Cosmin's Video Chat Lesson Notes |
|
Nope didn't think so either. We all know parents don't get this.
I can show you how to be the virtuoso your folks could only dream about, but I first need your help:
* Pm me and I will show you where to start. I am online every day and I will help you out directly!
* Join my mentoring program. I will customize your learning experience in a way you haven't experienced before. We will have regular contact so that you can remain inspired every day and eventually reach a new level.
* Join my next video chat! GMC startpage holds a video chat schedule. We always cover a lot of ground and have fun. Remember that you don't need any previous knowledge, and you can be passive in the chat.
* Jam with me - you will find active collabs here.
* Post a topic on this board, guitar related or not - doesn't matter! You will find that chatting with instructors boosts your motivation to practice.
* You haven't missed my latest video lessons, have you?
* Oh and did you know that to become a killer guitarist you just need to focus on one thing? Everything
else is secondary. Pm me and I will explain.
Cosmin's Video Chat Lesson Notes |
|
|
|
|
Apr 24 2012, 12:14 AM |
So all the flats relative to the major scale, right? like in C major for example 1 b2 b3 4 5 6 would be c db eb f g a b
something like that? |
|
|
||
|
|
|
Apr 27 2012, 02:58 AM |
Thanks for clearing that up. Cheers
|
|
|
||
|
|
|
Apr 27 2012, 06:41 AM | ||
|
||
|
|
|
Apr 27 2012, 09:59 PM |
Captain's Log - April 27th 2012
The notes on yesterday's video chat session As you guys have seen, we have been discussing around the Locrian mode latin jazz ideas, something like Mr. Al DiMeola would play. The chord progression was Bm7b5 Bm7B5b9 Bm5+ Amadd9 Over this, as you will notice in the GP file (if you haven't attended the session where we discussed about the notes played over the progression) I used the Locrian mode over the B chords and the A Aeolian mode over the A chord. Both modes belong to the C major parent scale. Other interesting facts: - Over the A chord in the first part, I used A minor pentatonic with an added B note so that it would transition well between the Locrian and Aeolian. - The second time the progression starts, I have used a Bm7b5 arpeggio, followed by A aeolian notes, all spiced up with percussive, short alternate picking runs. Try to feel use the progression to develop your own licks as it's a typical Locrian progression based on the 1st and 7th step of the scale amd in the mean time check out the PDF and Guitar pro files I will see you next Thursday at 8 PM on the next modes session! Cosmin This post has been edited by Cosmin Lupu: Apr 30 2012, 06:59 AM
Attached File(s)
Locrian_Mode_Part_2.gp5 ( 4.77K )
Number of downloads: 122
Locrian_Mode_Part_2.pdf ( 154.72K ) Number of downloads: 160 Locrian_Latin_Jazz.mp3 ( 1.81MB ) Number of downloads: 118 |
|
|
||
|
|
|
Apr 30 2012, 08:53 AM |
Captain's log - April 30th 2012
Alright crew! We are ready to dive in the more exotic part of the modes that means that this month we'll be tackling Melodic Minor and Harmonic Minor plus some relative modes. From June I am thinking about presenting even more exotic stuff, such as traditional modes it will be an extraordinary journey for me as well so I am looking forward to it! We shall start with the Melodic Minor Not only the major scale has it's modes but all the diatonic (7 note) scales have their own modes. That being said, let's see a few things about the melodic minor scale and a few of its modes in the two following sessions (May 3rd and May 10th) Formula: 1 2 b3 4 5 6 7 Chords types over which the mode fits best: mM7 The melodic minor scale can be regarded as a Dorian mode with a major 7 - thus you can modify all your Dorian licks and patterns by raising the b7 a half step, whenever the context offers a possibility. It is also called the Jazz minor scale - it can be superimposed over m7 or even minor chords for a slightly outside feel, but it feels best over the mM7 chord (1 b3 5 7) In Example 1 we are using the Dorian mode over the Am, Am7 and Am6 chords while implementing the Melodic minor over the AmM7 The first mode derived from the Melodic Minor (its 7th mode), is called the Super Locrian (Altered Scale) and it's