Hello Chris! This here is your thread! Since we already discussed and know what you need to be working on, I will only ask you to keep the communication in here, for the sake of having things as centralized as possible!

Thank you and see you around!

Cosmin

Hallo Cosmin,

So as basic as the first lesson you gave me is, I quickly realized that after years of not utilizing both a metronome and the use of backing tracks my timing is horrible!!!

I will definitely have to begin using these as much as possible - they are after all, valuable tools.

So I recorded my first take of the lesson, after one day of practice:



It's not perfect (definitely not REC worthy), I know I still have to work on my timing but I was wondering if you noticed anything else?

Also, I thought if I cranked my amp that the audio quality would turn out okay, but I was wrong

I'm thinking I would get a better result if I use headphones, load the backing track into REAPER (my recording software), and instead of using my amp, use my Line 6 UX1 and record right over the backing track in REAPER - do you think this would work out a lot better?

Thanks for being such a cool dude!

Hey mate if someone would listen to you speak about yourself and not have this track alongside to listen, they would think you are THAT horrible But you aren't bad at all!!

The idea here is that you need to focus on the triplet part - it should sound more even in respect to note lengths and by that I mean that the triplets don't sound even among themselves, some notes feeling a bit shaky. Then, the 16th notes part has a little issue in respect to missing the last notes in each group of 4 16th notes These are all things that can be solved with more slow practice over the slower backing tracks, so no worries, you are on the good path!

About the recording question - you need to try that definitely as it's how it's usually done I know that the UX works with Gearbox and I know that you can build great tones with that software!

Let's see the improved version then and we'll take it from there, ok?

Cosmin

Thanks for the feedback!

I shall focus on those elements over the next few days and record an update by the end of the week

Hey mate! It's a pleasure, as it seems to me you are a dedicated person and I always like working with folks such as yourself

Let's see the updates then and we'll take it from there - deal?

So I've been practicing and I feel like there is a slight improvement over my last video:



I focused on making sure I was picking all of the 16th notes in the last passage and not skipping any, and I feel like I've done a better job with that.

However, I'm not sure if the triplet part is any better?

I've worked my way up to 130bpm and the triplet part sounds much better but when I slow it down to 120bpm and record over the backing track I don't feel like I've made any improvements... I don't know if it's because I'm just not used to using a backing track or if something else is the problem - any pointers?

P.S. Sorry for the video/audio being slightly out of sync, I don't like the new version of Windows Movie Maker and I was having a really hard time trying to sync them properly

P.S.S. You da man!

Hey buddy!

Thank you for the video! There is improvement in the 16th notes section for certain! I noticed that you played each and every note this time and the balance is pretty ok.

Now, for the beginning of the piece, it takes you a few seconds to get the timing right. I think you should adopt a more natural playing position. Sitting on your bed is comfy but not productive

Sit on a chair and try to tap your foot to the groove before it begins so that you will allow your body to feel the rhythm before your hands start to play - that will improve timing and feeling as well.

As for the triplets - ternary subdivisions are not so natural forthe human brain, so you have to give them a bit of time and focus on counting 1,2,3, 1,2,3 ... and so on over each beat, because when you play triplets, you are cramming three equal notes in duration over each beat in the bar - correct? Try to feel this happening and things will even out What do you think?

I usually sit on the edge of my bed, but crossed legged on the bed made it a little easier for recording purposes - but now that you mentioned it, I can see how this would be impractical, considering I never even use the position

There is a comfy desk chair that slowly became my gaming chair because I would always bang my guitar body off one of the arms - so I just removed both arms of the chair and now I will use this from now on!

And for the lesson I guess this take was 1 step forward 2 steps back, but since I will be using the chair I can use my foot for at least the first few bars just to get the feeling for the flow and see how that works - and hopefully that will solve the timing issue from the beginning.

And for the triplets... practice, practice, practice - I'm confident I can improve on it over the next few days!

I shall post a video update on Friday, that gives me 3 1/2, 4 days of solid practice to hopefully make some big improvements!

Hehe, self disciplining is always a good choice

Now, tapping the foot to whatever you will be playing, is one of the best things that you can do for yourself - try it and make a good habit out of it. It'll feel a bit difficult at first, but then you will slowly get used to it.

About the triplets, yes, try practicing with the original recording and with the backing tracks as well, but also, try to count as I suggested - it's very important to internalize the balance of the triplet. Just tap your foot and count 1,2,3 on each beat executed by the foot. Try this drill without playing, so that you may get used to it and then try it while rehearsing the isolated section with the triplets. Deal?

So I tried the foot tapping and it has helped slightly, but like most important things (metronome, backing tracks, etc) I have failed to use it/them until now so it will take a little time getting used to you like you said.

