Hey guys!
What do you say if this Thursday we should discuss a little about re-orchestrating songs? I like the idea of transforming a song in a totally different thing - not only because you get to learn that song but also because you get to exercise your compositional and orchestrating skills, which I think that are very important I have prepared something nice for you (it's a surprise) but for now, I can tell you that it has interesting chords, hybrid picking and a little country solo at the end
...so WHO'S with me???
I am
Sounds good!
Sounds awesome! I'm also in
Still getting errors I will reinstall and try it again.
I love this idea I'm with you!
Let's build an army then !
This sounds interesting ! I hope not to forget about the chat, so count me in.
Hey guys!
I will be waiting for you in the chat room this evening stay tuned for interesting info along the day
I'll be there too
I'll be there! I better start tuning down my guitar to drop C now
Christian
Damn, I missed the chat...I can't tell you why, otherwise Ben will make me do unspeakable things
Christian
Hey mates! here's the GP file containing the re-orchestration of Mr. Marley's nice tune 'No woman, no cry' I'm here for your questions and on Thursday we'll talk a little about it again so that everything is clear have fun!
Hey guys!
Are you ready for this Thursday's topic? Since I figured out that many of you would like to hone their improvisation skills, I am going to dedicate this video chat session to IMPROVISING - Where do we start from, in order to work our way up in learning how to easily express ourselves with the aid of our instrument - the almighty guitar!
Let's have a blast!!
Here's the Hybrid picking variations we discussed about
enjoy mates and don't forget
- use the pick on the B string and your middle finger on the high e string
- slow tempo first, makes your practice perfect
- don't let the notes ring too much otherwise they'll become muddy try to be clean and a little percussive
Mates I'm happy to announce that we'll be having a surprise guest on today's video chat session hope you'll enjoy it
Hi GMC!
Here's the Dorian backing track from Thursday's video chat session have fun with it, I'll post some licks a little later on! In the mean time, have a go with my new lesson - 'Common Notes' it is a good reference for your lick building in the Dorian and Blues modes and also for targeting certain desired notes.
Alright mates! Let's get down and dirty this Thursday with some riffing we're going to chit chat over some riffs and rhythmic variations in drop C, which I used in the fresh Stripsearch recordings we're doing these days.
I'll provide drum tracks as well so you can go crazy over them so what else can I say: See you guys on Thursday - same time same place!
Hey guys! Thank you for a wonderful time in the videochat tonight! Here are the promised materials:
- Drum groove 1
- Drum groove 2
- Stripsearch - 'Unlike you' Drums and guitar
- Stripsearch - 'Unlike you' Drums
- Stripsearch - Unlike you LIVE Version which has the riff
I'll also upload the GP containing the lick played over the riff
Please use the thread called 'Working with drums' to upload anything drum related or ask any drum related question
Looking forward to your questions guys!
here's the short Stripsearch Lick we've been discussing around last time
Ladies and gents! This Thursday I'll be waiting for you at 8 PM London Time for a session on Pentatonic phrasing/ licks! We'll incorporate country style bends and quirky vibrato as well so see you on Thursday for another episode of Cosmin TV!!
Hey mates! This Thursday's video chat will be dedicated to riffing - open discussion on various examples! I'm waiting for you all for a delightful late evening chit chat with the guitar in our hands!
Who's in!?
Sounds cool, i will try! might arrive a bit little
My friends! This Thursday I'm planning on talking about how you can nicely end a groove by working with your guitar over drum fills. Being able to play nice and tight with the drum track is a very important trait! Can't wait to see you guys and share the ideas I'm having We'll learn how to divide bars and build phrases using these rhythm elements!
Who's with me?
this Thursday - soloing is on the menu, but garnished with chords
We'll discuss a little about how to implement chord structures in your solos, that will provide a very nice flavor and consistency
Hope to see as many as you guys over, this Thursday at 8 Pm London time, as usual
Here are the tracks from last Tursday - experiment with them remembering what we discussed:
- phrase using the drum elements: rhythmically and in respect to the drum element pitch (high pitched notes for high pitched drum elements and the same for the low ones)
- I have provided a slow tempo version (95 Bpm) and a faster one (120 Bpm)
Have fun and if there are any questions, shoot out I'd love to help you out
https://rapidshare.com/files/2621781032/New_WinRAR_ZIP_archive.zip
Hey Mate, I made it this far (230am) but Im wiped, vid chat sounds great too, shames. Have a good one and Ill try n meet up sometime soon, Cheers!
Mate, I'm sorry you can't make it but I'd feel guilty knowing that you stood awake but happy in the same time cheerios!
If you're curious, you can download the GP file these days when I'll post it - it has the stuff which we discussed about and some explanations so you can use it
hey guys! here are the two GP files as promised on last Thursday's v-chat session
The exercises regarding CM7 voicings and indication to your little homework on deducing voicings for Cm7 and C7 and also the part of the solo I was talking about where I implemented those chords, and also some explanation so that you may remember how they were obtained.
Let me know if there's anything unclear or you need more info!
Hey guys!
As we discussed last Thursday, our next v-chat edition will bring us up close and personal with some funky grooves and elements AND a SPECIAL GUEST - this time, it's a.......DRUMMER
See you on Thursday
PS: I'll upload the GP file with the modal licks tomorrow morning so you can have fun with it
Hey guys! Here's the GP file with the licks we discussed about last Thursday - enjoy and ask me anything if trouble arises
See you tomorrow evening!
Mates, tomorrow at 2 PM London time, I'll be waiting for y'all in the chat room at the re-scheduled v-chat session from last Thursday. The funky grooves and the special guest stay on the menu
Thursday is almost here and the next v-chat session along with it! I was thinking about bringing in some more modal licks so I'll be waiting for you as usual, Thursday at 8 PM
Hey GMC! This thursday on the v-chat: creative thinking and writing in metal music and a special guest - my very best friend, awesome guitarist and bandmate in Aria he will help me perform the stuff creative metal is all about See you at 8 PM London time!
Hey everyone! Here's the guitar pro file containing the licks we discussed on last Thursday!
Let's revise a little:
1) The first two licks were based on the bluegrass scale which had the following formula: 1 2 b3 3 5 6. It actually is the major Pentatonic scale with a added b3 degree.
It goes very well over dominant chords and in our case we can perform the licks in the file over the C7 chord (C E G Bb)
At the ending of the second lick you should hold down the C and G notes and bend the B note while holding these two, in order to obtain that pedal steel effect
2) Lick number three is based on a combination of D mixolydian and D minor pentatonic notes (a scale obtained by combining the notes from two other scales is also known as a hybrid scale)
In our case, the notes making up our hybrid scale are: D E F F# G G# A B C (D mixolydian = D E F# G A B C/ D minor pentatonic = D F G G# A C D) there we go
Now pay attention to the bends executed while holding down other notes which will give you the pedal steel effect and at the end the little conclusive phrase in the last bar, where you have to hold down each note after executing the slides.
You can play this lick over a D7 chord! Good luck and see you tomorrow for some metal
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:
http://timeanddate.com/counters/customcounter.html?msg=Cosmin%27s+Video+Chat+Session+-+Riffing+and+drums%21&day=15&month=09&year=2011&hour=20&min=&sec=&p0=136
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_forum/index.php?s=&showtopic=39823&view=findpost&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_forum/index.php?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
Tomo Fujito
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
http://www.guitarmasterclass.net/scalegenerator
http://www.guitarmasterclass.net/scalegenerator
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
http://www.guitarmasterclass.net/scalegenerator
http://www.guitarmasterclass.net/scalegenerator
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_forum/index.php?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_forum/index.php?showtopic=43797&st=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
So all the flats relative to the major scale, right? like in C major for example 1 b2 b3 4 5 6 would be c db eb f g a b
something like that?
Thanks for clearing that up. Cheers
Captain's Log - April 27th 2012
The notes on yesterday's video chat session
As you guys have seen, we have been discussing around the Locrian mode latin jazz ideas, something like Mr. Al DiMeola would play.
The chord progression was Bm7b5 Bm7B5b9 Bm5+ Amadd9
Over this, as you will notice in the GP file (if you haven't attended the session where we discussed about the notes played over the progression) I used the Locrian mode over the B chords and the A Aeolian mode over the A chord. Both modes belong to the C major parent scale.
Other interesting facts:
- Over the A chord in the first part, I used A minor pentatonic with an added B note so that it would transition well between the Locrian and Aeolian.
- The second time the progression starts, I have used a Bm7b5 arpeggio, followed by A aeolian notes, all spiced up with percussive, short alternate picking runs.
Try to feel use the progression to develop your own licks as it's a typical Locrian progression based on the 1st and 7th step of the scale amd in the mean time check out the PDF and Guitar pro files
I will see you next Thursday at 8 PM on the next modes session!
Cosmin
Hey guys there's a backing track as well had to re-build it, as the one you heard me playing against did not belong to me
Captain's log - April 30th 2012
Alright crew!
We are ready to dive in the more exotic part of the modes that means that this month we'll be tackling Melodic Minor and Harmonic Minor plus some relative modes. From June I am thinking about presenting even more exotic stuff, such as traditional modes it will be an extraordinary journey for me as well so I am looking forward to it!
We shall start with the Melodic Minor
Not only the major scale has it's modes but all the diatonic (7 note) scales have their own modes. That being said, let's see a few things about the melodic minor scale and a few of its modes in the two following sessions (May 3rd and May 10th)
Formula: 1 2 b3 4 5 6 7
Chords types over which the mode fits best: mM7
The melodic minor scale can be regarded as a Dorian mode with a major 7 - thus you can modify all your Dorian licks and patterns by raising the b7 a half step, whenever the context offers a possibility.
