Hey guys! For tonight's session you should tune your guitars to drop D

Hey guys! Since I'll be out of town next Thursday, I arranged for the v-chat session to take place on Sunday, 28th of August, at 7 PM London time! See you then for some insights on combined improvising and stage solutions for nasty experiences which you may encounter as a performer! See youu!

Hey guys! get ready to rumble, as tomorrow we'll be working on some riffage combined with drums!! see you at 8 o'clock London time as usual!

Ladies and Gentlemen of GMC!


here are the drum tracks we've been discussing on at last Thursday's video chat session and also, the grid so you may be aware of the way the drums are written and the way they are subdivided inside the bars!

The progression we've been using was Gadd9 Dadd9 Cadd9 and Eadd9 (try whatever shapes you prefer for these chords) the progression being played following the bass drum pattern. Observe how the bass drum was shifted throughout the bars in each track thus creating a dynamic feel against the fixed pulse provided by the hi-hats and snare drum!

As for the main riff from Freak Kitchen's 'Nobody's Laughing Here' - the meter was 5/4 and the chord progression: C#5 E5 B5 A5 (key of C# minor) - check out track no. 5 for the drums and here's the link towards the song so you may have an idea about how Mattias plays it.



If you have questions, please go ahead and ask, as I'd be more than happy to help you out

see you next Thursday!

Cosmin

Hey gang!

this Thursday, we shall discuss over some modal licks and modal ideas! I was also thinking you should know that this thread is waiting for your suggestions as well, so, if you guys want to ask stuff which I can talk about in the v-chat sessions, go ahead and say it out loud

see you on Thursday at 8 o'clock London time as usual!

hey guys! In respect to what we were talking about last Thursday, I'd like to add here a WONDERFUL video of none other than the extraordinaire Mr. Govan. He has a very nice approach on modes - music comes first, not shredding scales check it out! I loved it and I'm sure you'll love it too!

This Thursday, as usual, I am waiting for all of you in the chat room at 8 o'clock London Time, for a session on riffing and drums!

Thanks to Ivan, I discovered this little gimmick who's gonna help a lot with the timing, reducing the confusion produced by the different time zones! Check it out:

How much time until the chat begins?

Hey gang!

This Thursday, it's all about articulation! Bending, slides and vibrato to fill your belly with!

We shall use some famous vocal lines in order to illustrate the wonderful power of articulation so, we'll see each other as usual at 8 o'clock PM London time in the GMC chat room!



Cosmin

Hey guys!

because I believe last night's v-chat session focused on very important aspects of guitar playing - sensitivity/ expression/ dynamics/ articulation, here are the conclusions and materials needed so you may start exploring these wonderful techniques:

- first find the notes used in the vocal lines - use your ears and choose your own positions depending on the following things:

- tension/ dynamics - the vocal lines grow in intensity along the song - try to mimic that! use your right hand fingers instead of your pick, touching the strings lightly or use the pick and be aggressive! Listen to the voice and follow its lead
- articulation - bend slide and vibrate - they will cover up most of the vocal qualities and vibrating each note often will give you that flow which is found in the interpretation of a vocalist.
- after you have managed to get a good hold over the lines in the manner described above, close your eyes and play them with the backing track, trying to get into that state of mind which would give birth to a wonderful interpretation on your instrument!

1) Tale as old as time (Celine Dion and Peabo Bryson)

Verse 1 and 2: F Bb F C F Dm Bb C (for each)
Middle: D F D F D F Dm Bb G
Verse 3: G C G D G Em C D



2) Can you feel the love tonight (Elton John)

Verse: Eb Bb/D Eb Bb/D Eb Bb/D Cm7 F
Eb Bb/D Eb Bb/D Eb Gm Ab F

Chorus: Bb F/A Gm Eb
Bb Eb C/E F
Eb Bb/D Gm Bb/F Eb
Cm7 Bb/D Eb C/E F

Bb F/A Gm Eb
Bb Eb C/E F
Eb Bb/D Gm Bb/F Eb
Cm7 Bb/D Eb Eb/F Eb/Bb Bb

The harmonies are pretty intricate and work in very tight connection with the vocal line as you may see, so first play the harmonies with the backing track in order to get a good feel of the song.