This might seem like a silly question but my foot gets really tired after a few measures, is this because I'm doing it wrong or because I'm not used to doing it?

And on a side note, as I mentioned earlier I took the arms off my computer chair but what I failed to realized is that the arms were what held the back on so as soon as I plopped my tookus down the back fell off

Now I have myself a really comfy stool!!!



EDIT:

On another side note, I created a basic drum loop to practice my lesson and when I was done I came up with this quick using the same notes from the lesson:

https://soundcloud.com/stortzmusic/riffin

After 50s it was kinda just improv riffin so the picking is pretty sloppy. I was just wondering what you think overall?

Thanks!

Hey mate the foot tapping will come to you in time and it will feel more and more natural by the day, once you learn how to keep your foot relaxed - don't lift too high and don't tense. Take short breaks and things will be fine
About the recording - I like the idea and the riff can be developed further, but please watch out for the following details:

Vibrato - 0:11 - it should be wider, more rhythmic and in pitch
Hand synch - from 0:52 onwards, there are slight issues with syncing your left and right hands - I think that slowing this down a bit and making sure you can play in perfect synch with the drums would benefit the piece nicely Let me know what your thoughts are, ok?

Thanks for the tips! My psychic powers see me practicing some vibrato lessons in the future, perhaps?

So I've practiced my butt off today using my foot, backing track, guitar pro file, you name it!

(Guest Appearance by Willow the Exotic Shorthair)


I hope I pass! I'm dying to get it good enough for REC!

EDIT: I'd also like to apologize, I don't mean to bombard you with a new video every other day but as I mentioned in our messages I'm not really comfortable playing in front of people and as soon as I turn the camera on I get really nervous and start to choke under the pressure.

I feel like if I make an effort to film myself as much as possible I'll start to get more comfortable and one day it'll be like the camera isn't even there! Plus, it's extra practice for syncing my video/audio

Hey buddy, no worries about any bombardment

The 'REC fever' will disappear with time, don't worry The idea is - the more you do it, the better you will become!

Now, I watched the video and I must say that you move nicely with the adjustments - the triplet section could use a bit more work, as it is a tiny bit rushed, but otherwise, I can say everything flows nicely. We can try and experiment and place this take in the REC zone, to see what the other guys have to say - what do you think?

Thanks Cosmin! I'm glad I've taken a few steps forward since my last take (it's a good feeling)

That triplet part is going to be the death of me, though
But I just ask myself: "What would Cosmin do?" and the answer would be NAIL IT! So I'm just gonna keep practicing until I can do the same.

I'll submit the REC take like you said just to see what everyone else thinks as well

Oh, and I've been reading and watching videos on beginner music theory and some things are finally starting to sink in, maybe I can post any questions about it here when I get stumped?

So far:

1.) I know where all the E A and D notes are (although sometimes it takes me a few seconds to find them) on the fretboard - and I can use those notes to find where a few others are (B would be a whole step up from any A, a G would be a whole step down from any A, etc.)
2.) I know the formula for a major scale W W H W W W H
3.) I know that each note in that scale gets a roman numeral (scale degree)
4.) I understand how to get a major, minor and diminished triad (mostly) - I III V, I bIII, V & I bIII bV
5.) I get the concept of the circle of 4ths/5ths but I have to do some more research because I did get a little lost
6.) I understand how to form a Chord Scale within the major scale but I haven't started applying it because I still have to do a little more research to get comfortable with it

I've never been so motivated to become a better guitarist (musically & technically) and I owe it all to you! Thanks for the continued support.

Hey buddy!

Thank you for your kind thoughs and for the smile you just put on my face I'm in a coffee shop in Budapest, after seeing Tesseract and Animals as Leaders last evening in a club here and I am full of musical energy! Keep tackling those triplets focusing on counting and seeing that each group of three notes fits equally over each beat, ok?

Now, you know pretty much the important elements in what regards the major scale and I totally recommend the next series of lessons, in order to get you acquainted on building triads and learning the notes on the neck with this occasion - please take a look on these lessons and see how the theoretical notions that you know apply in them What say you?

http://www.guitarmasterclass.net/ls/Triads..._Series_Part_1/
http://www.guitarmasterclass.net/ls/Triads..._Series_Part_2/
http://www.guitarmasterclass.net/ls/Triads..._Series_Part_3/

Sounds good Cosmin!

I've been watching some basic videos on the web but I didn't really know how to practice them on the guitar and the lessons you provided are perfect!

Do you think that when I finish one video and the take becomes good I should try to apply to it a different key? Like once C major sounds good I should try to apply the video to D major, etc. ?

Thanks

EDIT:

After giving the first part of the lesson a go - boy is my fretting hand tired! I've only ever really dabbled around with basic open chords so forming these triads and moving them up the neck is a killer workout - I'm lovin' it!