It is also called the Jazz minor scale - it can be superimposed over m7 or even minor chords for a slightly outside feel, but it feels best over the mM7 chord (1 b3 5 7)
In Example 1 we are using the Dorian mode over the Am, Am7 and Am6 chords while implementing the Melodic minor over the AmM7
The first mode derived from the Melodic Minor (its 7th mode), is called the Super Locrian (Altered Scale) and it's among the most popular scales used in jazz.
- it is used over V chords, but instead of a perfect 4 it has a major 3 - this being the note making the difference between the Altered Scale and the Locrian mode. As you will see, this mode has all the possible alterations:
[b]Formula:[/b] 1 b9 #9 (b3) 4 b5 #5 b7
Chords over which the mode fits best: Altered dominant chords such as +7b9
Check out Example 2 which uses the G altered scale (derived from the Ab melodic minor - its 7 th mode) over the G+7b9 chord resolved to a Cm9
The sixth mode of the melodic minor scale - the Locrian #2
Formula: 1 2 b3 4 b5 b6 b7
Chords over which the mode fits best: m7b5
It's an alternative to the Locrian mode, a softer version of the Locrian mode we may say. Feel free to use the m7b5 arpeggios we have discussed on in the Locrian sessions. Check out Example 3 where we combine the Locrian #2 (over the Em7b5) with the altered scale over the A+7 in the II V I progression in D minor.
These examples are more oriented towards the chord change emphasis rather than the key centered approach, due to the nature of the progressions used in these contexts.
See you on Thursday at 8 PM London time to chit chat on these ideas
Cosmin
In addition to the stuff above in Example 2 you can use this form for the G+7b9 - x 10 x 10 9 11 and in Example 3 you can use x x 7 10 8 9 for the A+7
See you next Thursday, 8 PM London time for the second session on the Melodic Minor mode and its derivates lesson notes will be available on Monday so, please take some time to take a look
cheers y'all
Cosmin
Captain's Log - May 7th 2012
Continuing with the Melodic minor and its modes - I have two more ideas to present to you guys so we can finish this chapter and these shall be brought over this Thursday:
1) The 4th mode derived from the Melodic Minor scale- The Lydian Dominant or Lydian b7 is the same with the Lydian mode, but it has a b7 instead of a major 7.
Formula: 1 2 3 #4 5 6 b7
Chords over which the mode fits best: dominant 7th chords - it is more closely associated with the Mixolydian mode and the #11 makes it more akin to the #11 chords as you might have guessed.
Example 1 in the GP file will show how the mode is used over a static chord - a D9
The last example - Example 2, deals with a combo of the Melodic Minor scale and its modes!
The progression is based on the II V I IV7 formula in the key of G minor and here's how they are being stringed together:
- A Locrian #2 mode over the Am7b5 chord
- D altered scale over the D7b9
- G minor triad over the G minor chord
- G melodic minor over the GmM7 chord
- C Lydian Dominant over the C9(#11)
Check out the GP file and the PDF and we shall discuss about these in the v-chat session!
best of luck my friends and see you at 8 PM London time this Thursday!
Cosmin
Just dropped in to add the details on harmonizing the Melodic Minor scale
The formula is 1 2 b3 4 5 6 7
If we use triads, we shall have the following chords: minor minor augmented major major diminished diminished
if we use 7th chords:
mM7 m7 M7(#5) dom7 dom7 m7b5 m7b5
try these with any tonality and as many positions as you can find
I shall see you next Thursday at 8 PM London time, as usual it'll be Harmonic minor time!
Cosmin
Captain's Log, May 15th 2012
Crew, this Thursday, I shall be taking you into the world of the Harmonic Minor Scale and for that here's what I prepared:
The Harmonic Minor scale has a raised 7 scale degree - it's formula: 1 2 b3 4 5 b6 7
It can be used as an alternative to the Aeolian mode (Yngwie and Tony MacAlpine are pretty well known for using it) as you may see in Example 1
The b6 degree brings out a heavier sound and the interval created between it and the 7th, offers a strong need for resolution (return) to the tonic.
It's most popular mode is the Phrygian Dominant (its fifth mode) - it's built exactly like the Phrygian mode, but instead of a b3rd, it has a major 3rd: 1 b2 3 4 5 b6 b7
Example 2 presents the mode, superimposed over a powerchord and resolved on a major chord.
If we harmonize the harmonic minor scale using 7th chords, we have the following formula:
ImM7 IIm7b5 bIIIM7#5 IVm7 V7 bVIM7 VII7
Example 3, shows us how to use the Phrygian Dominant mode over a VII7 chord. Since G harmonic minor is the parent scale for D phrygian dominant, we can use arpeggios derived from harmonizing the scale.
We shall discuss all these on Thursday evening, so see you at 8 PM London time in the chat room!
Cosmin
Here are the additions about which we have discussed today
Chord harmonizing the G harmonic minor scale: GmM7 Am7b5 BbM7#5 Cm7 D7 EbM7 F#7
When we are playing onstage, we should always analyze the grooves played and the guitar parts so that we may find a rhythmic subdivision which is convenient for our body to use, so that it may move to it. i.e: if your formula has 16th notes your body can move to quarter notes!
See you next Thursday at 8 PM London time as usual!
Cosmin
Captain's Log, May 22, 2012
Hear ye, hear ye!
The blues scale and its modes are coming!!
Let's see what we can learn by using the blues scale with a twist so, this one is not a diatonic one, but that does not mean it doesn't contain any modes
It's formula is 1 b3 4 5 b5 5 b7 and this will spawn some interesting combinations but a bit more special when being applied. The most popular one - the bluegrass scale - is created from the b3rd of the blues scale and it has the following formula: 1 2 b3 b 5 6 it looks like the major pentatonic scale with a b3 nice, right? You can transpose your blues scale licks down a b3rd from the root of the chord if you want to play them in this mode!
Check out Example 1 for a dose of Bb bluegrass scale - observe how the 3rd and the b3rd are mixed
Example 2 is a more developed application of this mode, somewhat resembling a southern style solo
If we start on the 5th degree of the blues scale, we shall obtain a unique mode which will work best over dominant #9th chords. Its formula is: 1 b3 4 b6 b7 7. Tip: play the blues scale a fourth above or a fifth below the root of the chord over which you are soloing - this is our mode
In Example 3, you can see this mode in action, by superimposing G blues scale licks over a D7#9 chord.
I'll be waiting for you guys as usual in the chat room on Thursday, at 8 PM London time
See you there!
Cosmin
Hey hombres! here are the two exercises which spontaneously showed up at last night's session Use them wisely and don't forget to fill them in the Practice Journal
See you NEXT FRIDAY at 11 PM LONDON TIME!
Cosmin
Captain's Log, May 28th 2012
Mates, the session I have thought of this week is aimed towards transforming dull and boring technique exercises into musical phrases which can be used in many contexts.
For this, I have chosen a few exercises which I want you guys to look over and during the chat session we shall learn how to apply changes to them and implement them into musical contexts making them A WHOLE LOT MORE FUN to practice.
It is essential to be able to use what you learn, so that at the end of the day you will become more and more musical and you can really say: 'Hey, I have learned THIS today and I can use it in 1000 situations' not 'I can play at 500 BPM today!.... and if I have to jam with some friends, I will shrug and tell them I can play at 500 BPM but I can't phrase anything in the context in which everyone else is playing
For this, I have thought of some exercises attached in here, which we are going to use as a starting point
See you on Friday, June the 1st at 11 PM London time!
Cosmin
Cosmin I'm sorry I missed your explanation of the mixolydian mode. I'm having trouble picturing mixolydian on the neck relative to the major scale. Can you say what key your mixolydian exercise is in?
Hey man! It's D Mixolydian, having G major as its parent scale. Check it out:
G A B C D E F# G -> D is the 5th step of G major -> D E F# G A B C D the D Mixolydian mode
let me know if this helps
Cosmin
Thanks, that cleared it up. I was confused because the exercise has a F (10th fret g string) which isn't in D major or D mixolydian. I guess you just threw in a note from the D minor scale for fun?
Hey guys! Just wanted to add the GP containing the AP riffing example I showed you last time and the Vivaldi arpeggios used in the beginning of the first movement
I will see you on Thursday on a session dealing with...song writing yes guys! A lot of you have been asking me about song writing so, I shall describe the process and we shall try to come up with ideas starting from a few chord progressions I have prepared below:
Im IIm
I IV V
I b7 IV
We shall apply these progressions to any tonality and see where we could take them from that point:
- Use different types of chords
- Change some chords
- Transform the chords into formulas
Looking forward to sharing my ideas with you guys so I'll see you on Thursday at 8 PM London time as usual!
Cosmin
Aloha guys!
I just concocted a new song which I would like to discuss this evening
I will lay down the chord progressions for ya:
Theme: C F
Verse: Bb C
Pre-chorus: D Eb
D Eb F
Chorus: F Eb C
Bb C
F Eb C
Bb G
Bridge: Am Gsus2 F
Am Gsus2 F Gsus4
Around these we shall discuss the process I really like it and it came today so, I hope you guys will like it!
Cosmin
Captain's log, June 13th, 2012
I prepared a few ideas based on the last session's acoustic song - I transformed everything into riffs and melodies so that you may see how an electric version would sound.
