Need Your Love So Bad - Peter Green

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geetarguy85geetarguy85 Frets: 27
edited January 9 in Making Music
Hi all,

I'm learning "Need Your Love So Bad" by Peter Green. I love how relaxing it is to play.

I recorded my progress today; my own take on the intro solo. It's also my first attempt at recording in Garageband on an iPhone using my new Christmas toy; a Presonus iOne.

I'd love some feedback on my playing, if you'd be so kind.

EDIT: Changed link to a Soundcloud page: https://soundcloud.com/ern-arrowsmith

Thanks
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Comments

  • adampeteradampeter Frets: 114
    Very nice mate, my only comment would be you need to shake a few of those notes buddy
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  • @adampeter thanks! Yeah vibrato is one of my weak points that I know I need to work on, just need some focused practice :smile: 
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  • rlwrlw Frets: 1539
    Far better than I can manage still.  A couple of notes seem a bit late, kind of Willie Nelson style - it works for me.
    Save a cow.  Eat a vegetarian.
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  • @rlw thanks! I think I started the intro maybe a quarter or an eighth of a bar too late.
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  • NeillNeill Frets: 372
    Dave Simpson on youtube has some really good tips for getting close to Peter Green's sound, the vibrato is absolutely crucial.  
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  • flying_pieflying_pie Frets: 394
    I always find it a bit of an awkward solo to play as the feel needs to be sparse and delicate but the phrases should still be played with intention. You didn't overplay it which is a good start. And I liked the tone. 

    For me it misses some of key elements such as the odd string rake into bends, the occasional slide into a note and most of all the dip in the bend in the first phrase - it's tricky to bend up to pitch, release to a semitone down then bend back adding vibrato after a pause. These are all techniques well worth persevering with learning for blues soloing. Keith Wyatt on YouTube has great lessons on these types of techniques 
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  • Thanks very much for the pointers @Neill and @flying_pie , I'll take a look at the suggested watching.
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  • Flink_PoydFlink_Poyd Frets: 2353
    This is what i used to try and learn it.



    Theres lots of subtle techniques like using staccato on a few notes, it really makes all the difference.

    Its a great solo, simple, just a few notes but all used to great effect.

    Nobody is guaranteed tomorrow.....


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  • Thanks @Flink_Poyd (great username btw)
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  • adampeteradampeter Frets: 114
    @adampeter thanks! Yeah vibrato is one of my weak points that I know I need to work on, just need some focused practice :smile: 
    I get the same criticism of my playing so it’s something I listen for and try to get into my playing 
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  • sweepysweepy Frets: 1689
    One exercise that is always worth doing is practising vibrato using 4, 3, 2 and 1 fingers and then bending up a semi tone and then a full tone, repeating the vibrato. Not only will your bending to pitch improve but your vibrato will be a lot more controllable 
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  • hywelghywelg Frets: 1494
    When you're ready to play the whole song this song sheet will save you a lot of time working out the ending. I've never seen a covers band play this ending they usually fudge it. The orchestral version that was released was only one of a number of versions. The band played it with guitars and keys as well, I've listened to about 6 versions on the rereleased box set.

    https://www.dropbox.com/s/ct6mx0wirerosr2/Fleetwood Mac - NeedYourLoveSoBad.pdf?dl=0

    Oh and don't let anyone tell you there's an augmented chord at the end of the chorus. I think some of the YT  videos add one Michael Carswell perhaps?. It absolutely is not there and it annoys the f*** out of me when someone adds it. 
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  • Andyjr1515Andyjr1515 Frets: 1680
    edited January 10
    Very nice.

    The only thing I would add to the wise words above is to almost now forget playing the notes as written down - and now play (the same notes but) the whole passage as YOUR piece.  That is, to get the flow of the melody as a whole melody rather than a just a collection of notes.

    I had to break through that same issue on the sax.  I started in the traditional 'playing from music' and to a reasonable standard.  But it was only when I put the music down and played it from memory as a piece as a whole - and not worrying too much at first about it being note or timing perfect - I started to get the flow and feel of the music as a complete passage.  I knew I could always go back later to correct any inadvertent improvisations but the subtle timing variations from a looser flow - sometimes a touch ahead of the beat, sometimes a touch behind - transformed the pieces

    Hope that makes some sort of sense...
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