Enjoy mates! And if there are any questions, please go ahead!

Good morning GMC!

As requested on the last v-chat session, this Thursday we'll chit chat some more about vibrato and bending, with an approach oriented more towards the basics: mechanics, inspiration and applications! See you on Thursday at 8 PM London time as usual!!

Awesome topic man, looking forward to it, will try to be there

Hey guys!

This Thursday, we'll talk over some modal licks and implement them over chords!

see you at 8 o'clock London time, as usual!

Cosmin

Hey there mates! How about some smooth funky grooves tonight? We'll talk about different chord shapes used in funk and various rhythmic patterns! See you at 8 o'clock London time as usual!

Howdy mates!

here's that legato lick we have discussed on last Thursday! Enjoy it and if you want to hear it in action, check out the thread below right after the first chorus of the song called 'Self destruction'

http://www.guitarmasterclass.net/guitar_fo...st&p=548664

'When the going gets tough, the tough gets going' as they say

Well, what do you do, if you only have to play using ONE STRING ? You develop a good technique to use on that one string! So, this Thursday, we'll check out a lot of one stringed patterns and exercises!

See you in the chat room at 8 o'clock London time, as usual!

Cosmin

Hey guys! Here's this week's GP file with the exercises and patterns we've been discussing on!

I also threw in the main theme of the Romanian folk song 'Hora Martisorului' - a tremendously good AP and stamina increasing drill!

Have fun with them and don't forget to ask anything you wish to know!

See you this Thursday at 8 o'clock PM London time! we'll talk about open string chords and a few things on implementing them

Good morno' afternoon everyone!

This Thursday, at 8 o'clock London time, I am waiting for all of you in the chat room, where we shall discuss a thing or two about layering melodies - coming up with a guitar theme over a given chord progression and orchestrating it in different directions!

See you on Thursday!

Guys! Here is the GP file with the open string chord ideas we have discussed!

Keep in mind that you can apply any kind of rhythmic pattern which comes to mind over the given progressions and as we discussed, try to develop the idea by using the D and G open strings in the context of harmonizing the G major and minor and D major and D minor scales with open string chords! Keep the thirds! The rest is UP TO YOU!

This Thursday on Cosmin TV - the essentials of grooving! Let's talk about making people nod...or BANG their heads

Wussup guys? This Thursday, we'll discuss harmony, looking at different famous songs and their chord progressions! Looking forward to our little evening meetup!

Alright guys! This Thursday, I thought we could go for some funk applications! Chord shapes and grooving on the plate! See you at 8 PM as usual!

Hi guys Here is the guitar pro file for Nov 3rd video chat:

Hey guys! While I was working on finishing the GP file for last Thursday, I wanted to let you know that we shall be discussing a bit around classical music next time - mainly How to interpret classical music from the perspective of articulation and phrasing!

This session weill take place on Sunday, December 4th at 8 PM London time! Hope you'll join me!

Good morning everyone!

This week and the next one, I will be hosting the video chat session on Sundays (11th and 18th of December) at 8 PM London Time due to some gigs I'm having on my regular v-chat days. After this, things will come back to normal

So, on the 11th, I thought we could debate on melodic choices over a given progression!

See you guys then!

Cosmin

Hey guys! I posted the backing tracks from the video chat session on rhythmic control in the following thread:

http://www.guitarmasterclass.net/guitar_fo...showtopic=41914

Give it a go and then let me know

Hey guys! Here's the guitar pro file with the stuff we've been discussing about on Sunday! The intro to Enya's song called 'Caribbean Blue' performed by playing the harmony and the vocal line on one guitar simultaneously and the C major scale harmonization using 7th arpeggios

Have fun with them

I'll be waiting for you in the chat room next Sunday at 8 PM London time!!