After this I would like to start discussing a few ideas regarding whammy bar phrasing:
- correct pitch
- vibrato - single notes and chords
- bending and vibrato
- sliding from note to note
I will see you as usual in the video chat room, this Thursday at 8 PM London time as usual
cheers mates!
Cosmin
Hey mates! I owe you this example we have discussed about last time and I didn't provide yet->
e--8-8-5-5-----------------------------
B----------8-8-5-5---------------------
G---------------------7-7-5-5----------
D-------------------------------6-6 ~~
You are supposed to play legato, so no pick involved hammer on the first note and then quickly push the whammy lightly - just like tapping it while playing the second note. The third note should be the result of a pull off and the 4th is played in the same manner as the second - by using the whammy bar.
For the rest of the notes happening on the B, G and D strings, you will apply the same procedure and for the Ab (the last note) you can either vibrate with your left hand or use the whammy once again
Tomorrow I will post the GP and tabs for the whammy phrasing we shall discuss this Thursday so, STAY TUNED AMIGOS!
Cosmin
Captain's log, June 21st 2012
I finally managed to fix my studio PC and come up with a draft for the collab take implying the us of whammy bar phrasing
Since I haven't managed to tab it out yet, I shall try and tell you about what I am using here and there, till I manage to get a tab although it's pretty quirky some sort of a Steve Vai vibe I think
So, the progressions are Gm7 Dsus2 and then Fmaj Gm Bbmaj Cmaj
Since over the Gm7 and Dsus2 we can use the G dorian mode, I have started with an Em7b5 arpeggio which is based on Dorian notes.
For the main theme, I have tried to emulate the phrasing and vibe of a harmonica as bluesy as possible - it's raining right?
Again when descending i have used another Dorian pattern, all of the above somehow resolving on E which is the 6th step of G dorian -> G A Bb C D E F G and perfectly emphasizes the mode.
Before passing to the other progression I will use some intervals which will solve the whole deal, ending in a Gm7add9 chord
After the other progression starts, the whammy bar goes crazy and i am using the D minor pentatonic, which can be played throughout the whole progression, ascending in a pattern which I will explain during the session.
To end the whole solo, I will use hammerons and pullofs to end in a mega bend, which will be solved by using the whammy
A pretty wild ride hope you guys will enjoy it as much as I did while writing it
cheers and see you in the chat room in one hour and 15 minutes!!
Cosmin
Howdy guys! If you want to see the recording of the solo which we have talked about during the last session - take a look below:
I'll see you on Thursday as usual - 8 PM London time - where we shall discuss on building scale patterns and combinations
GP and PDF coming up tomorrow, so stay tuned!
Cosmin
Captain's Log, June 26th 2012
Mates, I am planning on a very interesting session - based on the suggestion of our dear friend Yash - Scale sequencing
I have added a twist - we shall use odd groupings and combine them for great dynamics and diversity in phrasing!
We shall first discuss on how to exercise odd groupings separately - groups of 5,6,7 and 9 notes and then combine them all together, in examples such as the ones you shall find attached in the GP and PDF files below!
See you at 8 PM London time - This Thursday to discuss on Scale sequencing!
Cosmin
Captain's Log, July the 3rd 2012
Mates, this Thursday, we shall combine the knowledge we have gathered with modes, with the note groupings we have discussed last time
Take a look over the 4 licks and observe the differences between the modes by looking for the characteristic scale degrees of each of the 4 minor modes presented: Aeolian, Phrygian, Locrian and Dorian.
We shall discuss them licks this Thursday at 8 PM London time, as usual!
See you in the chat room!
Cosmin
Thanks for a great evening guys
I will see you next week on the 14th of July at 12.30 PM London time! Let's see what I will prepare for you then A surprise guest maybe?
Captain's Log, July the 12th 2012
Ahoy my brothers and sisters od the GMC Clan!
This Saturday at 12.30 PM, we shall talk about voicings, by taking progressions and exercising voicings with each, regardless of the chords used
Here are the progressions which I had in mind:
I VI IV V -> Example: C Am F G (Ionian progression)
I V IV I -> Example: Am Em Dm Am (Dorian progression)
I bVII bVI -> Example Am G F (Aeolian progression)
What we shall do is:
1) Pick each type of progression and dress it up using various types of chords in a given key
2) Use available voicings to play that progression and discover the many possibilities offered by this technique
Does this sound good and interesting? If yes, you will be there with me in Saturday
see you!!
Cosmin
Captain's Log - July 18th 2012
Ahoy mates!
As promised, for tomorrow's session we shall be dealing with the chord voicings for the following progressions:
I VI IV V (Ionian)
CM7 Am7 FM7 G7
AM7 F#m7 DM7 E7
BM7 G#m7 EM7 F#7
I bVII bVI (Aeolian)
Am7 G7 FM7
F#m7 E7 DM7
G#m7 F#7 EM7
As benefits:
- you will be able to understand the mechanism behind the vocings
- you will learn at least 10 voicing types per each type of chord
- your fretboard knowledge will improve
- you will be able to play M7, m7 and 7 chords in any position
So who's with me tomorrow evening (Thursday) 8 Pm London time?
Cosmin
Hey mates! Here are the charts as promised
Captain's Log, July 23rd 2012
Mates, this Thursday we shall be dealing with ear training! I have cooked up 3 exercises for you consisting in:
1) Picking up a note and following it with our voice in any given chord progression - various chords harmonized from the same scale
2) The same idea, applied for a characteristic scale degree in a modal progression
3) Following a specific interval in several chord voicings
Get your ears prepared with the following drill:
- Pick up ANY note
- Play it against some of its possible intervals in various octaves
- Sing it against them
- Play it and sing it against a major and a minor chord
This should get you in the right state of mind for exercising our ears together
See you on Thursday evening, 8 PM London time!
Cosmin
Captain's Log, August 1st 2012
Continuing our ear training journey, I have chosen a popular melody - Jingle Bells - which I have altered using 3 major modes - Ionian, Lydian and Mixolydian, so that you guys can figure out the subtle differences created by using modal progressions and the notes involved with them.
Check out the Guitar pro and PDF attached and I will see you tomorrow, Thursday, August 2nd, at 8 PM London time in the GMC Chat room where we shall continue talking about ear training and some more vocal technique tips
Cosmin
Captain's Log, August 7th, 2012
Ahoy mates! This This Thursday, we will start discussing on chord strumming patterns, plus 3 and 4 notes arpeggios.
I chose a simple progression for the strumming:
022000 - Em
032000 - CM7
054000 - Dmajadd11add9
We will explore all sorts of patterns and time signatures using only these three chords so that the focus will be on the right hand only!
On the other hand, the way we will exercise the arpeggios will be based on harmonizing scales by using these arpeggios. For example, if we have the C major scale we will play the C major D minor E minor F major G major A minor B diminished C major using only three notes ANYWHERE ON THE NECK. This is the whole purpose of the exercise - helping you get acquainted with the notes and the shapes all over the neck and the way in which the intervals look in these arpeggios.
So, the only things we will know is the formula of each arpeggio:
Major - 1 3 5
Minor - 1 b3 5
Diminished - 1 b3 b5
...and the fact that we have the root note on one string and the other two on the next one.
We will also use 16th notes and triplets as well. Separate at first and combined afterwards Does this seem challenging?
We will go through it without any problems and your fretboard knowledge will increase!
See you on Thursday at 8 PM London time!
Cosmin
Captain's Log, August 15th, 2012
Since last time we have started harmonizing scales and learning the fretboard with the aid of arpeggios, we will continue the journey with an interesting concept, regarding playing the same phrase in a different way
Check out the PDF and GP files and you will see the two arpeggio shapes I have used and transformed! We shall debate on them and see how we can learn about the fretboard by using such a method
See you in the chat room TOMORROW, Thursday 8 PM London time!
Cosmin
Adding a little extra info, according to the tides taken by the discussions in yesterday's chat:
The diminished chords have the following formula 1 b3 b5 while the dominant chords have this one 1 3 5 b7
Usually, in the case of the dominant chords, we can omit the 5th, if we want to use a simpler form of the chord
See you next Thursday mates if there are any questions, please go ahead and ask
Cosmin
Captain's Log, August 22nd 2012
Tomorrow, ladies and djentlemen we shall discuss the concept of using dynamics and transforming a line from a state of mind to another. I have chosen a very popular song to work with - that is 'WHISKEY IN THE JAR' - a traditional Irish tune, from the Cork and Kerry counties.
We shall take a look upon the notes making up the vocal line, transpose them on the guitar and transform them, using dynamics.
You can use the chord progressions below, for the basic chords making up the harmonies:
Verse: G Em C G
Chorus: D G C G
Here is the version of the song which we will use the vocal line interpretation from:
I'm sure that most of you are best acquainted with this version so, what I'd like you to do until tomorrow, is listen to the vocal lines as we will be using those.
That being said - I'll be seeing you tomorrow (Thursday, August 23rd) at the session - 8 PM London time!
Cosmin
Captain's Log, August 27th 2012
Ahoy mates! As you may well remember, we have seen the many ways in which we can play a simple theme such as the vocal line in 'Whiskey in the jar' if we know the harmony behind it and the notes making it up, right?
Well, here is an assignment for you
Pick up the notes in the melodic line - see the GP or PDF files attached - and place in whatever chords you might like and see fit, other than the usual chord progression of the original song Send me the files with your ideas and maybe we get a new song together
We'll discuss your takes this Thursday at 8 PM London time together with the licks attached in the other PDF files! We'll discuss on where we can fit them and practice them together
Enjoy your homework and I'll see you on Thursday!
