Hello man! this is your training ground, so let's see

Can you please tell me on what level you are with all the techniques you would like to develop? After knowing this, I can better direct you towards good practice

Cosmin

Hey Cosmin! First off, thank you so much!
Second, I am familliar to AP and Sweep Picking, however my Sweeping is very weak, and kind of Avarage on the AP area.
With Sweeping, I can hit the notes on time and also make the pulloffs\hammerons on time and make them sound, but slow and
robotic like, I would like to make this a second nature
As for the Alterante Picking, I do this as a regular basis, but never improved. I need to be more precise and faster, mainly to nail
faster licks for Fusion~JazzRock soloing.

I would also like to develop my legato playing and tapping, but I think I am getting ahed of myself.


-Amitai

Hey man! Let's focus on sweeping and AP for starters - legato and tapping go hand in hand, so I think that after we first gain some ground with the first two we can go on with the other two

Tell me what sort of tempo feels relaxed for you in AL and sweep? Can you perform at that tempo for long?

Cosmin

Okay.
AP and 2 string Sweep Picking is about 95-100BPM when picking 16th notes.
3 string Sweep Picking is about 80-85BPM. (Haven't got to more than 3 string Sweep picking)
That's about it.

Thanks,

Amitai.

Hey again Amitai! Check this out I got an uber lesson from Ben, which focuses on picking arpeggios:
http://www.guitarmasterclass.net/ls/Picking-Arpeggios/ it'll work the hell out of your right hand and it'll help coordination BIG TIME. Why don't you try and push this one, as fast and clean as possible? Let me know about your impressions at first glance

Cosmin

Alright, here's my take.
Please don't mind the sound, I just got Guitar Rig 5 and still having trouble.
By the way, I'm playing on a Gibson Les Paul Standart modded by Larry Corsa.

http://soundcloud.com/amitaik/picking-arpeggios

Hey mate! This sounds very good!! Now, this can be transformed into an awesome right hand exercise if sped up and played clean can you place let's say 15 BPM over the original tempo and work against a metronome? If you can record it, t'would be awesome!

Thanks!
Alright, this time at 120 BPM.
Not perfect but I think it's okay.

http://soundcloud.com/amitaik/picking-arpeggios-120-bpm

Not bad mate, but there are a few hick-ups here and there, but you can do better let's see another take after you have practiced the shifts with your left hand only against the metronome at the desired speed add the right hand after that and let's see what we get

Deal?

Cosmin

Okay (:
I'll practice some more and make another take.
And...! I have a question.
Can I send you something I recorded and you'll give me your opinion? Thanks.

hey man, sure, let's see

Cosmin

Hey Cosmin! Thanks, I will record both the task and the part I wrote in a few days.
I will be over at my friends house until Tuesday so I won't be able to do it until then,
but I'll have my guitar because we have band rehearsals. So I will have time to practice and work on the task you gave me (:


Have a nice weekend.

You too mate! Godspeed and I'll be here when you return

Cosmin

Hey Cosmin, I'm back. Haven't played seriously for about 2 weeks or so, so I'm a bit rusty.
Recorded this 2nd 120BPM take for Ben's lesson 'Picking Arpeggios'.

How have you benn anyways?

Amitai


http://soundcloud.com/amitaik/picking-arpeggios-120bpm-2nd

Hey man! Things are good here just celebrated Easter with my family and now it's back to work!

Mate, the take is not bad, but please take care to tune up your guitar and try to have the same dynamic for each note this is fairly tricky as the tone is clean and the fluctuations are easier to spot

Anyway, I would also like you to start working on this one: http://www.guitarmasterclass.net/solo-guit...picking-thirds/

Picking intervals is always a popular choice in soloing and thirds are usually the best to start with - how a bout this drill mate?

Cosmin

http://soundcloud.com/amitaik/alternative-picking-thirds

Hey Cosmin, how are you?

Here is my first take for Muris's lesson, Alternative Picking - Thirds.
BPM is at 80.

Thank you and have a nice day

Hey Amitai! Long time no see mate well, for a first take it's clean and pretty tight with a few exceptions where you tend to give it a shuffle feel keep up the constant timing and you'll be there

Can you record it against the backing track?

Cosmin

Do you mean Muris's backing track? the 100BPM one?
I guess I can record it but at 100BPM it will be kinda sloppy.
I'll try and post it.

Thanks,
Amitai

Hey Amitai, take your time man first, use a slower version of the backing track while recording, k? Just to get the feel of working with a rhythmic support while you're tracking your guitar let me know how it feels and when you got a take at the slowest pace available with the backing tracks, place it here

Cosmin

Hey Cosmin, I'm bumping this since I have moved back to my old place after a few months of traveling.
So now I have the time, and after you made that video about becoming a better lead guitarist, I knew you
could help me a lot more.