among the most popular scales used in jazz. - it is used over V chords, but instead of a perfect 4 it has a major 3 - this being the note making the difference between the Altered Scale and the Locrian mode. As you will see, this mode has all the possible alterations: [b]Formula:[/b] 1 b9 #9 (b3) 4 b5 #5 b7 Chords over which the mode fits best: Altered dominant chords such as +7b9 Check out Example 2 which uses the G altered scale (derived from the Ab melodic minor - its 7 th mode) over the G+7b9 chord resolved to a Cm9 The sixth mode of the melodic minor scale - the Locrian #2 Formula: 1 2 b3 4 b5 b6 b7 Chords over which the mode fits best: m7b5 It's an alternative to the Locrian mode, a softer version of the Locrian mode we may say. Feel free to use the m7b5 arpeggios we have discussed on in the Locrian sessions. Check out Example 3 where we combine the Locrian #2 (over the Em7b5) with the altered scale over the A+7 in the II V I progression in D minor. These examples are more oriented towards the chord change emphasis rather than the key centered approach, due to the nature of the progressions used in these contexts. See you on Thursday at 8 PM London time to chit chat on these ideas Cosmin
Attached File(s)
Melodic_Minor_1.gp5 ( 4.18K )
Number of downloads: 113
Melodic_Minor_1.pdf ( 165.11K ) Number of downloads: 157 |
|
|
||
|
|
|
May 7 2012, 09:27 AM |
Captain's Log - May 7th 2012
Continuing with the Melodic minor and its modes - I have two more ideas to present to you guys so we can finish this chapter and these shall be brought over this Thursday: 1) The 4th mode derived from the Melodic Minor scale- The Lydian Dominant or Lydian b7 is the same with the Lydian mode, but it has a b7 instead of a major 7. Formula: 1 2 3 #4 5 6 b7 Chords over which the mode fits best: dominant 7th chords - it is more closely associated with the Mixolydian mode and the #11 makes it more akin to the #11 chords as you might have guessed. Example 1 in the GP file will show how the mode is used over a static chord - a D9 The last example - Example 2, deals with a combo of the Melodic Minor scale and its modes! The progression is based on the II V I IV7 formula in the key of G minor and here's how they are being stringed together: - A Locrian #2 mode over the Am7b5 chord - D altered scale over the D7b9 - G minor triad over the G minor chord - G melodic minor over the GmM7 chord - C Lydian Dominant over the C9(#11) Check out the GP file and the PDF and we shall discuss about these in the v-chat session! best of luck my friends and see you at 8 PM London time this Thursday! Cosmin
Attached File(s)
Melodic_minor_and_its_modes___Part_2.gp5 ( 4.09K )
Number of downloads: 96
Melodic_minor____Part_2.pdf ( 175.79K ) Number of downloads: 201 |
|
|
||
|
|
|
May 15 2012, 09:07 AM |
Captain's Log, May 15th 2012
Crew, this Thursday, I shall be taking you into the world of the Harmonic Minor Scale and for that here's what I prepared: The Harmonic Minor scale has a raised 7 scale degree - it's formula: 1 2 b3 4 5 b6 7 It can be used as an alternative to the Aeolian mode (Yngwie and Tony MacAlpine are pretty well known for using it) as you may see in Example 1 The b6 degree brings out a heavier sound and the interval created between it and the 7th, offers a strong need for resolution (return) to the tonic. It's most popular mode is the Phrygian Dominant (its fifth mode) - it's built exactly like the Phrygian mode, but instead of a b3rd, it has a major 3rd: 1 b2 3 4 5 b6 b7 Example 2 presents the mode, superimposed over a powerchord and resolved on a major chord. If we harmonize the harmonic minor scale using 7th chords, we have the following formula: ImM7 IIm7b5 bIIIM7#5 IVm7 V7 bVIM7 VII7 Example 3, shows us how to use the Phrygian Dominant mode over a VII7 chord. Since G harmonic minor is the parent scale for D phrygian dominant, we can use arpeggios derived from harmonizing the scale. We shall discuss all these on Thursday evening, so see you at 8 PM London time in the chat room! Cosmin
Attached File(s)
Harmonic_Minor_Part_1.gp5 ( 3.34K )
Number of downloads: 117
Harmonic_Minor_Part_1.pdf ( 125.05K ) Number of downloads: 165 |
|
|
||
|
|
|
May 22 2012, 03:21 PM |
Captain's Log, May 22, 2012