Cosmin
Hey everyone!
As you remember yesterday, in the v-chat session, I mentioned something about a HOMEWORK
Well here it is then
1) Pick up a song you like
2) Sort out it's vocal line for the verse or chorus on your guitar - you only need the notes
3) See what harmonic progression lies behind that line you have chosen
4) See if it's already a modal progression or simply based on a natural minor or major scale
5) Choose a mode
6) Alter the original progression like we have done in the video chat session based on the explanations below
Here's what we have to do when we want to use a certain mode to create a modal progression, based on altering an already existing progression:
First of all, keep in mind that modes are nothing else but permutations of a scale - meaning that you actually play the same notes of a scale but in a different order.
The formulas for each of the 7 church modes are:
Ionian (the same thing with the natural major scale) - 1 2 3 4 5 6 7
Dorian - 1 2 b3 4 5 6 b7 (it starts on the 2nd step of the natural major scale)
Phrygian - 1 b2 b3 4 5 b6 b7 (it starts on the 3rd step of the natural major scale)
Lydian - 1 2 3 #4 5 6 7 (it starts on the 4th step of the natural major scale)
Mixolydian - 1 2 3 4 5 6 b7 (it starts on the 5th step of the natural major scale)
Aeolian (natural minor scale) - 1 2 b3 4 5 b6 b7 (it starts on the 6th step of the natural major scale)
Locrian - 1 b2 b3 4 b5 b6 b7 (it starts on the 7th step of the natural major scale)
1) If we have a progression such as the one in 'Whiskey in the jar' G Em C G - this is a progression based on the G major scale
G A B C D E F# G
The chords have been obtained by harmonizing the major scale -> We have Gmajor Am Bm Cmaj Dmaj Em F#dim Gmaj or, if we want to use 7th chords -> GM7 Am7 Bm7 CM7 D7 Em7 F#m7b5 GM7 (harmonizing means, creating chords out of each step of the scale, by using notes belonging to that scale only - this provides the chord types above and this formula is valid for any natural major scale - maj min min maj maj min diminished maj or if you want to use 7th chords - M7 m7 m7 M7 7 m7 m7b5 M7)
2) You choose a mode which you want to use to alter the progression.
Let's say G Lydian
The Lydian formula is 1 2 3 #4 5 6 7 8 - applied to the G natural major scale -> G A B C# D E F# G this is G Lydian. Now, G Lydian has D natural major as a parent scale - we deduced this by knowing that the Lydian mode starts on the 4th step of a major scale. We ask ourselves which major scale has G as the 4th step? The answer is D major.
2) We harmonize D major with the formula (either with triads or 7th chords - we get to choose) and see what chords harmonize the G lydian mode by simply starting to look at the chords as they would start from G not from D.
3) We extract the chords obtained from the scale degrees of the initial progression, which was G Em C G (steps I VI IV I from the natural major scale) this means we have GM7 Em7 C#m7b5 GM7 for the G Lydian progression. I have used 7th chords, as the effect is even stronger.
4) take a look at the notes making up the theme - do they still belong to the mode - this means that we have to check if the notes we have in the initial chosen theme belong to the mode we have used to alter the initial chord progression - if not, we have two possibilities:
a. either improvise and keep the rhythmical aspects and elements of the initial theme and use notes belonging to the mode
b. alter only those notes in the initial theme which DO NOT belong to the mode and make them fit.
Example: Notice that the notes making up the initial theme in the 'Whiskey in the jar tune' belong to the Lydian mode as well, so we don;t have to alter them - the progression does the trick
Having said all of this - are you up to the challenge?
Cosmin
This is very interesting mate! So what you are doing in this particular song is switching the chord progression from Major to Lydian... it sounds like a great way to get most original tunes and to re-arrange simple ideas that we compose.
Captain's Log, September 5th, 2012
Mates, this session will be dedicated to downpicking, as I have prepared two nice riffage ideas (on the last one we will come up with variations having some sort of Slipknot inspiration ) for your extended right hand workout and we will discuss a little bit about my upcoming collab, which you can find here: http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=45888
(Again, Guitarrero is the guilty one )
Check out the GP/ PDF files attached for a little glimpse on the riff variations!
See you all on Thursday, September 6th at 8 PM London time as usual and if you got any question, please send me a PM!
Cosmin
Hey guys! Here's the archive with the tracks from last night's session - 70 to 190 BPM - let's see some recordings Shall we, gentlemen? And Lady Grace?
And here are some vids with the riffage for you guys to check out - slow and fast!
https://rapidshare.com/files/3328228322/MVI_0704.MOV
https://rapidshare.com/files/1891776005/MVI_0706.MOV
Captain's Log, September 12th 2012
Mates, tomorrow it's time for some interesting licks based on the pentatonic scale and added chromatic notes!
See you tomorrow (Thursday) in the chat room at 8 PM London time
Cosmin
Hey guys, just wanted to post the video with my friend Nadine - the singer playing with a lot of 'vocal microbends'
And next time we will focus the session around ear training and emulating other instruments with the guitar, by sorting out this interesting violin lines in this little video here:
Hey guys! Just wanted to let you know that this week's session has been re-scheduled on Sunday, September 30th at 7 PM London time, as this Thursday I am gigging with Voodoo.
See you on Sunday!
Cosmin
Good luck with ur gig... kick some arsess!!
So, gentleman and ladies - Jessi and Grace and ...do we have other ladies attending? Please do attend
I have prepared a very dear topic - combining riffs with melodies in one take and enriching the riffs thus with a melodic touch, plus a bit of a surprise element in the riff structure! Check out the PDF and GP files attached and I will see you this Sunday at 7 PM London time!
Cosmin
Captain's log - October 1st, 2012
Mates, this Thursday, we shall be debating another one of my favorite topics: combining guitar lines by using intervals!
What shall we work with? Why, famous vocal lines in choruses of course
Take a good listen to these here and we'll see the opportunities we can use, this Thursday - October 4th, 2012:
Don't think pop music Just think MUSIC
Cosmin
Captain's Log, October 8th, 2012
As we have discussed in the last session, this Thursday we shall continue our journey with the lines harmonizing and takee a look into the world of Alice in Chains. These guys have amazing vocal harmonies so let's see what's what in the next session with one of these tunes! I have chosen 5 of my favorites out of which we will see various passages where we encounter the interesting harmonizing.
Looking forward to seeing you all there!
Cosmin
Why Cosmin Lupu Would(?) you do that?
Repeating the same video has No excuse(s)
Why would(n't)?
Smooth, very smooth Ok! 'Would' can also be on the list
Ok! We'll also add 'Would' as i have unintentionally doubled 'No excuses'
Captain's log, October 18th 2012
Ahoy mates, as I was telling you a few days ago, I am starting my preparation for the Pantera tribute gig and thus, today, we'll be discussing on the song 'I'm broken' which happens to be among my favorite tunes. I still have the solo to figure out, so we'll take a look at the structure and the riffs and we'll tackle the solo next time. Check the song out, here:
Captain's Log, October 25th, 2012
My friends, I am still in the learning process of Dime's most exquisite solo in 'I'm broken' so, I'll explain it but I need some more time to get it up to speed, and I also wanted to share some more stuff with you - one of my solos in the PRS Demo I am currently preparing so, stay tuned at 8 PM London time!
Cosmin
Must...Become...COosmin..and get PRS to make me....deals...on guitar!
Congrats Cosmin. I envy you in good waY!
Long Live PRS!
You're far too kind man Thank you!
Captain's log, November 1st 2012
Gather' round ye merry players
And listen to this bard's ol' tale
For this day's special as ye know it
And 8 PM is when I ring the bell
A magic circle we shall see
Of fifths and fourths made up
And interesting things we'll talk
When we'll all meet and talk and.... stuff
Alright, enough with the poetry already Well, since you guys were curious about the circle of fifths, we shall discuss about it at the video chat session and in order to get in the medieval mood, how about using this one?
Captain's Log, November 5th, 2012
Mates, I want to draw the most important conclusions from last week's chit chattering and prepare you for the next set which I'll post tomorrow:
Ways to navigate the circle:
- If we go clockwise, we discover the apparition of sharps and that each note is followed by its 5th
- If we go counter-clockwise, we will discover the apparition of flats
You can use a funny sentence to remember the disposition of the notes on the circle:
- clockwise, such as 'Fat Cows Go Down Around Every Barn' or, my favorite: 'Frankly, Cool Guitarists Do Absolutely Everything Better'
- counterclockwise: 'Boiled Eggs Are Darn Good'
You can find which are the sharps in each key, if you know that starting with the first one (G major) each major seventh is a sharp and it adds the previous found ones until you reach F#
If you want to get rid of the nasty notes, which inevitably appear once you reach F# on the circle, simply transform F# into Gb and you will start losing alterations as you continue to navigate the circle, clockwise.
You can find out which flats disappear after transforming F# into Gb, by simply looking at the next key after Gb and considering its major 7th as an unaltered note. For instance, in the case of the Db major scale - Cb would be the major 7th, but it will transform itself into C. If you don't believe me, apply the major scale formula for Db and you'll see The same goes until we reach C major and there are no more alterations!
