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Assessment of performance of Mike Oldfield - Muse
Good progress, Bob. For the most part, your phrasing is accurate but watch out for the phrases that start at 00:21 (bar 11) and 00:23 (bar 12) and similar in other parts of the piece, as you are playing here slightly ahead of the beat, making the first note in the phrase too long (each should be a straight 8th).
Here is what I would like you to work on next, to give the piece more "life":
1) Work hard on your vibrato, and commit to memory where the vibrato notes occur (usually it's the long notes at the end of phrases).
2) The "fiddly" bits; ie. legato ornamentations in the phrasing such as in bars 20, 36, 50, 52, 56 and 59-60. These phrases variously involves slides, hammer-ons, pull-offs and combinations of these. Isolate and practice these phrases before trying to integrate into the whole melody.
3) Eliminate staccato sound by practicing short fragments of melody, concentrating on holding current staccato notes for their full value.
4) Articulating slides between notes as noted in the tab. Think of these slides as "glue" binding parts of the melody together and helping to eliminate that staccato sound.
5) Slowing your phrasing down (ritardo/rallentando) at the end of the piece to match the backing.
Good progress, Bob. For the most part, your phrasing is accurate but watch out for the phrases that start at 00:21 (bar 11) and 00:23 (bar 12) and similar in other parts of the piece, as you are playing here slightly ahead of the beat, making the first note in the phrase too long (each should be a straight 8th).
Here is what I would like you to work on next, to give the piece more "life":
1) Work hard on your vibrato, and commit to memory where the vibrato notes occur (usually it's the long notes at the end of phrases).
2) The "fiddly" bits; ie. legato ornamentations in the phrasing such as in bars 20, 36, 50, 52, 56 and 59-60. These phrases variously involves slides, hammer-ons, pull-offs and combinations of these. Isolate and practice these phrases before trying to integrate into the whole melody.
3) Eliminate staccato sound by practicing short fragments of melody, concentrating on holding current staccato notes for their full value.
4) Articulating slides between notes as noted in the tab. Think of these slides as "glue" binding parts of the melody together and helping to eliminate that staccato sound.
5) Slowing your phrasing down (ritardo/rallentando) at the end of the piece to match the backing.
