Cover of Tom Quayle’s Chasing a Beat

Great job!!
keep up the good work 🙂

Hey!Cool video Rohan!

First of all, +1 for learn the first 24 bars of Tom s solo,amazing!Cause it s a very expressive and difficult phrasing and you did it nice! 😉

The main theme was cool too!For your own impro,maybe you should have learn the scales Tom gived us to play along the chords changes cause you looked little bit “locked” on the B minor pentatonic scale.Those scales will help you a lot to feel the chord changes, 😉

Well, + 1 for the great work ,keep it up 🙂

@Rick Graham 8234 wrote:

Nice work man, I’m sure Tom’ll be very impressed.

Hey Rick & Rohan, 🙂

Yes Rick, I agree! I meant to mention that to Ro when I messaged him. 😮 :rolleyes: My guess is that Tom will be both impressed and proud of Rohan’s progress! 😉 😎

Great job Ro! 😎

~Bill Meehan~ 😀

@arc_of_descent 8239 wrote:

Thanks guys for the comments.

Bill, are you saying that for a smooth-legato playing style hybrid picking is an essential technique to develop?

JeanDo, I definitely need to learn some scales, but I wanted to improvise using only the B minor pentatonic and minor scale because I’m familiar with only these two scale patterns! ha ha. And of course, I by hearted all of Tom’s licks and don’t really understand how its tied in with the scales yet, so its still a work in progress.

Improvisation is a really difficult job. 😡

Hey Rohan, 🙂

Again GREAT JOB here bro! Allow me to clarify what I was saying about legato and hybrid-picking.

No I don’t think that hybrid-picking is essential to playing legato style. (Allan Holdsworth would be a good example of extreme legato soloing, without much (if any) hybrid-picking.) However, hybrid-picking can contribute to a softer attack on the strings (especially if fingernails are not incorporated into the technique) because flesh is always gonna sound more legato than a pick-attack. Other than that, hybrid-picking just happens to be a technique that Tom Quayle (and some others) has developed and incorporated into his signature style. Hybrid-picking also contributes greatly to maximizing “economy-of-motion” which can enable greater speeds/tempos as well as an extremely efficient and consistent technique. (Watch how relaxed Tom’s hands/fingers are and how little he appears to move his right-hand and fingers! It’s both awesome and mind-boggling at the same time! – LOL!) 😮 😎 Maybe the most important attribute of hybrid-picking (besides the “economy-of-motion” benefits of accuracy and speed) is the abilty to smoothly and efficiently execute extremely wide intervallic ideas with minimum effort! When your delving into the “denser” harmony that defines Jazz and Fusion alike, it makes sense that a technique like hybrid-picking can help to develop a melodic sensibility that utilizes more chord-tones and thus wider intervals, and also just the element of surprise and unpredictability can be achieved more easily, whereas flatpicking everything is probably more conducive to “linear” playing, which is usually featured more in Rock and Metal. 😉

So in summary, NO hybrid-picking is NOT essential to achieving legato sounds/results. However, Tom Quayle’s particular brand of fusion-soloing relies on it heavily, and it (hybrid-picking) opens up new doors to creativity and the pursuit of wider-intervals and undeniable economy-of-motion in one’s technique. All good! 😉

See ya around bro! 😎

~Bill Meehan~ 😀

@billmeedog 8242 wrote:

Hey Rohan,

I forgot to comment on JeanDo’s comment and your reply! :rolleyes:

Yes Tom’s suggested scales and harmonic description of the solo-section is certainly accurate and effective, but that’s easier said than done! – LOL! 😮 You hit the nail on the head when you said “Inprovisation is a difficult job.” I couldn’t agree more!!! (Especially over fusion/jazz harmony!) 😮 😮 😎

That being said, I think your transcribing of these solos is a great start. Then you can rip them apart and figure out why those notes work over their respective chord-changes etc. 😉

Keep up the good work man! 😎

~Bill Meehan~ 😀

Yes,improvisation is a really difficult job!And I need to learn much more scales and practice it too!In my comment ,I only said that Tom is showing us the scales we can use to play over the chords and it s a very interesting work but it s very hard and long too!

Rohan and Bill,don t take my comment too seriously,I m just trying to be constructive so I told you about Tom s lesson which is very good 😉

Keep up the great work 🙂

Hey Rohan! Awesome job covering this difficult tune. I really enjoyed your version and I have to say it was really interesting watching someone else play my lines. They didn’t sound like my lines at all which is a great thing – you really made them sound fresh and your own! Serious Kudos for transcribing them and committing them to memory. Not an easy task and something I struggle with.

I thought you played the main melody really well with maybe some extra work required on the final phrase before the solo starts – it’s a tricky arpeggiated line though so it’s fairly hard to pull off cleanly.
As far as the solo goes I’d recommend learning the scales but until you’ve got those down (and they wizz by pretty quickly!) I think just going for it and using your ears is the best approach and you did a great job here too.

I think working on the ends of your phrases would be a good idea at this stage. If you could make the way you finish a phrase a bit sweeter with some more controlled vibrato or by sliding off a note – very subtle things but they make a real difference to the way a listener perceives something. This goes for both improvised sections and for the phrases in the melody. I aim to make each phrase ‘sing’ as much as possible and be in control of each note – practising VERY slowly and really focusing on the little nuances of each note is a great idea. Even do your vibrato, slides and trills etc slowly and in tempo for the slower speed. Try to really control everything you do at the slow speed and it’ll slowly come together at the higher tempo – it should be fairly effortless if done correctly!
Finally the very tricky end riff (Wayne Krantz style one where the drum solo should be) was well executed – not sure what happened to the first few but you played some cool improved ideas! Again, this is hard to play and could be a bit smoother but seriously good work here too! Once more, very slow practice should yield the best results.

I’m really impressed Rohan! Keep posting more – it’s so great to see you guys progressing and hear how you interpret these tunes.

Thanks mate!

All the best,

Tom

@billmeedog 8247 wrote:

Hi JeanDo, 🙂

Relax man! 😉 I don’t take too much seriously! There’s way more important things in life to take seriously than which scales we need to use! (LOL!) I can’t speak for Rohan, but I know that I’ve never taken anything written here in IG too seriously! I think Rohan and I were just being a bit self-depracating in our frustration over the difficulties associated with “fusion-soloing!” I never thought what you said was unreasonable, condescending, or mean! On the contrary, what you said was constructive and accurate! It’s just that it’s easier said than done (as my reply stated.) So don’t worry about me being too serious, because it’ll never happen here at IG!. I’m here to have fun, network, and learn as much as I can about music/guitar. It’s all good! 😎

~Bill Meehan~ 😀

I m 100% agree with you Bill 🙂 And thanks for the good vibes, here in the forum 😉