Andy. David Grier is also one who's a master at embellishing a melody. He can go nuts on improvising and straying from the melody like all the others, but he will usually start out with the melody, and sometimes just stick with it. Listen to him play OOkpick waltz on his album "I've got the house to myself" If your familiar with the tune you can really appreciate what he does with it. He even starts getting some blues licks in toward the end while still adhering to the melody.
Still another flatpicking great whose focus is on melody is Russ Barenberg. I was lucky enough to take some lessons with him a few years back, and he emphasized melody and great tone production--things that have stuck with me ever since.
One thing I've learned from playing guitar consistently over a handful of years now, writing my own music and learning others' songs is that ego has no place in music, or any creative act. Listen to your playing as if you were an audience member, and play in a way that makes you feel inspired and moved. If you can do that, your music will always resonate, even if it's just an audience of one: you.
Forgot to add that James Alan Shelton’s instructional DVD is still available and is great. Clinch Mountain Guitar - available at Flatpicking Guitar Magazine.
I agree, you will quickly become everyone's favourite picker if you take some time to learn James' techniques, which came from George Shuffler. It's a great DVD, at Homespun is where I got it.
One of the best players to emulate is Norman Blake. He has a style that is worth exploring. I first listened to Mr. Blake back in the early '70s and pretty much learned to play from his recordings. Never got close to playing as good, of course, but sure had many hours of enjoyment. Norman is getting up in age, so he may not be around much longer, unfortunately for pickers everywhere.
Warms my heart to hear that you and Roberto are friends, you're my favorite two guitar instructors! Here's my question though: do I still need to learn how to **not** play the melody, or can I skip right to "pro"?
So true Andy! I’ve got to say that is the tastiest Faded Love I’ve heard on guitar. I agree that James Alan Shelton is a beast. Listen to his record “Copper Creek Sessions”. I found Jame’s stuff a long time ago. Great player and wonderful cross picker in the Stanley tradition. Nice contribution Andy.
I always liked the way Clarence White would take the melody and play it straight, and then play the same notes but mess with the timing-sometimes jumping ahead and leaving us in suspense, sometimes laying back and then catching up. Same notes, but playing with the tension and release against what us, the listeners, are expecting.
Improvise; What I do when I don't know the song, just play over the chords. I'm tryin' to learn the songs my friends like so I can play the melodies. Playlist while driving between jobs. I wish I could play all the melodies, gettin' there.
@@jimmccarley9609 I always thought there were songs I could play, and then songs I could play on. If you kick that one off, I'll take a break, but I don't know it yet. On stage, though, you definitely gotta know the song
Ok, this is like a lesson on how to become a millionaire and the first lesson is get a million dollars! I was hoping for a nugget that would help me find the melody in a more efficient method other than just listening to it by ear and still being hit or miss. I know scales pretty well via the caged system and know triads really well. I also have a number of licks in my toolbox. However playing a melodic lead is still a bit of a mystery. The triads get me closer but still not quite there. Help please!
As far as more efficient.....I don't know about that, probably just experience doing it, honestly. You get better the more you do it. It helps if it's similar to another song you know.
I do not have a good ear at all, but here are a couple of things that have helped me a lot. First, you say you know scales pretty well, but do you practice playing scale sequences? This has been hugely important to me, because by constantly practicing the different sequences both ear and muscle memory become familiar with all the little phrases which, when strung together in various ways make up melodies. The second thing is, having got the melody firmly in my head, so I can sing/hum/whistle it is to strip it down to the very bare skeleton, cutting out the frills and fills just playing those notes which are essential to define the melody. Once I've got that then I can start back building up again to a full performance. This method is also a great aid to melodic improvisation, as once you've established those particular notes which anchor the melody you can vary how you move around between them without ever losing the melody. These ideas have helped me a lot, hope they are some help to you.
What a surprise. Thank you so much, Andy, for the kind words and for sharing this! I’m truly honored by your shoutout and support. It means a lot coming from a great musician and friend like you, grazie mille!!
When you are a beginner, mountains are just mountains and rivers are just rivers. When you start to learn, mountains are no longer mountains and rivers are no longer rivers. When you achieve mastery, mountains are just mountains and rivers are just rivers.
Been a Roberto fan and student for 14 years. Wow, I should be so much better by now! Thanks for your videos!
Roberto is also a great teacher. And a wonderful guy. His camps in Italy are super fun. Highly recommended! You guys should do a camp in the US. I’m in :)
I’m in too! - in the States or Italy. @robertodallavecchia
You sure enough got a fantastic tone out of that martin guitar! And I could not agree more about sticking to the melody and keeping it understandable and pleasant to listen to.
I bought a D-28 on 01-08-1998 and it sounds better today than when I bought it……& they’ve Doubled in price.
What the Pro's do is to artfully play the melody. Timing, taste, tone, dynamics, and leaving some space in the song.
Gorgeous, thank you Andy!
Bob Minner is a master of this approach
So true! Sometimes they get so fancy with their picking, they loose a beautiful tune.
I am 100% with you on this. So often I hear players just going off into a stream of fancy licks and leaving the melody by the side of the road, and my eyes just glaze over. To go maybe a stage further, to me the ultimate skill of great players is to be able to improvise around it without ever losing the melody.
@@keithchilvers7434 I have found that to be the hardest thing. If I hadn't had a ten year phase of playing nonsense, I'm not sure if even be able to do it, but that's just me
@@mandohat It is hard, I agree. One way I try to do it is to try to think like a harmony singer - what would I sing if if I were harmonising to it, and then try to play that.