So far the only real problem I've run into is when I start to move the triads up the neck I find that I'm slightly bending a string or two from time to time. Usually it's not enough for the triad to ring out of tune but sometimes it is.

Any pointers?

Hey mate! Great to hear you are digging these lessons Now, applying the concepts to other keys is a perfect way to exercise the concept and to become familiar and natural with using it, so yes, by all means, do that!

Now, about your issue - it is only normal, because as long as you aren't aquainted to the forms, your brain will feel insecure and it will urge you to rush into changing them to stay on time. That's why your fingers are pressing hard on the strings and you have no control. Exercise each change slowly, by making sure that you can place all your fingers into the desired shape at once, just like a stamp, not one at a time Practice this overthe metronome for each change and you will feel much more confident when you will play them all over the backing track then. Let me know what your thoughts are and we'll take it from there, deal?

Alright, will do!

I think I'm also going to play them as arpeggios that way instead of just knowing the chord name I'll also become familiar with the note names individually which can maybe help me learn where all the notes are on the fret board faster?

And not to go off topic, but I saw your youtube videos of your sword and sword strike - badass!

Are you a self taught? I knew you were an awesome guitarist but I didn't know you were a dragon slayer in your off days!

Hey mate! That is once again a very good choice Try to phrase in 16th notes, 8th notes or even triplets when arpeggiating - you will not only develop your picking technique, but as you said, becoming aware of WHAT NOTES you play (their names, not numbers as in tabs) and THEIR POSITION on the neck, is pretty much the most natural and organic way to learn your fretboard in the standard tuning. When changing tunings, well, that's a different story alltogether But the most important step is to learn the neck in standard tuning and then, you will have the necessary experience to make a fluid transition to other tunings as well

About the sword.. well, I am passionate Japanese classical swordsmanship practitioner - that is called Kenjutsu and that there was my actual first cut I practice daily as it calms my mind, sharpens my spirit and it has taught me a lot of great things about life so far. I am not self taught, as I go twice a week at a fencing school where I study Taisha Ryu and Niten Ichi Ryu - two very old Japanese fencing traditions

So I've come to the conclusion that this one is going to take me a while
I haven't really ever formed chords up and down the neck so I'm gonna have to take my time making sure everything is fluent and my notes are ringing through clearly.

However, I did run across a new problem relating to my guitar. I recently put a new bridge on my strat (it has a super fat trem block for more sustain) however the saddles were set up horribly!

I set most of them up however the low e string won't budge. When I play the very last C triad on the 4th 5th and 6th strings it sounds horrible and when I clipped my tuner on the C note on the low E string is halfway between C and C#.

I moved the saddle as close as it can go towards the fretboard but it changed nothing
Any suggestions?

Also,

Since this lesson is going to take me a while I started working on this with any spare time I have when I'm finished with the triad lesson:

http://www.guitarmasterclass.net/ls/Altern...king-Workout-2/

Gab recommended it in my REC take. It's going a long pretty well, so you might see a video update for this one before the triad one

Hey buddy Take your time with the triads until the shifting feels natural and as effortless as possible - you'll see it'll pay of big time on the long run About the guitar setup, might be you have tweaked with the intonation without wanting to - I am not really knowledgeable with this stuff, as I have a luthier that takes care of my guitars. I have a saying - each person knows how to do something - let them do it and you focus on doing your own thing So my best advice here would be:

- post this in the Gear section and maybe someone here who knows the problem can hint a solution
- if nothing comes along, go see a luthier - they know EXACTLY what to do

About the new lesson, if you have enough time and if you like it, why not? It's a very fine choice and I would be delighted to see a video with your progress on the lesson

Let's keep rocking!

I'm slowly getting better with my triads, here and there my fingers will be a little too close to the fret and it'll buzz or the fingers on my picking hand will make a mistake but overall it's slowly getting better!

Like I said I've also been practicing them as arpeggios and I came up with this little rhythm piece. It's pouring rain and the power went out on my whole street so I tried to use the triads to get a feel for that mood.

I came up with it quick and wanted to record it so I don't forget it, so it's not perfect (some minor mistakes and the timing is a bit off).
It's only a simple little piece but it excites me because before you started to help me I wouldn't have been able to even come up with something like it!

I attached the file and was wondering what you're thoughts were? I can't wait until I can be like you and hum a melody in my head and be able to create a solo over it!

Thanks!!

EDIT: I know you have experience with baritones and I was wondering what the benefits are of having one? I found a baritone strat copy with 24 frets! From what I understand you can use lower tunings? Are there any other pros/cons?

Hey mate! I am very glad to hear that you are slowly opening up Just keep going and you'll get to discover amazing things about music and yourself as well

The piece sounds very nice and it has a certain vintage feel - it really makes me think about rain, as it resembles one of those evergreen songs that I used to listen as a kid, when I was sad about not being close to a girl I really, really liked Thank you for the memory!