Hear ye, hear ye! The blues scale and its modes are coming!! Let's see what we can learn by using the blues scale with a twist so, this one is not a diatonic one, but that does not mean it doesn't contain any modes It's formula is 1 b3 4 5 b5 5 b7 and this will spawn some interesting combinations but a bit more special when being applied. The most popular one - the bluegrass scale - is created from the b3rd of the blues scale and it has the following formula: 1 2 b3 b 5 6 it looks like the major pentatonic scale with a b3 nice, right? You can transpose your blues scale licks down a b3rd from the root of the chord if you want to play them in this mode! Check out Example 1 for a dose of Bb bluegrass scale - observe how the 3rd and the b3rd are mixed Example 2 is a more developed application of this mode, somewhat resembling a southern style solo If we start on the 5th degree of the blues scale, we shall obtain a unique mode which will work best over dominant #9th chords. Its formula is: 1 b3 4 b6 b7 7. Tip: play the blues scale a fourth above or a fifth below the root of the chord over which you are soloing - this is our mode In Example 3, you can see this mode in action, by superimposing G blues scale licks over a D7#9 chord. I'll be waiting for you guys as usual in the chat room on Thursday, at 8 PM London time See you there! Cosmin
Attached File(s)
The_blues_scale_and_its_modes.gp5 ( 4.56K )
Number of downloads: 109
The_blues_scale_and_its_modes.pdf ( 169.62K ) Number of downloads: 247 |
|
|
||
|
|
|
May 25 2012, 04:12 PM |
Hey hombres! here are the two exercises which spontaneously showed up at last night's session Use them wisely and don't forget to fill them in the Practice Journal
See you NEXT FRIDAY at 11 PM LONDON TIME! Cosmin
Attached File(s)
Mixolydian_1.gp5 ( 1.81K )
Number of downloads: 110
Mixolydian_1.pdf ( 64.2K ) Number of downloads: 150 Pentatonic_3.gp5 ( 1.79K ) Number of downloads: 102 Pentatonic_3.pdf ( 67.77K ) Number of downloads: 132 |
|
|
||
|
|
|
May 28 2012, 05:13 PM |
Captain's Log, May 28th 2012
Mates, the session I have thought of this week is aimed towards transforming dull and boring technique exercises into musical phrases which can be used in many contexts. For this, I have chosen a few exercises which I want you guys to look over and during the chat session we shall learn how to apply changes to them and implement them into musical contexts making them A WHOLE LOT MORE FUN to practice. It is essential to be able to use what you learn, so that at the end of the day you will become more and more musical and you can really say: 'Hey, I have learned THIS today and I can use it in 1000 situations' not 'I can play at 500 BPM today!.... and if I have to jam with some friends, I will shrug and tell them I can play at 500 BPM but I can't phrase anything in the context in which everyone else is playing For this, I have thought of some exercises attached in here, which we are going to use as a starting point See you on Friday, June the 1st at 11 PM London time! Cosmin
Attached File(s)
Ex_1.6_GG.gp5 ( 1.81K )
Number of downloads: 118
Ex_1.6_GG.pdf ( 58.79K ) Number of downloads: 153 1_string_2.gp5 ( 1.77K ) Number of downloads: 114 1_string_2.pdf ( 55.95K ) Number of downloads: 152 Pentatonic_2.gp5 ( 1.82K ) Number of downloads: 111 Pentatonic_2.pdf ( 58.47K ) Number of downloads: 134 |
|
|
||
|
|
|
Jun 4 2012, 07:36 PM |
Hey guys! Just wanted to add the GP containing the AP riffing example I showed you last time and the Vivaldi arpeggios used in the beginning of the first movement
I will see you on Thursday on a session dealing with...song writing yes guys! A lot of you have been asking me about song writing so, I shall describe the process and we shall try to come up with ideas starting from a few chord progressions I have prepared below: Im IIm I IV V I b7 IV We shall apply these progressions to any tonality and see where we could take them from that point: - Use different types of chords - Change some chords - Transform the chords into formulas Looking forward to sharing my ideas with you guys so I'll see you on Thursday at 8 PM London time as usual! Cosmin
Attached File(s)
Riffing_and_Vivaldi_Arpeggios.gp5 ( 3.77K )
Number of downloads: 100
Riffing_and_Vivaldi_Arpeggios.pdf ( 149.11K ) Number of downloads: 138 |
|
|
||