Good afternoon GMC! I wanted to announce that I shall be hosting my v-chat sessions on Thursdays as usual, at 8 PM London time

This Thursday we shall discuss about ending phrases! I'd be honored to have as many of you guys in the chat room!

Cosmin

Hey mates! Tomorrow, I'll be in the chat room as usual at 8 PM London time and we'll be discussing about practice routines! More exactly, we shall take a look at how my Alternate Picking practice routine looks like!

See you there!

Cosmin

Hey Cos,

I thought I would share a couple vids with you that are relevant to your lesson today,Specifically scat.I give you Tania Maria who I mentioned to you in the chat.





Peace! Rich...

Tomo Fujito

Awesome mate!

Hey guys! See you tomorrow at 8 PM as usual! I decided I will start a series of related v-chat sessions about learning modes - approach and ideas so, tomorrow we shall begin with the Ionian! Crash course on modes is ON!

see you in the chat room

Cosmin

This Thursday we shall start the course on modes I shall pay careful attention to gitarrero and his mischief so, we shall discuss about the Ionian mode indeed

Howdy mates! Just wanted to let you know that this week's video chat session is happening on Saturday at 6 PM London time! We'll continue with the Ionian mode applications so stay tuned. I shall post the lesson notes from last Thursday today so you may have them at hand! Cheerios!

Lesson notes from January 12th 2012

Ionian Mode - Part 1

Guys, I summed up the essentials we discussed last Thursday and we shall develop the ideas on Saturday, so stay tuned and let me know if you have any questions, ok?

Ionian Mode

Formula: 1 2 3 4 5 6 7 (C D E F G A B C)

Differentiating scale degrees: major 7th (and 4th)

Chord types over which the mode fits best: Maj, Maj6, Maj6/9, Maj7, Maj9, Maj13add11, Maj13

Typical progressions: I IV V; IImi V I; I VIm IV V; I IIIm IV I; I IV I; I V I;

Observations:

- the mode can be emphasized by using the maj 3rd and fourth and the maj7th and octave in Ionian progressions such as those above or over a C chord, as you may see in the examples contained in the GP file attached below.

- all the licks are played in the key of C major, but they can be transposed in any given key and played in any position over the neck - after you have learned them, experiment with various positions and keys, in order to be able to use them in any Ionian context.

- you can use the major pentatonic scale over a major chord just as well, but it will skip the major 7th and thus no Ionian flavor shall be present.

See you on Saturday, Jan 21st!

Cosmin

Hey guys! We'll be continuing the v-chat on modes series with the first part on the Dorian mode tomorrow at 8PM as usual! See you in the chat room!

Here are the lesson notes, guitar pro file and, backing track for the last v-chat session on the Ionian mode applications

Progression: C5 G5 A5 C5 E5 F5

Emphasis: Major 7th and 4th scale degrees.

Scales used: Ionian and C major pentatonic





As you will see in the tabs, I concocted phrases by using the previously discussed licks so things should be pretty familiar.

You may have guessed but, yes, there is an assignment

I present you a second backing track, which is played in the key of E major, so what you have to do, is take the phrases in the tabs and find the right positions to make them fit in the D Ionian context. How's that for a little challenge? (that means the progression will be D5 A5 B5 D5 F#5 G5)

Then, record yourselves over the backing track and post your takes here where we can discuss them

see you tomorrow at the Dorian mash-up!

Cosmin

Lesson notes from January 26th 2012

Dorian Mode - Part 1

Here's the stuff about the Dorian Building blocks

Dorian Mode

Formula: 1 2 b3 4 5 6 b7 (ex: A B C D E F# G A - A Dorian)

Differentiating scale degrees: major 6th (and 2th)

Chord types over which the mode fits best: m, m6, m6/9, m7, m9

Typical progressions: Im IV; Im IIM; Im bIII IV; Im VM IV Im; Im IIm bIII IIm

Observations:

- if you want to emphasize the Dorian mode over a minor chord, highlight the major 6th and the 2nd
- the fact that the 6th is major and not minor, gives this mode a 'sweeter' sound than the heavy sounding of the Aeolian
- if we remove the 2nd and the 6th from the Dorian mode formula, we end up with the minor pentatonic scale -> use it in Dorian contexts while adding and emphasizing the 2nd (9th) and major 6th to obtain the Dorian sound.
- the Dorian mode can be heard in blues, jazz and fusion a lot of times.

