Slap on a set of heavy strings and dust off that tuner--it's time to learn a Kurt Rosenwinkel classic! Download the transcription here: https://www.davidschwartzguitar.com/post/almost-no-talking-lessons-ep-5-zhivago Table of Contents: 00:00 Welcome! 01:09 Sections "C" and "D" Overview 01:44 Section "C" Fast 02:03 Section "C" Slow 02:26 Section "D" Fast 02:45 Section "D" Slow 03:08 Sections "A," "A Prime," and "B," Overview 03:54 Section "A" Fast 04:09 Section "A" Slow 04:28 Section "A Prime" Fast 04:47 Section "A Prime" Slow 05:08 Section "B" Fast 05:34 Section "B" Slow 06:04 Wrapping Up

It's been a while, but I'm back with a new lesson! Please download the song guide by following the link below, which has some tips and tricks for tackling the material. https://www.davidschwartzguitar.com/post/almost-no-talking-lessons-ep-4-celestial-terrestrial-commuters Table of Contents: 00:00 Hello! 00:36 Time Signature & Melody Explanation 02:12 Intro Section Option 1 Fast 02:32 Intro Section Option 1 Slow 03:01 Intro Section Option 2 Fast 03:20 Intro Section Option 2 Slow 03:48 Melody Fast 04:26 Melody Slow 05:30 Interlude & Return To Melody Fast 06:22 Interlude & Return To Melody Slow 07:52 Outro Fast 08:10 Outro Fast

A solo cello composition inspired by an argument with my toddler. Composed in Logic Pro X with Best Service Emotional Cello #cinesamples #Tinaguo #solocello #bestservice #emotionalcello

A Spitfire Audio DC Stargirl Scoring Competition submission by a sleep-deprived father of a newborn. Be nice, and support your fellow composers! Instruments used: Spitfire Audio BBC SO Various LABS instruments #MyStargirlScore

Downloaded all the available Spitfire Audio LABS instruments (free!!) today, and about 15 minutes later had this little piece put together. Wonderful, inspiring sounds! My wife commented that this piece sounds very optimistic compared to my usual morose odd time signature stuff, hence the title. #spitfireaudio #LABS

Sometimes you just need a song to help you get things done. Perfect for making anything an adventure. Performed with the FIshman TriplePlay MIDI pickup, and the wonderful Plogue chipsynth SFC plugin for those classic SNES tones. #Shorts Fishman TriplePlay: https://www.fishman.com/tripleplay Plogue chipsynth SFC: https://www.plogue.com/products/chipsynth-sfc.html

I've always had a soft spot for the music of the 16-bit console era, particularly the music of the SNES. A lot of creative problem solving went into composing these classic tracks. With only a minuscule amount of memory available, composers were forced to use tiny bit-reduced samples and loop little segments of each to create the illusion of sustain. The result was the characteristic gritty, lo-fi timbres we've come to know and love. And of course, who could forget the classic "not-really-a-reverb" reverb! Even with these limitations, and an archaic tracker-based note input system, composers were able to create some of the most epic and memorable soundtracks in the history of gaming. With the Fishman TriplePlay and Plogue chipsynth SFC plugin, guitarists can finally explore these classic tones for themselves. Here is my rendition of "Secret of the Forest," from one of the greatest RPGs of all-time, "Chrono Trigger." All parts were tracked live, and to provide an honest demonstration of what the Fishman TriplePlay is capable of, no quantization was applied. Getting one specific part down almost killed me. Can you guess which one? Enjoy!

Welcome to my lesson for "The Sixteen Men of Tain," by Allan Holdsworth. Yes, yes, the title of this video is a kind of false advertising because I talk a little more than I had anticipated, but there's a lot to talk about! Here's the link to the transcription: https://bit.ly/2J86GNj Blog post: https://www.davidschwartzguitar.com/post/the-sixteen-men-of-tain-lesson 00:00 Intro 00:41 Gear Talk 01:35 Sections A, B, and C 04:44 Section D 07:14 Section E 07:52 Sections F and G 09:07 Section H 10:11 Section I 12:19 Thank You!

In this episode, we'll go over "Hope" by John McLaughlin. This is the sixth track off of the second Mahavishnu Orchestra album, "Birds of Fire." Luckily, this one is fairly easy--"entry-level" Mahavishnu, if you will. Enjoy!