If you have the time, I'd love to continue this journey.


Amitai.

Heheheey Welcome back little buddy! Sure thing Let me know what you are currently working on and i will answer using videos because it's a lot easier to talk and demo things with the guitar rather than write!

Well first, I came back last night really late, and saw your video response.
So I played a little with inspiration from you (first singing and then trying to find it on the fretboard).
https://soundcloud.com/amitaik/cosmins-wise-words
Please ignore any rhythmical issues, it was really late and I was drunk.

Second, I am trying to work on my creative writing and composing, aswell as lead technique and understanding
guitar licks theoretically. I would love some guidance.

Thank you very much,
Amitai.

Hey man, this sounds promising and I have the following idea let's establish a chord progression and create a dialogue, you play a phrase and I play one. The rule is - sing it first and then play and record. After recording and being satisfied with the result, we analyze and say to each other what we played ok?

Sounds great. Just to start it off, I'll be first.

6/4, 120BPM.

Click to view attachment
Click to view attachment

Very nice mate - I'll cook up something and post tomorrow morning

Hey Cosmin!

Well for now, here's something I recorded while playing with intervals on the first mode.
Click to view attachment
Would also appreciate it a lot if you could recommend me a lesson about rock/blues phrasing, and right using of the pentatonic positions.

Thank you!

Amitai.

Hey man! I'm delaying a bit on the recording of that phrase - it's Easter here and we are celebrating this weekend (Most likely I'll record on Tuesday). But, my most heartfelt recommendation for you, regarding the blues/ rock lessons are definitely the ones our former fellow instructor Mate Nagy wrote for GMC - let's start with this one - it's got groove and it needs great control over the bends and vibrato!

http://www.guitarmasterclass.net/ls/Angus-Attitude-Blues/

What do you say, my friend?

Cosmin

PS: The recording showcases a great atmospheric idea! I definitely like it, but tell me, what do you mean by the first mode? Because it doesn't sound Ionian to my ears

Hey Cosmin, happy Easter!

I will definetaly try that one.

And about the recording, you are right.
The "Rhythm" guitar is played on the Ionian mode (playing sixth and seventh pairs), and for the rest,
it's a combination of the Ionian and the Aeolian.
And thank you

Hey buddy Here's what came to my head - after playing it, I realized that my aim (subconsciously) was to hit E or B notes whenever the riff changed to one of those chords. Tried to be as laid back as possible, in order to keep a smooth bluesy atmosphere.

Hey Cosmin!
How are you?

I'm back once again, after six months being away from home, only had my classical guitar.
I didn't have much time to practice, but I did play almost daily for about an hour.
Now I'm back home hopefully for atleast a few months. First thing I did was taking a look around GMC
and looking for good acoustic lessons. Since I only had my classical guitar, I got a bit into fingerstyle playing.

Began the Brazilian Choro lesson a few days ago. Playing it all day and all night, it's an amazing lesson!
http://www.guitarmasterclass.net/ls/Brazilian-Choro/

I'd like to tackle it and play it full speed, including the last bit with the diminished arpeggios!
I can upload a video (haven't got my little studio set up yet, but I can record it with my shitty laptop) if you wish.
I have a serious problem understanding the diminished arpeggios timing.

So yeah! It's awesome to back. And if you have the time to help me, I'd be super glad!
Got motivation and ambitions

Hello and welcome back Amitai!

I would be glad to help out - so please show me where the problem is Note that I don't know any classical guitar technique - especially in respect to the right hand and I can only tell you what doesn't sound right or in good timing But let's give things a shot!

How is life going, man?

Hey!
Everything is great. Home feels good.
Hows Romania? I'm going to be there in four months, meeting up with friends that are traveling the area, then going to Germany through Hungary and Austria.

And for the classical guitar technique, I don't mind. I would like to add on to my current theory knowledge, and make it more practical.
I'd like to compose (not classical tunes, more jazz and indie/folk), and understand it. I don't want to play around, stop myself on something
specific, say "Hey! That's good!" if I won't understand why it's good.

Hehe! Good choice man I am pretty much the same - trying to borrow from everywhere, understand everything, but use only what I really like. Well, in the mean time, I am waiting for your recording and if you wish, maybe we can meet up when you arrive here in Romania - what do you say? We can make a pic for GMC

Well I think I got the "Brazilian Choro" under control hehe. I got the diminished part timing right, it's just super fast so I'm pacing myself.
I'll work on it a bit more, then I'll post a recording.

In the mean time, I'd like to get guidance on the theory=>practical theory part.
I know modes, not really good, but I know how to build them.
I'd like to have modes as a second nature. So I can play them fluently and understand them better.
So if we can begin with that it'd be super. I don't really know what else should I mention. Maybe arpeggios?

