Your playings better than mine so I didn't spot any mistakes. Did notice couple things, 1 you're only using 3 fingers to fret. Past few months I been trying to use 4 a lot more but always have a hard time since cant stretch enough at times to reach notes farther apart. Another thing is I saw at a few points your fretting hand zoomed up n down the fretboard without actually going for any notes there. Is that intentional? seems like something unneeded.
It's hard with those backing tracks, but primarily you need to create a piece of music to develop. The chord progression provides you with that to an extent BUT you need to emphasize a theme or motif to build on. If not there is a lack of focus and the music sounds jaded after a while. Greater use of dynamics is a good way to build tension, I'm not averse to going from a clean jazzy line to a blstering overdriven run intermingled with feedback and squealing harmonics, and back to something mellow. Try and tell a story. Try this too, if you start off with say, Aminor pentatonic as the basis of your solo, move to the A minor natural, then throw in some A minor blues and then A minor harmonic, you'll more than likely find yourself favouring one scale but the new flavours in the other scales will be refreshing.
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That’s a good tip. I’ll try to record myself more.
Your playings better than mine so I didn't spot any mistakes. Did notice couple things, 1 you're only using 3 fingers to fret. Past few months I been trying to use 4 a lot more but always have a hard time since cant stretch enough at times to reach notes farther apart. Another thing is I saw at a few points your fretting hand zoomed up n down the fretboard without actually going for any notes there. Is that intentional? seems like something unneeded.
It's hard with those backing tracks, but primarily you need to create a piece of music to develop. The chord progression provides you with that to an extent BUT you need to emphasize a theme or motif to build on. If not there is a lack of focus and the music sounds jaded after a while.
Greater use of dynamics is a good way to build tension, I'm not averse to going from a clean jazzy line to a blstering overdriven run intermingled with feedback and squealing harmonics, and back to something mellow. Try and tell a story.
Try this too, if you start off with say, Aminor pentatonic as the basis of your solo, move to the A minor natural, then throw in some A minor blues and then A minor harmonic, you'll more than likely find yourself favouring one scale but the new flavours in the other scales will be refreshing.
Thanks Mike. Great advise.
Good to hear from you again.