You can discover a progression just by knowing the relationships between the notes on the circle
Clockwise: F C G D A E B means IV I V ii vi iii vii
Counterclockwise: C F Bb Eb Ab Db Gb means I IV bvii biii bvi bii bV
Now, imagine that if you decide to make ANY note a root note for a major scale and you harmonize the notes so that you may obtain chords, the above relationships remain valid, whatsoever We'll discuss more on Thursday!
You can also discover the notes making up a scale for instance
Check out the upper right region of the circle and think of C as the root note - what do you discover? C G D A E - these are the scrambled notes of the C major pentatonic scale! Formula: 1 2 3 5 6. Notes: C D E G A It's valid in the order discovered above, for EVERY root note
More to come...
See you this Thursday at 8 PM London time!
Cosmin
Captain's Log, November 15th 2012
As we have discussed so far, the Circle of fifths has proven itself to be a great, useful and easy to understand tool.
Let's recap our latest discussion:
- our friend, Tim, has discovered that each minor relative is the third of the previous note found on the outside of the circle, if we navigate from 5th to 5th
- when navigating anti clockwise, we discover that each 4th becomes the new b and the 7th degree becomes the next scale's new 4th
- when navigating clockwise, the M7 of each scale becomes the new # and the 4th becomes the new 7th
- if we navigate clockwise, we discover that we can find very popular progressions such as: V I, ii V I, I vi ii V I for instance
A good exercise here, would be to pick up a certain progression such as the simple G C (V I) and then move it on the circle and figuring out the chords in various tonalities Then, upgrade the progression and see how fast you are in figuring it out on the circle in a different tonality
Now, in the next session we will discuss about chords and the way you can deduce and work them once you get to master the circle!
See you this Thursday, at 8 PM London time!
Cosmin
Captain's Log, Thursday, November 22nd 2012
Alrightie guys! Since we have been dealing with progressions the last time and we dabbled with moving various progressions on the circle. I would like you guys to take a look over these progressions and try to play around with them in as many tonalities as possible:
I-IV-I-V7-IV-I - example in C major: Cmaj Fmaj G7 Fmaj Cmaj
I-IV-vii°-iii- vi-ii-V-I - example in C major: C maj Fmaj Bdim Emin Amin Dmin Gmaj C maj
And I would also like you to look over the progressions in The Beatles song called - Hey Jude - there's something interesting happening in there and this will be a little harmonic test for you to work with on the circle, but we'll deal with it during tonight's session.
Another important aspect we will be discussing are chords and how to discover very close chord positions (that means very little finger movement) in neighboring scales on the circle! A set of simple rules and a lot of fun - tonight at the v-chat!
See you at 8 PM London time!
Cosmin
Captain's Log, November 28th 2012
Heya guys!
Today, since we spent almost all month long discussing the Circle of 5ths, I decided to take you into the world of riffing!
We will write short drum grooves together for various time signatures and invent riffs to go along with them! Let's use the video transmission from both sides to swap ideas and build TOGETHER!!
Looking forward to see you all!
Cosmin
Captain's Log, December 6th 2012
Guys and gals, it gives me a great pleasure to announce that tonight we are starting to prepare the December collab TOGETHER
It will be a nice medley of traditional Christmas carols which we will orchestrate and discuss this evening! Here's the list so that you may noodle around with a little research:
Jingle Bells
Deck the Halls
We wish you a Merry Christmas
Silent Night
Each of them will have a different flavor and style, BUT more details tonight on how to build such a backing track!
See you at 8 PM London time - that means in about 3hrs and 45 minutes!
Cosmin
Captain's Log, December 13th 2012
Ahoy mates! Please take a look over the ideas included in the GP and PDF files below, so that you may get a glimpse of the stuff we'll be discussing tonight. Developing lead ideas out of the main themes of the Christmas carols for the collab will be our main topic.
Please also check out the collab thread below, for the backing track:
http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=47035
Here are the chord progressions:
Deck the halls (all power chords) we'll be dealing with it together
C5 A5 G5 C5 G5 C5 x 2
G5 C5 A5 G5 D5 G5
C5 A5 G5 C5 G5 C5
Jingle Bells
Chorus: CM7 FM7 D7 or Dm7 - it's up to u G7 CM7
Verse: CM7 FM7 G7 CM7 - the part which we will be dealing tonight
See you tonight at 8 PM London time!!
Cosmin
Captain's Log, December 20th, 2012
Continuing last Thursday's ideas, I made up a little drill involving major 7th arpeggios, a little scalar run and all in all shuffle groove sweeping If we may call it like that
Check out the tabs and bring on yer mics, cams and axes for an evening drill at 8 PM Tonight!
Let's shuffle...errmm rock And don't forget, you have until this Sunday to come up with collab takes for the 'Christmas Collab' which you can find here-> http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=47035
Cosmin
Captain's Log, December 27th, 2012
Merry Christmas mates! Tonight we will have a discussion based around all sorts of solutions which you can apply when being in mid performance and having to face the unexpected: technical failures, mistakes, emotions and all sorts of things which might prevent you from taking your part to the end. We will discuss the rhythm playing perspective as well as the lead playing perspective!
Stay tuned tonight at 8 PM as usual!
Cosmin
Captain's Log, January 3rd, 2013
Happy new year amigos and amigas!
It's time for the first video chat session in 2013 and because you liked the riff that we created last week, I turned it into a COLLAB It is called 'The new year's race collab' and it is available starting today - will post the details in this thread in a short while! But until then...
....since I was into some wild bends and vibrato plus a little fast lick which I came up with for this collab, we will discuss them and focus on articulation control tonight! Check out the licks in the attachment! I will explain everything tonight at 8 PM London time so stay tuned and join me for a fun session!
Cosmin
PS: Check out the licks and the slowed down versions in the attachment
Here's the collab thread as promissed -> http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=47355
Captain's Log, January 8th, 2013
Guys How about having a little contest in this v-chat session?
I will play random themes from famous movies, cartoons and TV shows and you have to guess them We will of course discuss on how they are being built and played! Get your ears ready!
Cosmin
Captain's Log, January 17th, 2013
We will continue analyzing interesting themes - so it's part 2 from last Thursday's session Come join me at 8 PM London time and we'll have loads of fun together!
Cosmin
PS: Let's not forget the homework -> http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=47519
Captain's log, January 24th, 2013
Tonight, we'll take a look into the world of modulation A very murky concept, which is based on some principles as you may see below, but all in all, in the end, you are allowed to try anything, as we will see in the examples I will show you depicted from famous hits songs featuring modulation to spice up the piece and wake the listener up from his sleep
Well - modulation is basically a key change within a song and there are a few types:
- Phrase modulation - this means we end a phrase and begin the next in another key
- Pivot modulation - this uses a pivot chord, which belongs to both keys and is usually followed by a chord that confirms the modulation (this second one belongs only to the new key)
- Sequential modulation - this one deals with having several key changes in a song until reaching a certain key in which the song may stay.
More on this and some awesome songs dissected - in 30 minutes in the chat room!
See you there and take a look here: Tim and Dian are the heroes of the day: http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=47519&st=0&#entry629270
Cosmin
Hehe! Don't forget about the homework
http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=47617
Captain's Log, January 27th, 2013
Ahoy mateys! First things first - this week's session is moving on Wednesday, 8 PM London time and we will continue our little analysis regarding modulation found in famous songs, so check out the thread below for a collection of nice songs which have a lot of chances to be featured in the v-chat session
http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=47606
...and don't forget about the homework - add your suggestions, so that more nice songs will come up on Wednesday
http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=47617
On today's list:
Soundgarden, Michael Jackson, Dusty Springfield, Peggy Lee, United artists for Africa and maybe something more
Did you know that there are certain directions which are often encountered when dealing with modulation?
Usually, we end up modulating to a dominant (the 5th scale degree), the subdominant (4th scale degree), relative major or relative minor, but as I said, each artist/ songwriter ends up with very interesting combinations which are the result of having to 'dress up a vocal line' I suppose. It depends on each person's way of writing music
I chose these songs as they belong to very different styles of music and the modulations are diverse as well Hope this will be fun
See you tonight at 8 PM London time!
Cosmin
Captain's Log, February 7, 2013
Ahoy mateys!
Because the Pirate collab is up, I decided to give my take a go and come up with a piratey way to use the various modes that can be applied over the chord changes
We'll discuss on this tonight, but until then, take a look at the tabs below!
See you at 8 PM London time!
Cosmin
This is an invitation for next Thursday and some nice homework activity
http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=47842
I'd be happy to see you guys there
Cosmin
Captain's Log, February 14th, 2013
Yo ho, once again!
As we discussed, I took the track and dug some more into the land of modes and pirate music
Check out the attached tab and for a change - I have inserted the harmonic minor mode into play, but in the same time, I have modified the backing track a bit:
The first progression will not stay aeolian, but it will also have some harmonic minor influences How, what and when - in about 2 hours and a half in the chat room! 8PM London time as usual. And in the mean time, check out the tab and modified backing track!
See you in the chat room amigos!
Cosmin
Captain's Log, February 21st, 2013
Just came up with an interesting track that deals with some nice layering and a nice time signature I'd like to discuss it with you guys - song writing aficionados - you are in for a treat!
Check out the PDF/ GP tilll 8 PM London time when we'll see each other in the chat room!
Cosmin
Captain's Log, February 28th 2013
Ahoy boys and girls!
I have prepared yet another track for you - orchestration and song wiriting focusing on drop tuning ideas for beginners - understand what's what with those interesting chord shapes, tonight at 8 PM London time
Here are the GP. PDF and backing tracks, so check em out - both Drop D and Drop C!