Years ago I recorded a lesson for Meeting of the Spirits, and though I very much appreciate the great response it has received, I was never really happy with how it turned out. I also never got around to covering every section of the tune. Now I aim to remedy that with an updated lesson that covers everything while keeping the talking down to a minimum. Enjoy! Table of Contents: 0:00 Welcome 0:36 Intro Chords 4:24 Chord Arpeggio Pattern 6:20 Melody 6:48 Guitar Solo Scale Options 7:19 Unison Line Into Interlude 8:40 Solo Background Unison Line

For my first attempt at scoring, I took inspiration from both film noir and retro video game soundtracks. Here is a breakdown of my methodology: At the beginning of the clip, we see Caleb (as played by Aaron Paul), perceiving the world as a film noir movie after having been injected with the hallucinogenic drug "Genre." The music starts slow and sneaky, before kicking off into an uptempo swing number as the car chase begins. The horn parts were made using EastWest/Quantum Leap Hollywood Pop Brass, the bass is from Spectrasonics Trillian, and the vibraphone was just the stock sound in Logic Pro X. Drums were courtesy of Native Instruments 60s Drummer. As the car chase continues, Caleb begins to switch to a different genre. The rest of the clip, with its use of overhead and first-person perspectives, has a very video game-like quality, so I decided to compose a retro NES inspired score. My initial score followed the action a lot more dynamically and precisely, but didn't feel authentic to me, as retro game soundtracks tend to just play in the background regardless of what's happening on the screen. I feel the score I ended up using is truer to the genre. All the sounds in this segment come from Super Audio Cart by Impact Soundworks. I also added 8-bit sound effect samples for gunshots, bullet ricochets, and explosions. To further add to the old video game vibe, I bitcrushed the original dialog track, and added a pixelation effect to the video. Some video games of the 80s and 90s had recorded voice samples. They were always hard to understand, but you could just make them out, and I wanted to emulate that effect here. I also have fond memories of early FMV games, and the pixelation effect just warmed my heart! Even though I'm totally new to the scoring process, I had a great deal of fun composing for this competition, and finally learning how to use Logic Pro X and Final Cut Pro. Thanks for watching! #westworldscoringcompetition2020 #SpitfireAudio #Westworld #HBO

The Source Audio C4 Synth is the perfect device for staving off adulthood and keeping one's feet firmly planted in the past. Signal Chain: Warmoth partscaster -- Source Audio C4 -- Apollo Twin -- UAD Friedman Buxom Betty amp model --,Ableton All these patches are available for download via the Neuro App.

The Sleeper has awaken! Presets used: Melody -- Angel Chords -- Dark Shimmer A little bit of vibrato effect was added before the reverb to create some additional movement.

A quick tribute to a personal hero.

"Nemesis," by Aaron Parks backing track. Great for practicing, auditions, and solo performance. Available at: https://www.davidschwartzguitar.com/post/new-old-backing-tracks Gear used in video: Flaxwood Rautia BYOC Mouse Distortion MXR Carbon Copy Delay Mesa/Boogie Rectoverb 25 Rivera Rockcrusher Recording Universal Audio Apollo Twin All virtual instruments, were either recorded or programmed in Ableton Live 9. The bass was provided by Spectrasonics Trilian, the piano and mellotron are from Toontrack Ezkeys, the celesta came from Garritan Personal Orchestra, and the drums are from Ableton's Studio Drums.

Play along with this classic Kurt Rosenwinkel track! Great for practicing, auditions, and solo performance. Available at: https://www.davidschwartzguitar.com/post/new-old-backing-tracks Gear used in video: Carvin HH2x with Roland GK-3 Pickup Boss GP-10 for alternate tuning Mesa/Boogie Rectoverb 25 Rivera Rockcrusher Recording All virtual instruments were programmed in Ableton Live 9. Spectrasonics Trilian was used for the bass, and the drums were programmed using a mixture of The Loop Loft The Art of Brushes and Ableton's studio drums.

Filmed with a GoPro Hero 3+ at Honeymoon Beach, St. John.

Lately I've been listening to a lot of Keith Jarrett's solo work to get a sense of how he creates fully-realized compositions through improvisation alone. What he can do is pretty amazing, particularly when you consider the fact that he will improvise entire concerts. Just the thought of doing that is enough to push me into panic attack territory, but in the spirit of experimentation, I decided to give it a shot. Honestly, the experience was somewhat terrifying, but I promised myself that I would post the results no matter what happened and get out of my comfort zone. To make things more interesting, I also randomly chose a patch on my Eventide H9. I ended up using the Ultratap preset. Considering the fact that I had no idea what I was going to do or how things were going to sound, I'm relatively happy with what I came up with. There are a couple finger-placement and rhythmic flubs, but as I develop this material into a finished piece, I'll have a better idea on how to navigate the chords. Enjoy! Signal Path: Flaxwood Rautia--Eventide H9--Mesa/Boogie Rectoverb 25--Rivera Rockcrusher Recording attenuator--UA Apollo Twin--Logic Pro X