And yeah! If we'll be somewhere near Bucharest I'll be sure to let you know!

Hey there mate

I know what you mean and I will help out as best I can. The whole thing that you need to master, is the relationship between notes and chords. That's basically what modes are all about - first step Watch the replay of this video chat here: http://www.guitarmasterclass.net/guitar_fo...st&p=671081

After this, please follow these steps:

- record 7 modal vamps (simple modal progressions - do you know how?) - one for each mode
- use the concepts in the video chat replay over each vamp on ONE string - basically at this step I want you to play the characteristic scale degree of each mode against that modal progression so that you may get acquainted with the flavor of the mode.

The characteristic scale degree is that particular note in each mode that gives it its flavor. Let me know if I am too fast, ok?

Cosmin

Hey Cosmin.

I've watched it, great stuff!
I think I understand. So I need to use a diatonic chord progression that revolves around a chord that represents
a mode.

So I'm using a G root note (Ionian).
If I want to do a Dorian modal vamp, I can play 2-5-1 |Am|Am|D|G|. Is that right?
Then play the Dorian scale on one string?

*So I gave it a shot, playing G Dorian on the first string, with one finger.
It was hard because I haven't got my full set up yet, so playing on my classical guitar, which doesn't have markings.
https://soundcloud.com/amitaik/g-dorian-1st-string

Yes mate! Haha - great ideas - I think you nailed it totally I'm so glad - the situation you described is best noted as:

i IV VII as you are regarding it in an A Dorian context rather than ii V I judging it by the functions of the chords in the G major scale context - of course for the Am D G progression

What do you think so far?

I think that it's pretty amazing. After a few minutes of playing I think I know the Dorian scale on the first string better than I ever have

But isn't it more confusing that way?
I mean, I know that when talking about a major scale, from the root note -
I - maj7
II - m7
III - m7
IV - maj7
V - 7
VI - m7
VII - dim
I understood why I-IV-VII, every chord is taken one "step" back when talking about the 2nd mode.
If I wanted to play this progression on the Phrygian it would be VII-III-VI wouldn't it?
And if I play with someone, when he says B Phryigian VI-III-II, its actually |Gmaj7|D7|Cmaj7|?

You also said, unless intending to do so, to avoid finishing phrases on the 4th and the 7th, because they are suspension notes.
If I'm playing the Dorian scale, is it the same with the 4th and 7th, or 3rd and 6th, or not the same at all?

And one more question. Should I play all the modes in a parallel way?
Like you said in the lesson. If I said G Ionian, I should have also played the G Dorian, G Phrygian and so on...?

Thanks! Going to work, afterwards I'll tackle the rest of the dorian strings

Hey mate - everything is correct up to the question regarding the VI III II - you also need the i - that means the B chord. Otherwise, you will not be able to tell the nature of the progression. Most of the times, a modal progression begins with the chord derived from the scale step that dictates the mode. That would mean that this progression should look more like this: i VI III II or even better i II VI III

Regarding the tension It is more of an interval knowledge question - there are intervals which can solve phrases in a very fluid way or others which can create more tension and not release the phrase at all - I recommend you to read this thread for more ideas on the matter:

http://www.guitarmasterclass.net/guitar_fo...t=0#entry644329

And yes, try the modes in the parallel but also in the derivative way In that way, you will become even more knowledgeable I am SO glad you understand these things Really!!

Hey Cosmin, how was your weekend? Or is it not over yet?
Our week starts on Sunday, so mine is unfortunaly over

It confuses me. If I'm playing 7 different modal vamps, what differs them from one another if they should start with the "nature of the progression" meaning the root notes chord? I don't really know if I'm sure how to make 7 different modal vamps.

It's a bit much, I'm sure you know. 6 different string, 7 different modes, parallel, derivative. I think I'll just begin with the first few
modes, in a parallel way, string by string. What do you think?

I'll try and upload some takes tomorrow, or in 2 days.

Brooooo Take it easyyy This is not something that you achieve over night

For instance - famous Dorian progression found in Michael Jackson's 'Billie Jean': Em F#m Gmaj F#m

This progression is a typical E Dorian progression - that means it has D major as a mother scale - try it on

Starting as you stated is very good - no rush, give yourself time to assimilate - you've seen how nice it goes

Let's hear the recordings

Hey Cosmin.

Yeah you're right, I need to take my time with that.

I still have some questions.

-A modal vamp must revolve around the modes note? And begin with it? Meaning G Ionian, A Dorian, D Mixolydian etc...

-I tried to come up with a Locrian modal vamp, everything sounds.. uhm.. odd? I like diminished chords in the end of a progression,
not in the beginning of it. Can you give me an example of a Locrian modal vamp?