See you in 1h30 minutes!
Cosmin
Captain's Log, March 5th 2013
Hola amigos! As I was writing in the forum last week - this Thursday, I am inviting you at an interactive session in which we can have fun by imitating one another with our guitars! Check out more details here: http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=48071
See you on Thursday at 8 PM London time!
Cosmin
Captain's Log, March 11th, 2013
Mates - I will let the video do that talking!
Homework - Video Chat Session - March 14th
Ear training task - Internalizing a scale
Hey guy and gals, as promised - Check out your assignment for next time and post your takes in this thread
Captain's Log, March 20th, 2013
Mates - simple fun and joy awaits us tomorrow evening! Because the Southern Metal Collab is taking flight with a pair of dragon wings out of what I notice, we should jam a bit over it right? So who's with me at 8 PM London time tomorrow? I'm throwing a party and you are ALL
invited!
Here's the collab thread! -> http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=48185&st=0&start=0
Cosmin
AW MAN!!! I was actually gonna have time for this one and I forgot about my doctor apt.! Gotta get this wisdom tooth yanked out... its killing me... Literally I think... Man, how'd I even forget that?
Captain's Log, March 28th 2013
Since in the last v-chat you guys wanted to hear some other approach on Metallica songs, I want to share some ideas on transforming a Metallica electric song into an acoustic one that you can play in any occasion! Cool sounding and not boring - at least I like to think so - we will discuss on a general approach on transforming any song with a full band orchestration into a version that can be played by one person.
Curious? Come join me in the chat room in exactly 2 hours from now! 8 PM London time!
Cosmin
Captain's Log, April 3rd, 2013
Ahoy mates!
This evening at 7 PM London time, I will see you in the video chat room for a session on chord progressions. We will discuss examples of major chord progressions based on well known songs - hope I will have nice surprises for everyone! How we will do it?
- analyze the chord progression type
- analyze some of the melodies in the songs which use notes from the scale out of which that progression is based upon as well
- find various positions for the chords in each chord progression and transposing them to other keys using the circle of 5ths
Are you ready?
Cosmin
Captain's Log, April 10th, 2013
Hello ladies and gents!
Continuing the previous session with minor progressions this time! We will follow the same drill:
- analyze the chord progression type by breaking down the chords and see where they came to be there from
- analyze some of the melodies in the songs which use notes from the scale out of which that progression is based upon as well
- find various positions for the chords in each chord progression and transposing them to other keys using the circle of 5ths
I have prepared a lot of nice examples from bands hailing from the 50s till the 00s
See you tomorrow at 8 PM London time!
Cosmin
Captain's Log, April 18th, 2013
Hey mateys! Tonight as a response to a request from our friends Korblitz, in last Thursday's video chat session, I have prepared a few arpeggio over chords based applications, involving tapping and legato.
I will be in the chat room this evening at 8 PM London time to talk about them and practice them with you guys. Check out the GP file and the PDF version of the exercises, alongside the backing track attached to this thread
See you tonight!
Cosmin
Looking forward to this video chat.
Captain's Log, April 25th, 2013
Time for some modal licks tonight I will follow a melodic and simple to execute approach for some of the modes, each being represented by a lick.
Take a look here to be familiarized with the positions and we will talk about the possibilities once we get together tonight at 8 PM London time!
C Ionian
~
E S S S S E S S S S S S E S S S S S S S S E S S Q
||----7-8p7----------------------|-------------------------------|
||----------8--------------------|-------------------------------|
||------------9-10p9p7----7------|--------------------------7----|
||---------------------10---9----|-----------------7-7-9-10------|
||----------------------------10-|-7-8p7----7-8-10---------------|
||-------------------------------|-------10----------------------|
E S S E S S a S S E E S S E E S S E S S E
|---8s10s8----------------------|---------------------||
|---8s10s8------8-----8---------|---------------------||
|----------10---7h9---7----5----|---5-----------5-----||
|-----------------------10-5h7--|-7-5-----------5-----||
|-------------------------------|-----7s5-3-5s7-------||
|-------------------------------|---------------------||
~ ~ ~
S S S S S S S S S S S S S S S Q a S S E E Q
||----8----11---------------------------------|------------------|
||--------------8----11-----------------------|------------------|
||--8---10----------------8----10-10b11--7----|-7--7s5---5----5--|
||------------8---10-----------------------10-|--------8----8----|
||----------------------8---10----------------|------------------|
||--------------------------------------------|------------------|
~~
S S S S S S S S S S S S S S S S S S S E S S S S E E.
|---6---8-------8-----------------|---------------------------||
|-----------6---------------------|---------------------------||
|-5---8-------8-----5---8---------|------5---5---5-5-5-8------||
|---------5-----------------5---8-|-8b9----8---8---------5----||
|-----------------6---8-----------|---------------------------||
|-------------------------6---8---|---------------------------||
~~~~~~~
|----6----|
H Q S S S S S S E +E S S S S S S +S S a S S S S
|---------------------||--------------------------------------5-|
|---------------------||------------------------------------6---|
|---------------------||----------------------------------7-----|
|---------5p3p0-------||--3b3.5-(3)-------------------6s8-------|
|---------------5p3p0-||------------5-3---5---5-(5)p3-----------|
|---------------------||----------------------------------------|
~~~~~~
|----6----|
S S S S S S S S +Q S S S S S S 3x
|-8-6---5---6-----------------------||
|-----------------------------------||
|---------------5-(5)---------------||
|----------------------5p3p0--------||
|----------------------------5p3p0--||
|-----------------------------------||
~~
S S S S S S S S S S S S
||---------------------------12---|
||--------------------12---10------|
||-------------12---10----9--------|
||------12---10----9---------------|
||----10----8----------------------|
||--8-----------------------------|
a S S S S S S S S S S S S E
|-12s13-10-12----10------------------------------|
|------------13---12-13-10-12----10-12-12b13-----|
|----------------------------12----------------|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|
~
S S S S S S S S S E S S S S S S S Q S S S S
||-----------------------------|---------------------x-------|
||--8p5------------------------|------6-8--6-8s10-6--x---x-x-|
||------7b8r=5---5-7-----------|----7----------------x-------|
||-------------8-----8b9---5---|-/8--------------------------|
||-----------------------------|-----------------------------|
||-----------------------------|-----------------------------|
~
S S S S S S S S S S S E S S S S S E E
|--------------------------------|----------------------------------||
|-8p5----------------------------|-------8-10b11====8-11b13========-||
|-----7b8r=5---5-7---------------|-----9---------------x------------||
|------------8-----8b9---5---5---|-/10-----------------x------------||
|--------------------------7-----|----------------------------------||
|--------------------------------|----------------------------------||
Captain's Log, May 2nd, 2013
Hey guys and gals - since we have one lick left from last time - the Mixolydian one, I'd like to use talk about this one (it is in the tab above) and then use the chord progression I found, in order to talk about bending and vibrato on improvised licks. I noticed that a lot of you guys have some issues when bending in REC takes, so every now and then, a bending chat is welcome I think
See you in 5 minutes in the video chat room!
Cosmin
Captain's Log, May 9th, 2013
Time for some more modal licks!
This time 4 Lydian pieces that will go hand in hand over a nice Lydian progression!
Here they are:
Lick 1
~~~~~~~~ ~
H Q E S S +Q +E S S H S S S S S S S S S S S S +E S S
|---------------||--------------------|---------9-7s6---6---------------|
|---------------||--------------------|---9-7---------9---7-------------|
|-----------9-8-||--(8)--(8)-6---6----|-------9-------------8-6-(6)-8---|
|---------------||-------------9------|-9-----------------------------9-|
|---------------||--------------------|---------------------------------|
|---------------||--------------------|---------------------------------|
~~~~~~~~ ~~~~~~~ ~~~~~~~~ ~~~~~~~
+Q +E S S Q +E S S +Q +E S S Q +E S S 3x
|-------------------------|--------------------------||
|-------------------------|--------------------------||
|---------------------9-8-|-(8)--(8)-6---6--(6)-9-8--||
|-(9)--(9)-6---6--(6)-----|------------9-------------||
|------------9------------|--------------------------||
|-------------------------|--------------------------||
S S S S E S S +Q +E a S S +Q S +S S S E S S +E +E
||-------------------------------|---------------------------------|
||----------4---4-(4)--(4)-5s7-4-|-(4)-----------------------------|
||------4-6---6------------------|------6b8r(6)p4---4-6------------|
||----6--------------------------|----------------6-----4-(4)-(4)s=|
||--7----------------------------|---------------------------------|
||-------------------------------|---------------------------------|
~~~~~~~~ ~~~~~~~~
E a S S +E S S +Q +E +S S
|-------------------------------------------|
|-10----------9--(9)----9--(9)--(9)-(9)-----|
|-------------------------------------------|
|-13-13s11-(11)-(11)s9-(9)-(9)--(9)-(9)-/13-|
|-------------------------------------------|
|-------------------------------------------|
~~~~~~~~ ~~~
E a S S +E S S +E S S +E S S
|-------------------------------------------------|
|--12---------11--(11)----9--(9)-----7--(7)----4--|
|-------------------------------------------------|
|-(13)-13s10-(11)-(11)s9-(9)-(9)-/8-(8)-(8)-4-(4)-|
|-------------------------------------------------|
|-------------------------------------------------|
~~~
+W W
|------------|-------||
|-(4)--------|-------||
|------------|-------||
|-(4)--------|-------||
|------------|-------||
|------------|-------||
~~~~~~ ~~~~~~
S S S S +S S S S +S S S S +E E
||------------------------------------|
||--------7-(7)-----------9---7-(7)---|
||------------------------------------|
||--9-8-9-------9-8-9-(9)-------------|
||------------------------------------|
||------------------------------------|
S S S S +S S S S +S S S S +S S E
|-12-------11-(11)-------6-(6)-----7-(7)-------|
|----14----------12-----------7----------9-(9)-|
|-------13----------13----------8------------8-|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|
~~~ ~~~~~~ ~~~~~~
+W S S S S +S S S S +S S S S +E E 3x
|------------|------------------------------------||
|-(9)--------|-------7-(7)-----------9---7-(7)----||
|-(8)--------|------------------------------------||
|------------|-9-8-9-------9-8-9-(9)--------------||
|------------|------------------------------------||
|------------|------------------------------------||
Hey guys! Here's the GP file I've modified things a bit in order to make this homework more interesting
Changed the key to A major - thus our progression will be in C Lydian instead of E Lydian and I imported the midi files of the licks in such a way that they scrambled the positions, thus having the same notes in other positions. have fun learning the same licks that we have discussed about in other positions! Lick 1 is similar to the one I showed you last evening and the rest are being played in other positions - check the GP and also take heed of the new progression:
DM7 (2 bars) F#m7 (1 bar) Emaj (1 bar)
More details here: http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=48819
Cheers Cosmin!