Keep practicing with chords and arpeggios as well and you'll nail the lessons - let me know when you can show me a recording, ok?

About the baritone - yes indeed, I own and use a PRS SE Mike Mushok with my band and I must say it's an extraordinary instrument. Indeed, it is a guitar that was created for lower tunings without needing extra strings. I keep it tuned to drop A and more recently B standard with the thickest string dropped to G - that's how we recorded our single released earlier this year - Bloodstream.

The cons, if you may call them like that, are that you can't solo in standard tuning, as the tuning is different - this is a pro feature of the 7 or 8 string - you have low register and normal tuning all in one, but since we don't solo or use standard key for our music, the baritone is the perfect weapon Please let me know if there's anything else I can help with in respect to this, ok?

Thanks for the kind words my friend! I wouldn't have expected something I made to trigger a memory, that's such an awesome feeling!

My fingers get really cramped in the higher frets and that's where most of my mistakes are, along with my picking hand not striking each string or each triad with a consistent attack. Other than that it's basically the big changes from moving from the last triad from one set of strings to the first triad on the next set of strings.

I'm practicing at a slow 80bpm - I'm hoping I get it better by Monday or Tuesday so I can post a take because right now it's pretty sloppy
It seems a little bit easier when I use a pick that's cheating since the video lesson calls for finger picking

I'll keep you posted

EDIT:

So you're not entirely in the dark I thought I would do a quick take, but silly me rendered the backing track at 100bpm instead of 80bpm but like I always say "When life gives you backing tracks 20bpm faster than what you're used to, you roll with it!" - Actually, I have never said that before



But yeah, I went with it so you can get an idea of where I am at. It needs a lot of work, but trust me when I say it's A LOT better than it was a few days ago!

Whenever I use a clean amp in POD Farm and record into Reaper the volume is so wimpy. I cranked the volume on the amp in POD Farm and I boosted the gain of the track in Reaper but as you can hear it's still really quiet.

If I keep boosting the gain the track is going to start getting all fuzzy and distorted, do you know of another way I can make it louder? I thought about boosting the gain of the amp but then the tone becomes overdriven instead of clean

Thanks man!

Also,

I don't know if you saw my thread in the Gear section but my soul mate bought me a new axe!

Thought I'd do a little free-form blues improv:

https://soundcloud.com/stortzmusic/freeform-blues-improv

I feel like if I write a little riff or lick once a day it'll help me in the long wrong with my songwriting?

Hey buddy! Thank you for the video - it's clear that you are on the good path, but let's see how we can improve Out of what I am noticing:

- timing could be improved in respect to landing the chords on the beat
- you need to relax your left hand in order to make the chord sound natural and for all the notes to be heard. Sometimes, you tend to push too hard on the string and that can be heard in the pitch of some notes
- reduce the tempo when practicing, in order to manage to play in good timing, stay relaxed and land the chords with all the notes ringing out clean and clear

Do we have a deal, young man?

About the volume - maybe it's the input level that needs to be raised - I am guessing here.. Todd knows a lot of stuff about Reaper, so I guess that the best thing would be to post a question on the matter in the Practice room.






Hey again mate - that's a very good idea and I totally support it Now about this one - it has potential, but you need to take into account a few things:

- groove - there's no rhythm emanating from the playing - if you decide on playing with the guitar only, you need to play very groovy. Can you take this idea and establish a groove with it? By that, I mean, playing the lead ideas in a rhythmic fashion and then, once a groove stays in the mind of the listener, you can develop the lead further on

- articulation - you need to bend and vibrate a bit smoother, but this is an aspect which we will develop together in our further musical endeavors

Keep going with this!

I'm a little confused in regards to groove

So if it's guitar only do I make a rhythm guitar in my head and try to play a long - so that no one can hear the rhythm but me, but they can feel it through what I'm playing?

Do you know any examples on youtube or anything where it's just the lead guitar - so I can listen and get a better understanding?



I will definitely focus on those aspects!

I agree, a lot of the triads that are an awkward positioning for my fingers I tend to really push down really hard causing some pitch issues. And slow and steady wins the race! So I will lower the tempo and work on landing the chords on the beat

ALSO:

One more question about baritones: You said that you can still play a baritone in standard tuning, or would there be too much string tension?

I'm a hardcore strat guy but I hate how it's really awkward to play the higher frets, so when I saw the baritone that's 24 frets I know it would be a lot easier since the cutaways in the body are deeper.

It probably would be a waste to get a baritone and never play it in a lower tuning, though

EXACTLY! Nailed it like a pro A good example.... hmmm, lemme see - this theme, it's the first thing that popped to my mind Once the groove was established, you can build a steady improv following the groove - that is usually done, by slowly modiffying the initial groove by adding and substracting notes, so that you may obtain something that retains the groove, has something of the original theme and is yet different It's one technique!