I have prepared a backing track for you guys so next time we shall be discussing Dorian phrases in a real context

See you this Thursday, at 8 PM London time for the second session on the Dorian Mode and in the mean time, check out the GP file and the attached PDF.

Hey there homeys!

Lesson notes, guitar pro file and, backing track for the last v-chat session on the Dorian mode applications are here for ya!

Progression: Bm7 Emajor Bm7 Amajor E/G#
Bm7 Emajor Bm7 F#m7 C#m7

Emphasis: Major 6th and 2nd scale degrees.

Scales you can use: B dorian, B minor pentatonic





The GP file has all the phrases wrapped about the A Dorian mode but the backing track is in the B Dorian mode, so as you might've guessed, your homework would consist in shifting all the phrases up a whole step and thus playing them in B Dorian! Are you up to the challenge?

As usual, I would be happy to see your recordings so do not be shy and please feel free to experiment

See you tonight (8 PM London time) for the first session on the Phrygian mode at the v-chat!

Cosmin

Hey gang! The video chat session has been reprogrammed for SUNDAY 8PM London time! See you then

Lesson notes from February 9th 2012

Phrygian Mode - Part 1

Here are the basics:

Phrygian Mode

Formula: 1 b2 b3 4 5 b6 b7

Differentiating scale degrees: b2

Chord types over which the mode fits best: mb9, m7b9, mb6b8

Typical progressions: Im bII, Im bIII bII, Im bVIIm, Im bII bVIIm

Observations:

- the Phrygian mode can be emphasized by using the b2
- it can be superimposed over a major chord (the example in which we used the E Phrygian mode over the Emajor chord instead of the E minor chord) -> Flamenco music sound!
- it can be used in the context of modern metal and metal in general as it has its unique flavor

Experiment both approaches -> key centered playing in which we make up Phrygian phrases over a specific Phrygian progression or over a specific chord, such as the example 4, found in the PDF and GP files below.

See you tomorrow at 8 PM London time for a session of Phrygian applications!

Rock'n'rooolll

Cosmin

Hey guys! Here's the little solo I've shown you in the Phrygian mode Part 2 Session:



It starts at minute 1.59

The version you are seeing here is in Bb Phrygian dominant as the K7 was tuned to Bb, and the version we have discussed on is in B phrygian dominant as provided in the GP file.

Have fun with it!

Lesson notes from February 23th 2012

Lydian Mode - Part 1

Building bricks:

Formula: 1 2 3 #4 5 6 7

Differentiating scale degrees: #4

Chord types over which the mode fits best: maj, maj6, maj6/9, maj7, maj13 all these can feature the #11 each

Typical progressions: I II, I II VIIm, I VIIm, I IIIm VIIm

Observations:

- the lydian mode needs more bars to develop and fully shine, so using it over progressions built on the harmonized steps of the mode itself could be a very good solution
- emphasizing on the #4 or #11th
- use it whenever you want to induce a little sense of mystery - this effect is subtle but given by the fact that the #4th is 3 whole steps up from the root

See you tomorrow at 8 PM London time for a SESSION ON CREATIVE THINKING WITH THE GUITAR IN YOUR HANDS STANDARD TUNED THIS TIME

Keep rocking mates!