That was sweet Andy. David Grier is also one who's a master at embellishing a melody. He can go nuts on improvising and straying from the melody like all the others, but he will usually start out with the melody, and sometimes just stick with it. Listen to him play OOkpick waltz on his album "I've got the house to myself" If your familiar with the tune you can really appreciate what he does with it. He even starts getting some blues licks in toward the end while still adhering to the melody.
Roberto is one of my favorite players.
Been purchasing Roberto's lessons for several years. A master player and great teacher! ❤
Hey Andy what a surprise this morning that you came up while searching Google. Great lesson! Mercer from Iowa.
@@msmgen what's up, Jim! Hey, Tim's getting good on that Capek mandolin. He's starting to get that Monroe sound
Wow! Your version at the end of the video just couldn't be any better!
Still another flatpicking great whose focus is on melody is Russ Barenberg. I was lucky enough to take some lessons with him a few years back, and he emphasized melody and great tone production--things that have stuck with me ever since.
One thing I've learned from playing guitar consistently over a handful of years now, writing my own music and learning others' songs is that ego has no place in music, or any creative act. Listen to your playing as if you were an audience member, and play in a way that makes you feel inspired and moved. If you can do that, your music will always resonate, even if it's just an audience of one: you.
Beautiful! You’re a natural.
Forgot to add that James Alan Shelton’s instructional DVD is still available and is great. Clinch Mountain Guitar - available at Flatpicking Guitar Magazine.
I agree, you will quickly become everyone's favourite picker if you take some time to learn James' techniques,
which came from George Shuffler.
It's a great DVD, at Homespun is where I got it.
Beautiful playing, Andy. The cowbell call back? Priceless!!! 😂
I've got a fever, and the prescription is more cowbell
I’ve recently discovered Roberto and actually purchased some tabs
I just found Townes van zandt and nothing compares 🇬🇧🙌🙏🏻
One of the best players to emulate is Norman Blake. He has a style that is worth exploring. I first listened to Mr. Blake back in the early '70s and pretty much learned to play from his recordings. Never got close to playing as good, of course, but sure had many hours of enjoyment. Norman is getting up in age, so he may not be around much longer, unfortunately for pickers everywhere.
@@robertshorthill6836 he is certainly one of the best to ever pick up a box, but I've found his style to be one of the most difficult to emulate.
Insightful and inspirational as always
Warms my heart to hear that you and Roberto are friends, you're my favorite two guitar instructors!
Here's my question though: do I still need to learn how to **not** play the melody, or can I skip right to "pro"?
@@dolo6926 go with slow pro and you'll be fine
Robero de la Vecchia is a good guy.
Dude, where did you get my grandmother’s furniture?
So true Andy! I’ve got to say that is the tastiest Faded Love I’ve heard on guitar. I agree that James Alan Shelton is a beast. Listen to his record “Copper Creek Sessions”. I found Jame’s stuff a long time ago. Great player and wonderful cross picker in the Stanley tradition. Nice contribution Andy.
Having participated in online lessons from you and Roberto, I think a course taught by the two of you would be dynamite.
Sure is good picking.
I always liked the way Clarence White would take the melody and play it straight, and then play the same notes but mess with the timing-sometimes jumping ahead and leaving us in suspense, sometimes laying back and then catching up. Same notes, but playing with the tension and release against what us, the listeners, are expecting.
@@lordofthemound3890 yes! He was tricky that way, so was Roland
Faded Love
Improvise; What I do when I don't know the song, just play over the chords. I'm tryin' to learn the songs my friends like so I can play the melodies. Playlist while driving between jobs. I wish I could play all the melodies, gettin' there.
@@jimmccarley9609 I always thought there were songs I could play, and then songs I could play on. If you kick that one off, I'll take a break, but I don't know it yet. On stage, though, you definitely gotta know the song
Great tone 😊
Ok, this is like a lesson on how to become a millionaire and the first lesson is get a million dollars!
I was hoping for a nugget that would help me find the melody in a more efficient method other than just listening to it by ear and still being hit or miss. I know scales pretty well via the caged system and know triads really well. I also have a number of licks in my toolbox. However playing a melodic lead is still a bit of a mystery. The triads get me closer but still not quite there. Help please!
Here's one I did awhile ago: th-cam.com/video/ivMTzG_2E2k/w-d-xo.htmlfeature=shared
As far as more efficient.....I don't know about that, probably just experience doing it, honestly. You get better the more you do it. It helps if it's similar to another song you know.
I do not have a good ear at all, but here are a couple of things that have helped me a lot. First, you say you know scales pretty well, but do you practice playing scale sequences? This has been hugely important to me, because by constantly practicing the different sequences both ear and muscle memory become familiar with all the little phrases which, when strung together in various ways make up melodies.
The second thing is, having got the melody firmly in my head, so I can sing/hum/whistle it is to strip it down to the very bare skeleton, cutting out the frills and fills just playing those notes which are essential to define the melody. Once I've got that then I can start back building up again to a full performance. This method is also a great aid to melodic improvisation, as once you've established those particular notes which anchor the melody you can vary how you move around between them without ever losing the melody.
These ideas have helped me a lot, hope they are some help to you.
O. K.
Good stuff , but when are you going to make that controversial statement ?
I like your bad playing as well.
@@Joe-m6p6b 😂
Thanks Andy I really like the song faded love!