Slow is the way to go - you should definitely aim for control here and not speed - so focus on nailing the changes and playing the positions as clean as possible and only then, speeding up towards the original speed and making sure you can keep the same relaxed spirit

About the baritone - mate, a baritone is meant to be played low - I mean, there is no sense in having one if you want to keep it into a normal tuning I for one, have never played anything else but band related stuff, which is pretty low - drop A or a hybrid between B standard and the thickest string detuned to G. But who knows what one can discover? I am not to one to bash anyone for using a certain instrument or device unconventionally, so let me know if you decide to get one anyway

I had to work mandatory overtime this weekend so I was only able to practice about 20 minutes on Friday and Saturday

But I'm back to 1 hour of practice each day again and can make up for the lost practice time on Tuesday and Wednesday when I'm off

I slowed it back down to 80bpm and am working on getting everything clean. The new guitar my girlfriend bought me has slightly wider fret spacing than what I'm used to so I'm practicing on this guitar, my Strat and my LP copy which all have different style necks, neck joints and fret spacing - I don't want to just be able to play it on one guitar but any guitar I pick up

EDIT: Also, I just saw your post in the Chill Out section from a few weeks ago about the photo shoot and upcoming goodness with PRS and I just wanted to say super congratulations!!!

Even with everything going on right now, the fact that you still take the time to come on and help all of us out means a whole lot! We couldn't do it without you, my friend

Great approach, man! Like a pro! And thank you for your kind thoughts - I am trying not to forget where I started and if I can help out, I am gladly doing it in the time that I can offer

Keep rocking - umm errh, chording and let me know how it goes, ok?

I've isolated the chord changes that are causing me problems and I'm going to spend the week improving them. When I feel confident with them I shall post a take at 80 bpm, and then if all is well I'll work on increasing the speed

I've also been trying to work on my grooooooooveeee

I came up with a little pentatonic riff that reminded me of a spy move like James Bond and I thought I would try to make it have some groove like you talked about:

https://soundcloud.com/stortzmusic/spy-groove-snippet

Is this a better concept of groove?

Also,

I've really been trying to break down the triad lesson and take as much information from it as possible and I came across a question that I was hoping you could answer?

So all the triads in the lesson make up the C Major scale, and I made that little song on the rainy day that is in the key of C.

Now the chord progression goes C Am Dm G

My question is, if the progression starts with a different chord other than C, would it still be in the key of C?

Like if the progression was Am Dm Em G - all those triads are in the C Major scale but would you still be in the key of C and use the C Major scale or would it be in a different key and with a different scale?

Sorry if I didn't explain that well

Hey Chris!!

Definitely!! You made me nod my head The first part is very groovy and well interpreted, but the second half of the theme could have a little bit more confidence - from 0:10 onward, you need to play that accentuated chords a bit more firmly, as it weakens up a bit.

But you, my friend, understood the concept Good goin! Try to implement the idea of grooving with everything you create and it will only get better!

Please proceed as you stated with the lesson and when you feel like you are ready with the 80BPM take, show me a recording and we'll take it from there on

I understood your question perfectly - and it is a very good one indeed! The idea here is that you stay in the same key for all the progressions you mentioned, but each progression can be related to a different mode, which can be derived from that specific key. For instance:

C Am Dm G is a major progression related to the Ionian mode - the C major scale while the Am Dm Em G is an A Aeolian mode or natural minor scale, if you want to call it like that. We need to delve into modal theory a bit, so that you may understand these ideas better. Having a good grasp on harmonizing the major scale with triads will allow you to juggle with modal progressions as well

Have you read about harmonizing so far - I mean aside what the theoretical part of the lessons you are working on right now, mentioned?

Thanks Cosmin!

I feel like I'm starting to understand groove a little better but with slower more emotional songs I don't really know how to develop or feel the groove.

For example, that little spy riff sounds upbeat, it's a little on the fast side so I can nod my head and feel the groove kind of like a song that you would dance to.

However, I listened to your Sad Theme in G Minor (which is an absolutely fantastic song by the way, I can only hope to write something half as good as that one day) and since it's not a fast or upbeat song I can't really determine the groove.

Do you have any advice how to feel a groove on a slower emotional song such as the one you wrote?

Also:

I know what harmonies sound like, I love that sound like Iron Maiden and Avenged Sevenfold, but I don't actually know how to harmonize or anything.

But I did pick up this at my local bookstore today - and it even has a PRS on the cover (at least I think it is one):



Part two seems to talk about what you mentioned:

Part II:

-Harmonzing the Major Scale to Form Triads and Chords
-Forming Chord Shapes with the CAGED System
-Adding Chord Tones and Extensions to Chords

Part III goes to talk about modes but I think I'm going to tackle Part II first.