Cosmin

Hello hello

as last time's v-chat was all about creativity, here are a few pointers on which you can rely when coming up with your own music:

- State of mind - free yourself from all the focus stealing thoughts leave aside all the 'I can't write anything' ideas
- Inspiration - it may come from absolutely anywhere, all you have to do is accept the fact that anything can be translated into music, as abstract as it may seem
- Understanding the language you are about to use for self expression (we are talking about music of course) - theory and practice - they represent a very important element in music and you can't read, write or talk if you don't know how - if you get my vibe
- Using our voice - it is your built in instrument, don't neglect it it'll help more than you'll ever imagine
- Translating ideas on your instrument - in our case, the guitar - as long as you can sing something you have internalized perfectly, be it a solo, riff, chord progression, it is obvious that you can reproduce it on any given instrument if you can sing it note for note, it means it is INSIDE you already.

Little advice on coming up with a personal idea over a simple chord:

- Chose a chord (we have picked up a lot of those in the last v-chat session)
- See what notes make it up
- See what sort of scales you can play over it
- Sing all those scales over it - you can even try different octaves - maybe your voice can go lower or higher.
- Out of all the scales you used, check out what sort of notes can be emphasized for what results? See the series on modes we have been talking about lately - characteristic scale degrees will help a lot.
- Sing those notes only against the chord
- Now, try to come up with a little melody over the chord - it can contain the special notes we have been talking about above, or not
- Try to create some repetition, but along the way change a few notes

These are but a few hints on coming up with your own lines but the fact is, you have to let go of all the things you know, when you are creating, otherwise there's a big fat chance you might be tempted to play what you already know, so that's why the guitar can stay aside and you may use your voice or the piano

all the best guys and see you on Thursday at 8 PM - we shall chit chat on a Lydian track - one I am preparing for the upcoming collab

see you!

Cosmin

Hey guys! Don't forget to use the tracks in this thread below for exercising your rhythmic phrases

http://www.guitarmasterclass.net/guitar_fo...showtopic=41914

As we discussed, everything from small vamps, rhythmic phrases and licks can be used with these tracks

Pay attention to keep the timing and tightness (tapping your foot over the passages where the drums are missing can help a lot)

The next session will be tomorrow evening at 10 PM London time and the one next week - on Wednesday, 8 PM London time due to my gigs this week and the next.

all the best you guys and see you tomorrow nite

Cosmin

Hey guys! Here's the GP file and PDF containing the things we've been discussing about on Wednesday night

1) The lick I started working on for the Lydian Spring Love Song Collab - pay attention to the point where you have to shift to using your pick again after the tapped note - that spot is very tricky

2) As for the three AP patterns - you know the rules

- go slow till you get everything flowing and clean
- increase speed while maintaining a relaxed stance for both hands
- pay attention to the fact that the B string has only two notes when ascending and descending - the only exception being at the descending run in Pattern 2 - where I cheated hahahaha and used 3 notes per string

These patterns can be applied to virtually EVERY scale out there so let me know how it goes

see you NEXT WEDNESDAY at 8 PM London Time for a first session on the Mixolydian mode

rock n roooooooll

Cosmin

Hey gang here are the lesson notes from March 21st 2012

Mixolydian Mode - Part 1

Formula: 1 2 3 4 5 6 b7

Differentiating scale degrees: b7

Chord types over which the mode fits best: 7,9,13, dom sus4

Typical progressions: I bVII; I bVII IV; I7 Vm; I7 IV; I7 I7sus4; I VIm bVII

Observations:

- because of the b7 differentiating scale degree and the 1,3,5 steps - this mode gives birth to dominant chords and arpeggios
- very much encountered in blues, jazz, country, funk and rock
- it's the funkier alternative to the sweet Ionian mode
- remove the 4 and b7 -> Major Pentatonic Scale (1 2 3 5 6)

Check out the examples in the GP file and let's go through them till next Thursday

See you at 8PM next time mates!

Cosmin

Hey mates! I will see you on Thursday at 8 PM in the chat room and we will be talking about the Mixolydian mode in famous songs! Were you ever curious to know what modes hide behind your favorite tune?