Aloha everyone! Due to the gig I am having on Thursday evening with Days of Confusion, this week's video chat session will be happening one day later than usual, that means Friday, May 17th 2013, at 7 PM London time
We'll have more modal licks and stay tuned for the GP file until then.
See you on Friday!
Cosmin
Captain's Log, May 17th, 2013
Heya people - time for some natural minor ideas today
Check out the GP file and let's rock together at 7 PM London time this evening!
Captain's Log, May 23rd, 2013
Mixolidyan licks sounds like a plan for tonight, so without any doubt, I will be seeing you at 8 PM London time in the GMC chat room, so take a look over the GP file and come join the party!!
Cosmin
Captain's Log, May 30th 2013
The nicest and happiest of the modes, will enchant our ears tonight - Ionian licks, baby!
Check out the GP file and join me tonight at 8 PM London time, as usual, so that we may see how rhythm and simple arpeggios can create wonderfully musical ideas.
Cosmin
Captain's Log, June 6th 2013
Everybody likes a little bit of shuffle feel in their licks now and then so, let's try to learn some of that jive tonight with some funky Dorian licks!
Check out the tabs and meet me in the chat room at 8 PM London time!
Cosmin
Captain's log, June 13th, 2013
String skipping and hybrid picking on the menu for tonight - I concocted a special concept based on some stuff that we have discussed in the previous sessions - a bit inspired from Eric Johnson's phrases and hopefully something you will include in your playing as well
Check out the tabs and join me tonight at 8 PM London time!
Cosmin
Captain's Log, June 20th, 2013
What's in for tonight - Phrygian licks, having a funky/ bluesy feel! If you are curious, drop an eye on the tabs and join me this evening at 8 PM London time!
Cosmin
Captain's Log, June 27th, 2013
It's our first Pantera evening here at GMC - we will dissect the approach, tuning and some riffs and lines from Dimebag's awesome guitar work explained note for note
'I'm Broken', 'Cowboys from hell' and 'Walk' are on the menu tonight so come down for some southern spiced groove metal experience!!
Cosmin
Captain's Log, July 4th, 2013
It looks like we can only cover one song a session, so tonight we will be tackling Pantera's Cowboys from hell
See you at 8 PM London time this evening, to chit chat around a note for note explanation of this great tune!!
Cosmin
Hey guys,
Cosmin I missed the chat session, is there any way to watch the video?
Pedro
Woo hooo! Thanks Bodgan and Cosmin!
Anytime mate!
Captain's Log - July 11th, 2013
Alright guys, tonight we have more Pantera! I have prepared the riff parts from 'Walk' and 'Revolution is my name', so get ready to learn them note for note, also having the possibility to replay the session.
There are a lot of bending, vibrato, microbends, rhythm formulas and right hand focused details to discuss about, so join me tonight at 8 PM London time!
Cosmin
Captain's Log, July 18th 2013
When I say more, there will be more! Finishing off the parts we have left in Walk and Revolution is my name, by Pantera, of course!
Stay tuned at 8 PM London time as usual!
Captain's Log, July 25th 2013
Tonight we will dissect one of Pantera's punchiest tunes - Drag the waters which happens to be among my favorites! Be there at 8 PM London time, as heavy riffs and pinch harmonics will be the focus of this tune!
See you in the chat room!
Cosmin
Captain's Log, August 1st, 2013
Tonight we will continue with the lead lines in Pantera's Drag the Waters - a good example of how you can mix rhythm parts with lead playing, at least to an extent!
Meet me in the chat room at 8 PM London time!
Cosmin
Captain's log, August 8th, 2013
Continuing our journey in Panteraland tonight, we will discuss about the riffs and chords in their ballad - if we may call it so - 'Cemetery Gates'. We will be playing in standard tuning - although, on the recording, it is slightly flat - a quarter step lower, to be precise.
I decided that it should be fun to have a bit of insight on the song history and details, so check out this link here: http://en.wikipedia.org/wiki/Cemetery_Gates
Captain's Log, August 15th, 2013
Hey guys! We are having the Cemetery Gates solo tonight - yes yes, that one
I love it and I will explain it to you note for note if you join me at 8 PM London time this evening. It's all about legato, bends, vibrato and long notes, chromatic runs and all the goodie good stuff that makes Dime's playing so wonderful!
Captain's Log, August 22nd 2013
Hey guys I decided to take a brief break from all the metal madness and delve a little into modal territory with 5 interesting Locrian Licks. We'll also learn how to sing them for better understanding so, join me at 8 PM London time, tonight, as usual!
Check out the tabs and the chat session recording here: http://www.ustream.tv/channel/gmc-chat This one is from August 22nd!
Cosmin
Captain's Log, August 28th 2013
Hey guys!
Since a lot of you have asked around about singing and playing in the same time, I have decided to dedicate tonight's session to this particular subject in which I will share my thoughts about the things behind this skill - I am learning too so, I think it will be a great opportunity to discuss the various issues that everyone encountered while trying this.
Important aspects? Rhythm and ear training are essential - so I will share a few exercises that I have found useful
Join me tonight at 8 PM London time!
Cosmin
Check out tonight's recording: http://www.ustream.tv/recorded/37928081 -> August 28th 2013
Captain's Log, September 5th, 2013
GmCrs I have decided to give you the funk this month!
Rhythm, lead, scales and phrasing - you got it all!
Tonight's session will be dealing with learning how to use 16th note vamps and build a little list of grooves that we can implement in our own compositions. This is a good occasion to learn how to read rhythm notations
For instance if we have a 4/4 time signature bar we will have 16 16th notes - 4 notes on each beat - in it and if we start with a downstroke we will have
down up down up / down up down up / down up down up / down up down up
We will follow the next convention:
/ = chord
x = muted strings
And we will have the following examples:
0) x x x x x x x x x x x x x x x x
1) / x x x / x x x / x x x / x x x
2) x / x x x / x x x / x x x / x x
3) x / x x x x / x x x / x x x / x
4) x x x / x x x / x x x / x x x /
5) / x x x x / x x x / x x x x x /
6) / x / x / x / x x x x x x x x x
7) / / / / x x / / / / x x x x x x
8) / x x / x x / x x / x x / x x x
9) / / x x x x / / x x x x x / x x
Everything will be revealed in 1 hour and a half - 8 PM London time!
See you in the chat room!
Cosmin
PS: Don't forget to check out the replay! http://www.ustream.tv/recorded/38296619 - Cosmin Lupu's Video Chat Session, September 5th 2013
Captain's Log, September 12th, 2013
As we have discussed at our last meeting - today we will take the concept of isolating 16th notes in the the world of lead playing. Funky lead playing that is!
Please take a look over the tabs and we'll discuss tonight starting from 8 PM London time ;D
Cheers and see you there, guys and gals!
Cosmin
PS: In case you missed it - here's the replay http://www.ustream.tv/recorded/38653913 just search for the recording having the current date and you can watch it anytime you want!
Captain's Log, September 19th, 2013
Hey guys - here are the rhythm patterns we will use and attached in the PDF and GP are the lead lines! See you at 8 PM London time and we'll see how they fit together!
Example 1
/. / x x / x x x / x x / x x
/. / x x / x x x / / / / x x
/. / x x / x x x / x x / x x
/. / x x / x x x / / / / x x
Example 2
x x / x x / x x / x x / x x / /
x x / x x / x x /. / x x / /
Example 3
lead and / x x / x x / x /. / x x x x
Example 4
/ / x / x x x / x x / x / / x x
/ / / and lead
Cosmin
PS: You can always check the replay here: http://www.ustream.tv/recorded/38981093 -> Cosmin Lupu's Video Chat session, September 19th 2013
Captain's Log, September 26th, 2013
Hey there mates - got a few licks inspired by famous funky or funk inspired musicians - such as John Scofield, Prince and Funkadelic!
Come join me and we will draw conclusions over this month's topics as well as discuss these licks! 8 PM London time!