So I'm going to be a little bookworm and do some reading and see if I can get a better grasp of the concepts you talked about and let you know how it goes

Hey lil' buddy! It is indeed a PRS - those bird inlays are unmistakeable

So let's take things one at a time - first things first, thank you for your kind thoughts on my composition - it has a very deep meaning for me. One thing that you need to know, is that emotional music needs to have a real basis. I mean, whenever I manage to put my feelings into music, I get something genuinely true and beautiful. But that doesn't occur easily and it doesn't come to me everyday. It hurts most of the times, because somehow, it seems that the best songs I have written so far are pretty darn sad and it has to hurt in order for something worthy of recording to come out But hey, that's what happens in my case - it doesn't have to be the same with everyone.

In order to feel the groove, you need to be able to have a good grasp on rhythmic subdivisions and on groove in general. It's something that comes with experience and in order to get more and more into it, we can work on similar pieces found in GMC lessons and then, based on what you have learned and synthesized out of them, you will be able to build your own ideas. I also have this little trick here: http://www.guitarmasterclass.net/guitar_fo...showtopic=41914

If you are able to play ANYTHING using those backing tracks in there, you will become the master of rhythm and groove Read through a bit and let me know what you think about the backing tracks

Regarding the book - it can help of course - we have all those concepts written in the Theory section here in the forum so let me know if everything is easy to understand from the book and based on your newly acquired knowledge, we will add some more and develop things.

Let the questions pour!

Taking bars out of backing tracks at random times, YOU MONSTER!!!

I love the concept actually, but my problem is that I can keep time pretty well if its consistent note values - like all triplets, all quarter notes, all 8 notes and so on - but to actually solo over a backing track where all the notes are different values plus there is rests, I goof up a lot

So far, I'm reading through part one of the book because it focuses on learning where all the notes are. I've been trying to just memorize where every single note is but the book says a great way to do it is learn all the natural notes on the 5th and 6th string and with that you can use the octaves to find out where those notes are on the rest of the fretboard, and if you need a sharp or flat it's only a semitone away. I've been applying these concepts and it's going by pretty slow but I know it will come with time.

Also:

I've been practicing my butt off with the triad lesson and I thought I would surprise you with another take at 120bpm instead of 80bpm!

I've been playing along to the original video, but the backing track by itself is a little hard for me to follow along with because I'm used to drum beats that are simple like 1 , 2, 3, 4 kind of like a metronome so this is very different for me but overall I feel like I have come a long way since my last take - what do you think?

https://soundcloud.com/stortzmusic/major-tr...120bpm-take-two

I was playing at 80bpm and was getting so bored so I started playing the piece in quarter notes instead of half notes and challenged myself to work through it and I feel like it has helped me improve my changes since the last take.

Stay sharp, my friend!

P.S. I'll be waiting for the PRS Awesome Sauce 3000 - the name of your signature guitar that PRS better make

Hehehe Well, if you are able to play anything you learn - be it rhythm or lead oriented, against those tracks, you will be a hell of a timing machine Try it from time to time and you'll be amazed by how your abilities will grow

It is important to start with consistent values and then slowly diversify, until you are confident in playing more loose and complex forms, such as a slow ballad phrase for instance. Playing slow is as difficult as playing fast But if you learn how to play slow, you will have a far easier time learning how to play fast. We'll talk about various concepts and ideas, as they pop up in the lessons anyway, so as I said, the more questions you ask, the more you will understand and know

Learning the notes on the neck would be far easier if you reduce your instrument as if it were a one string guitar and learning the notes on that one string musically - for instance - please check out this post in the link below:

http://www.guitarmasterclass.net/guitar_fo...st&p=671081

Use the backing track and on each chord change - the progression in the track is Cmajor, Aminor, Fmajor,Gmajor, play the root of each chord on just the high E string. Then the thirds and then the 5ths The idea here is to say the names of the notes out loud as you play them

Once you are comfy with doing this on the E string, get to the B string and so on. The final result? You will know where the C, A, F, G, E, B and D notes are on the entire neck You will learn it in an organic manner and what's more you will become able to associate a sound, a name and a position, for each note, in respect to where it will be played.

About the take - your chords sound a lot better, but there's a slight delay when you change the position - I mean you are not dead on the beat - maybe slowing things down to 100 BPM and focusing on the exact shits, would be a good step right now, so that you will make the lesson get as close to perfection as possible

What do you think?

Thanks Cosmin! This definitely seems like a more interesting approach - you should have been the one to write this book



So basically I have like an 8th rest at the end of each chord which is me changing from chord to chord and I should focus on making the changes happening instantly, correct?