-And generally, when playing on one string, in a derivative way, when I'm switching modes I'm still playing the same intervals,
which are in the same place, only now referring to my new "base note"?
I mean I played G Ionian on the 1st string, and then played A Dorian on the 1st string. It looks the same, doesn't it? Just needs
to be handled differently?

Thanks!

Hey man

Let's take things at a time:

1) Yes, usually if you want a modal vamp, it's common to use the chord derived from the mode's first note in the beginning.

2) Sure thing - there's a trick here Start with a m7b5 type chord as it's mellower than the diminished

I recommend this lesson for a good example regarding vamps: http://www.guitarmasterclass.net/rhythm-gu...-chords-lesson/

3) EXACTLY Phrase by highlighting the characteristic scale degree of each mode over the afferent progression and things will fall into place.

I like your questions - it shows you are really paying attention to details and you are interested in learning for real! Keep rocking, man!

Hey Cosmin!

I don't know why, but I only played the first three strings, on the first three modes.
I feel that I need to understand the meaning of "highlighting the characteristic of different modes".

So I recorded myself playing a little over a B Phrygian vamp, with one finger, starting with the 1st string, then moving up to the 2nd string. I also recorded myself playing the Brazilian Choro lesson by Andre Nieri, over the slowest backing track he provided, 95BPM.
I know I have timing issues, mainly because my fingers are still adjusting to that style of playing. And of course the diminished arpeggio part, which I'm getting better at, but still screwing it up

https://soundcloud.com/amitaik/brazilian-choro-95bpm
*I'm practicing it on a slower tempo than that.

https://soundcloud.com/amitaik/b-phrygian-1st-2nd-string

Mate - the B Phrygian sounds amazing, BUT it doesn't sound Phrygian Can you please tell me what chords you used and what notes you aimed for? This is exactly the best example we need to discuss in order for you to understand how to highlight the characteristics of modes

The Choro is well interpreted and I can see you have a nice feeling for this sort of music, but it needs time I guess, in order to come out perfectly.

I played over B Phrygian i IV VII III VII |BM|EM|AM|D|G|.
And yeah, that's why I said that I'm trying to understand what's going on. It's confusing.
The notes I played are B C D E F# G A.

Bro B Phrygian means: B C D E F# G A B - having G major as a the mother scale What is B major doing there? If you harmonize the B Phrygian mode - you get Bm Cmaj Dmaj Em F#dim Gmaj Am

The i IV VII III VII progression is actually i iv vii III vii that means Bm Em Am Dmaj Am Try these chords and play by emphasizing the B and C notes

Hey Cosmin! Good morning.

I thought about a solution to me not quite understanding the way the Phrygian is supposed to sound.
So I went to youtube, typed Phrygian and saw a video there of someone playing it. I think I got it.

It really reminded me of something Arabic/minor harmonic. So I quickly recorded a middle easternish progression.
It was all done very quickly since I was half asleep already. So consider this when you listen (after I uploaded it I realized the timing on some
parts was terrible). But I guess the handling of the Phrygian is more important here than timing haha

https://soundcloud.com/amitaik/b-phrygian-2
The first part is played with one finger, on the 1st string.
The second part is played with one finger, on the 2nd string.
On the last part I just did whatever I wanted at the time.

As for your last message -
I actually ment i iv vii III vi. But anyways I couldn't play over it with a Phrygian feel, it wasn't right for it.

And about the progression you suggested - Dmaj is D major 7 right? And if so why is it there? Isn't it supposed to be D or D7?
From what I know, G Ionian - G Am Bm C D Em F#dim G,
so wouldn't B Phrygian be - Bm C D Em F#dim G Am Bm ?


I also wanted to thank you for all your help. It isn't taken for granted. Much appreciated!

Hey man - no worries

Your assumptions are correct and the D major is either D major either D7 It can be both - don't forget that you can harmonize the scale, using only triads and not necessarily 7th chords.

The progression you recorded is very good and the ideas as well! You understood things but you need to be certain of what you are doing. Let me know which is the actual unknown element to you at this exact point and we shall sort it out Work on the timing to make things shine!

Hey Cosmin!

What do you mean by harmonizing the scale using traids?

I think that what is still a big mystery to me is the scales characteristic itself. I'm not familiar with the different sounds of each mode, and this is exactly what we're doing here, I guess. It's easier for me to play a certain mode in a vertical way, because then I see it as a seperate scale. When I play a mode in a horizontal way, I can't ignore the fact that it's basicaly the Ionian mode. But it's a barrier I want to break through.

Should I move on to the next few modes to get a more general feel for them, or should I stick with the first couple to get a more complete understanding of them? There's time and I'm not in a rush, but it frustrates me on some level

Thanks!