Howdy crew! since I don't think I am allowed to post tabs from other bands, I shall state a few conclusions on the things we have discussed last session:

- The progression D C G D is famous and widely used as a typical mixolydian progression having G major as the parent scale
- The songs we discussed about were Sweet Home Alabama (Lynyrd Skynyrd), Teardrop (Massive Attack), More than a feeling (Boston) and Norwegian Wood (Beatles) there are two more: Hey Jude (Beatles) and Sweet Child o mine (Guns n Roses) which are more or less sharing the same progression.

My advice to you would be to pick up each song and see how the vocal lines connect with the Mixolydian progression - sort out the notes of each vocal lines and see where the characteristic scale degrees of the mode come into play over the progression

We shall discuss about the last two songs and we shall enter the Aeolian domain in the next session!

Cosmin

Hey everyone!

Here are the important knowledge elements in the Aeolian mode:

Aeolian Mode - Part 1

Guys, I summed up the essentials we discussed last Thursday and we shall develop the ideas on Saturday, so stay tuned and let me know if you have any questions, ok?

Aeolian Mode

Formula: 1 2 b3 4 5 b6 b7 ( example:C D Eb F G Ab Bb C)

Differentiating scale degrees: b6

Chord types over which the mode fits best: m, m6, m7, m9, m11

Typical progressions: Im b VII bVI (ex: Am7 G7 FM7); Im IV (ex: Am7 Dm7); I V (ex: Am7 Em7); I bIII bVII (Am7 CM7 G7); Im bVI (Am7 FM7);

Observations:

- The Aeolian mode is the most important of the minor modes - it is the basis for natural minor scale theory
- It can be regarded as a combo between the Phrygian and the Dorian modes, the result being a gloomy and sad sound.
- Try the examples in the PDF and GP files and play around with the harmonic progression types - try to apply the formulas for the E Aeolian mode and see what chords you can use!

See you on Thursday at 8 PM London time, for the second session on the Aeolian mode - we are working on the progression which I uploaded for the new Driving at night collab!

See you there mates!

Cosmin

Ahoy mates! Here are the exercises from Thursday!

I would totally recommend trying the second one using various techniques, such as hybrid picking, sweeping and alternate picking. The notes are the same, but the techniques are different and they will allow you to workout on each of those using the same arpeggio shapes

The shapes in Exercise 2 can be played against the 'Driving at night' video collab, going on here: http://www.guitarmasterclass.net/guitar_fo...20&start=20

See you next Thursday - 8 o Clock PM London time - for a big dose of Locrian ideas!

Cosmin

Aloha crew!

here are the examples which we discussed over on Thursday and some theoretical notions on the Locrian mode:

Locrian Mode

Formula: 1 b2 b3 4 b5 b6 b7 ( example:C D Eb F G Ab Bb C)

Differentiating scale degree: b5

Chord types over which the mode fits best: diminished, m7b5, m7b5b9

Typical progressions: Im7b5 IVm7 (ex: Bm7b5 Em7); Im7b5 bVIIm7 (ex: Bm7b5 Am7)

Observations:

- used in the very opposite contexts: jazz and metal
- it is also called the diminished mode, due to the fact that it fits well over the diminished chord structure (1 b3 b5) and over the m7b5 chord, usually the chord bearing the function of II in the II V I minor jazz progression.
- it can be used in the context of developing a Locrian based melody over a single chord played over a greater number of bars - static situation
- In example 3 (GP/ PDF file) you will notice the progression: C G/B Am - in this case (major key progression) the VII chord is rarely used, so it is substituted with the first inversion of a V chord (in our case first inversion of G in the context of the C major scale based progression)

We regard B as the root note and the chord becomes Bm#5 we can use the Locrian mode over it as you will notice.

Try to analyze the notes making up the chords used in the examples and the notes played over them in order to better understand how the modes function. It is a good exercise and I am trying to do it with you in the chat as often as I can that's why I always tell you what notes go where try it! It's very good

See you next Thursday at 8 PM London time mates!

Cosmin