Also:

Todd made me a thread on his board which is open to anyone, it's going to focus on improving my mixing/recording/editing skills.

With you as my guitar teacher and Todd as my mixing mentor I WILL BE UNSTOPPABLE!!!

(I should lay off the caffeine)

EDIT:

So I was thinking of a little snippet to record for Todd so he can get the full picture of how horrible I am at mixing

Anyhoo, I wrote a little lick a few years ago when the Haiti disaster happened and I haven't touched it until now so I decided I was going to make something out of it:

https://soundcloud.com/stortzmusic/hear-our-cries-snippet

I'm a little proud of myself for actually coming up with something halfway close to being halfway decent

Although I admit that I do not know the names of the chords I used and I don't know scales therefor I don't even know what scale I am using and I'm sure the chords don't match the scale and would have to be adjusted to fit the scale...

Yeah, that's how bad my theory is

Hey Chris!

Thanks again for your kind words, man It's not really an 8th there, it's a bit less than that, but it's not on the beat and that's what you should be focusing on - getting it on the beat

Hehe, I like the piece, but you should pay attention on a few aspects:

- bending - always strive to reach the correct pitches
- vibrato - play it wider and more rounded

We will get to articulation - bending and vibrato that is - so no worries About the chords and notes used. Now that you have learned how chords are built and derived - can you apply the knowledge in your own piece?

- what notes make up each chord?
- what notes are you playing in the solo?

Let's see this and I will tell you how to establish the key once you know the answers to the questions above!

Congrats on working with Todd, mate! He is VERY knowledgeable and he will teach you a lot of important stuff!

Thanks!

I understand that "wider" means I should be bending the string to get a higher pitch with the vibrato but what do you mean by "more rounded" ? Slower?

Didn't realize how bad my vibrato was until you started to help me out - and here I thought I've been doing it right all these years



Well there are 3 chords and then I add an extra note to two of them:



So I know that the root of the first chord is a B note (so it must be some sort of B chord?) and the other notes would be F#, another B but an octave up and finally a D.

The second chord I know is an A chord because it's one of the few open chords I know:

A E A (one octave higher) and C# but then I hammer on the C# to a D and then I don't know what it becomes.

And finally the last chord is a basic open D chord:

D A D (one octave higher) and F# but then I play the same chord with the F# being a G instead and I don't know what the chord becomes.

So all together:




A B C# D E F#

So now that I have actually figured out all notes from the chords and scales they match! So does this mean they do work well with each other?

It took me a while to figure the notes out but the fact that I even did shows that I'm already getting better!

So now that we figured the notes out, how do I know the names of the chords I made (other than the ones I know) and what scale?

Thanks boss man!

And on a lighter note:

So to me it sounded kind of a sad song so I assumed minor, looked up the formula and tried to see from which root the pattern would fit but it didn't and that's because I figured it out to be major!

First I threw in the G from the one chord to give me 7 notes:

A B C# D E F# G

And starting from D the WWHWWWH fits so the scale would be D Major!

I was reading the internet and someone said that 99% of the time the key is in the chord you resolve on: in this case the last chord is some sort of D - is this usually the case since the last chord is some sort of D and the scale worked out to be D major?

EDIT:

The chord part I'm still having some trouble with:

D E F# G A B C#
I II III IV V VI VII

So that's the scale and intervals

I've been kind of looking at my triads the wrong way. After reading more about triads it goes by the distance and not whether or not they are natural or sharp/flat (which is what I thought determined it).

So looking at it now:

I = B the root
III = D which is a step and a half therefor a minor third
V = F# and is two steps therefor not flatted

I bIII V = minor therefor it's a B minor chord

Am I on the right track?

The A chord I'm confused with because it's I III and a flat 5th and I don't know what kind of triad that forms.

And when I add the extra note in you get A D E and D is 2 1/2 steps from A and E is only 1 step from D

Now I'm starting to get confused

Hey matey Most likely, out of what I am deducing here, you are playing in the key of Dmajor but since you are using a B minor chord to begin with, you have an Aeolian progression on your hands here. Or a natural minor scale based progression. If you want to figure out the chords, here's a good process:

- what's the note played in the bass?
- what relationship do all the other notes in the chord have with this one? Which note is a third for the root note, which one is the 5th and so on? I gave you the lesson with the triads, so that you may be able to understand the way in which chords are being derived from a major scale, through the harmonizing process.

Give it a try and I will help along the way So let's see what your assumptions are, based on what you have learned in the triads lesson - deal?

About the vibrato - by wider and rounded, I mean that vibrato needs to be executed smoothly and not rushed - it is pretty difficult to explain in words, because it has to be seen in order to be understood, that's why, I would like to introduce you to this lesson here - for the time being, watch Ben as he executes the vibrato and see the beauty in the execution and the expression - his lesson sums up what I meant

http://www.guitarmasterclass.net/ls/Bens-Vibrato-Odyssey-5/

Yes, the notes work well with the chords - that's the exact idea You have derived the chords from a major scale and the notes in the solo from the same major scale




Hehe! I just read this now - you are on the right track mate - keep going and about the A D E with A as the root, will give you a Asus4 chord - D is not a flat 5th or sharp 4th but a perfect 4th and D is the 5th, so that gives us a 1 4 5 formula - Asus4

You are doing good - please let me know if things are clear with the Asus4, ok?

I think I'm finally getting it!

This whole time I've been using the intervals for D Major for each chord when I'm supposed to be using the major scale of each chord root!





Is I IV V always a sus4?

A D E would be I, IV, V therefor Asus4



Did I do it right?!

Bullseye!! Good going mate

You got them figured out perfectly! How's the triad lesson coming along?

YES!!! This is how I feel after figuring it out:





As far as the triad lesson goes, I feel like my timing has improved since the last take. Do you think I am ready to move on to the next lesson yet?

Take Three:
https://soundcloud.com/stortzmusic/major-tr...sson-take-three

Also:

I've been trying to slow my vibrato down so its not so rushed and I came up with this while messing around:

https://soundcloud.com/stortzmusic/egyptian-idea

Keep rockin'

EDIT:

I've been reading into modes and some things are starting to click but I still have a long way to go.

So I know that each interval gets its own mode:

I = Ionian
II = Dorian
III = Phyrgian
IV = Lydian
V = Mixolydian
VI = Aeolian
V = Locrian

And since the root of the B minor chord is obviously B, and the interval for B in D major is VI - the VI mode is Aeolian

So I would be playing B Aeolian over the B Minor chord.

So I'm basically starting with D Major - and the first position of the scale relates to D Ionian.

Now when I play the second box position of D Major starting with E, those notes match up to the second interval which would be E Dorian.

And when I move to the third box position that pattern relates to F# Phyrgian and so on and so forth.

Am I on the right track? Because the biggest thing that confuses me is when do I use the modes? Like I'm playing a B minor chord so do I have to use the Aeolian mode over that chord and as soon as I switch to the A major chord do I then switch to the Mixolydian mode and then back to the Aeolian mode, etc?

Hey mate! Hehe! That song is the backing track of hope and success!

Great playing and tone here, in the triads take! I loved it! It's clear that you made progress, but there's a shape around 0:08 which sounds a little funny to me - what happened there? I would now, go for a video and then straight to the REC zone! What do you think?

About the modes - you are on the right track and all your assumptions are correct! The idea with modes is that it's very misleading to look at them as shapes or positions. They should be regarded as flavors occuring due to the relationship between notes and the chords that they are being played over.

For instance - check out the theme in Simpsons:



Try to emulate the first three notes played by the vocal line Tell me what you get - use the guitar to find them! Deal? I promise you that you will look at modes totally different than you would've before, if you will do this

About the Egyptian idea - it is nice and it can be developed into a theme, but please take care with the pitches as sometimes, you are not vibrating into pitch - the vibrato has to be consistent and it should stay in pitch and feel very confident and full of intention. It's not easy to develop this sort of a skill, but with time and perseverence, it will get there.

Please let me know about the Simpsons theme

The intonation of my guitar is pretty bad - I hadn't even noticed until now

I just had to put four new tires on my car so it may be a few weeks until I can afford to have a setup



http://www.guitarmasterclass.net/guitar_fo...showtopic=53293



Are the first two notes C and E? My ear training is pretty poor, I've never listened to piece and tried to play it just by ear I have always went right to the internet to try and find tabs (something I would like to change!).

Hehe! Graded ya! You got a 9 from me, because of the intonation issue - let's see what the other guys have to say, but hey, as I said in the REC zone, if we would compare the first take with this one, it's a HUGE improvement from every perspective, so congrats once again!

Ear training is one of the most important aspects in one's musical development I will stress this out and throw things at you as much as possible, so yes, the first note is C but the second is not E - but it's pretty close Will you give it another try? Use a tuner and let's see which notes are the second and the third, deal?

Thanks a lot Cosmin! I couldn't have done any of this without you, my friend.

Shall I begin working on the vibrato lesson you showed me, or did you have something else in mind?



C D# E?
'

Hehe! Nothing to it Chris!

As I told you, you are a very hard working dude and I like working with you!

Now, please do proceed with the vibrato lesson indeed You need to get your vibrato in great shape, in order to become a refinde lead player

About the notes, I will tell you: C F# G - what do you notice in respect to the relationship between these notes? How do F# and G relate to C?

I shall channel my inner BB King and become a vibrato virtuouso!

And for the notes:

From the key of C:

C F# G would be I, bV, V?