Cosmin
Watch the replay here -> http://www.ustream.tv/recorded/39261582
Captain's log, October 3rd, 2013
This month will be dedicated to articulation! We will begin tonight by discussing the mechanics of bending and vibrato - all beginners are welcome as well as introducing the idea of understanding interval based bending and pitch recognizing! In the end we will tackle to interval based bending examples which I have added in the GP and PDF files below!
Come join me at 8 PM London time!
Cosmin
PS - Check out tonight's replay here: http://www.ustream.tv/recorded/39493972
Captain's Log, October 10th. 2013
Hey guys, we will continue our journey through the world of articulation, with a few signature style licks - today we have Friedman, Wylde and Dimebag on the menu! Check out the tabs and meet me in the chat room at 8 PM London time!
We will dissect the licks and compare them with the basic techniques! You can find the replay here: http://www.ustream.tv/recorded/39718970
See you there!
Cosmin
Captain's Log, October 18th 2013 - Check out the replay: http://www.ustream.tv/recorded/39957932
Hey guys!
Since this month is articulation month, I decided to break down another important aspect in guitar playing - being expressive!
What better way of being expressive than analyzing the one and only instrument which is the most expressive of all and transposing the ideas learned this way, on the guitar?
We will talk about:
- soft vs loud
- silence vs noise
- even vs accentuated
- playing the same phrase using various articulation techniques
- fingers vs pick
- volume swells
- whammy bar
As you may have guessed, we will imitate the human voice I love doing that with a guitar and as a reference, listen to this amazing song that we will analyze and learn from:
Hate it or love it - it's an amazing composition and you will be thrilled to see how well Celine's voice can be transposed on a guitar
See you tonight at 8 PM London time!
Cosmin
Hey Cosmin! Just wanted to let you know that the homework for yesterdays lesson is going well, but I've gotta say I'm not a big fan of the volume swells. they seem somewhat out of place in almost anywhere I try to use them. Do you have any further recommendations other than what was covered in the lesson for approaching this phrasing element, and also any good examples of its' use?
EDIT: I've finished my exercise video. I made a quick shoddily made backing track to help accentuate the harmonies and speed changes, but my song of choice is "Lilium" from the Anime series "Elfen Lied" . The original song is in the style of a hymn, and I really loved the tonality and harmonies of the original, I thought it would make for some really laid back, yet emotional guitar melodies. I'm linking the original, as well as my take. It is by no means perfect, but under my circumstances it's the best I can do for now. Hope you enjoy!
The original
My Version
Hey mate! I think you did a great job with this one and in respect to your question - I'd rather make a little video to talk to you about these things, namely using your voice to come up with original lines rather than being trapped in the 'playing what you already know' kind of thing Stay tuned!
Here we go:
Thanks Cosmin. I really like the idea of utilizing the voice more, I will make it a point to actually listen to some of these backing tracks without a guitar in hand, possibly even record myself "voice jamming" with the track. I totally feel like it could address not only my apprehension with using certain techniques on the guitar, but my creativity in phrasing and structuring melodies and harmonies as well. I'll explore this method more and get back to you on it later!
Captain's Log, October 24th 2013 -> Check out the replay: http://www.ustream.tv/recorded/40138122
Emulating other instruments
Alright guys and gals of GMC The next episode of articulation month in my video chat series, is based on emulating other instruments. And what better choice then the.... saxophone!
I selected a few very famous tunes with well known sax lines that we will discuss from the perspective of emulation and interpretation on the guitar. This is one of the best articulation and expression drills alongside the ideas discussed in the last session about emulating the human voice.
Conclusion? You will be able to develop your expressive side a big lot if you take some time to play the guitar like it's a whole new instrument needless to say, your ear training will also have something to benefit from this endeavor.
Of course, after sorting out the original interpretation, we can alter it in our own PERSONAL way That's what we aim for, right?
See you tonight at 8 PM London time!
Cosmin
Captain's Log, October 31st, 2013 -> Check out the replay http://www.ustream.tv/recorded/40357703
Guys, this is our last session on expression and articulation and.. what better way to finalize then throwing a glance on strings! Cello and violin tonight!
We will look at phrases taken from these nice pieces and see what makes them special and how we can incorporate them in our playing!
See you tonight at 8 PM London time in the chat room!
Cosmin
Captain's Log, November 7th 2013th -> Check out the replay http://www.ustream.tv/recorded/40561521
Hey guys! I will begin this month with a session that continues the last weeks' ideas related to classical music and from Bach we are jumping to Vivaldi, approaching the beginning arpeggios from 'Winter' Opus 1 - based on the same dynamic concepts - fast vs slow and loud vs soft!
Check out the tabs and join me in the chat room at 8 PM London time!
Cosmin
Captain's Log, November 14th 2013 -> Replay here: http://www.ustream.tv/recorded/40771091
Hey guys! Since in the Classical Music Challenge we had two great takes, I have decided to take the track proposed by Monica and dissect it with you guys live. I will show you how I figure out a piece by ear and how I am trying to interpret it in respect to the mood it sets in my mind.
It's more like classical jazz, but it can make a fine piece of work for us, so check it out below:
Check out the challenge thread and remember that you can throw your favorite classical music lick in there and we can debate it: http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=50592
Captain's Log, November 21st, 2013 -> Check out the replay here: http://www.ustream.tv/recorded/40978910
Hey guys! Continuing the Classical music dedicated month with none other than... Mozart!
I will show you some very useful licks which I concocted and used onstage while performing with the orchestra. You can see the recording here:
And check the tabs attached! See you at 8 PM London time!
Cosmin
Captain's Log, November 28th, 2013 -> Check the replay here: http://www.ustream.tv/recorded/41192478
Since it's the last v-chat before the Day And Night Video Collab, I decided to take a few ideas and put them on the table for ya We have the Ionian take here and we will try to transform some of the licks into Harmonic Minor ones at 8PM London time. Check things out and come join me
Cosmin
Captain's Log, December 19th 2013 -> Check out the replay: http://www.ustream.tv/recorded/41884578
Hey guys! I am back and waiting for you tonight to discuss about understanding odd rhythmic subdivisions implemented over a 4/4 time signature
This allows us to be able to phrase with far better dynamics and make things sound very interesting in our solos - tonight we will break down the mechanics and a few examples using the C major/ A minor scale.
Throw an eye over the tabs and I will see you at 8 PM London time as usual!
Cosmin
Hey guys and gals!
My chat session this Thursday is moving on the Saturday 28th at 6 PM London time! Be there if you want to discuss about applying ALL the 7 modes on the same musical phrase, by learning how to manipulate notes More to come in the lesson notes I will post tomorrow!
Stay tuned my friends!
Cosmin
Captain's log, December 28th 2013 -> Check out the replay here: http://www.ustream.tv/recorded/42182568
Today will be our last session this year I decided to make things interesting by having a light discussion on building melodic themes, by using modes and talking about note manipulation in respect to the chords used, so that we may use all the 7 modes!
A little theory to back us up - let's remember the formulas:
Ionian - 1 2 3 4 5 6 7
Dorian - 1 2 b3 4 5 6 b7
Phrygian - 1 b2 b3 4 5 b6 b7
Lydian - 1 2 3 #4 5 6 7
Mixolydian - 1 2 3 4 5 6 b7
Aeolian - 1 2 b3 4 5 b6 b7
Locrian - 1 b2 b3 4 b5 b6 b7
Come join the fun!
Cosmin
PS: As promised, I attached the track in this post Watch the replay and let's see your ideas!
Remember - the whole deal is the following:
1. Build a minor or major pentatonic lick
2. Add the necessary notes to make the lick sound Dorian, Phrygian or Aeolian if you are using the mior pentatonic and if you are using the major pentatonic, add the notes which are necessary to underline the Ionian, Lydian or Mixolydian modes.
3. Post your audio or video recording over the track, in this thread
All the details are in the chat replay, so give it a go if you wish Looking forward to see your recordings.
Captain's Log, January 2nd, 2014 Watch the replay here -> http://www.ustream.tv/recorded/42405450
Alright mates! Since I remember that in the last session in the last year (I love how that sounds ) we had a nice little discussion around the chord progressions that we can obtain around a mode, I would like to dedicate this month to this subject What will we do? Basically, dissect a song based on the Dorian mode and see how we can use the things it can teach us in order to personalize various given chord progressions.
Whenever we look at them written we can't always imagine how to play them so that we will make them sound good, so let's see how we can learn from famous songs in respect to creating our original compositions!
How?
For instance, by applying the concept of creating rhythmic formulas which can be arpegiated following the given chord progression. We can learn this thing from a famous Dorian based song:
The bass formula in this one will be our guide and we will use some of the progressions below (Dorian progressions of course)
i - IV - i - VII
i - VII - i - VII
i - IV - ii - v
i - III - IV - i - VII
Curious? Join me tonight at 8 PM London time!
Captain's Log, January 9th 2014 -> Check out the replay: http://www.ustream.tv/recorded/42574327
Guys and gals Since the year has just begun, I have started a new approach in seeing the 6 stringed instrument we all like to learn and play. In this new approach, everything is based on reduction
When I say reduction, I mean that simplifying the view over the guitar will prove very useful and will teach you a lot of things in a shorter period of time. Now, you will ask me - HOW?
I say - it's simple Imagine that the guitar has only 1 string Just like that. It is well known that when you have restrictions in the creative process, you are far more able to come up with an interesting idea, rather then when you are free and bedazzled by the number of possibilities. So, having this in mind, here's what this is all about:
The 1 string approach
Benefits
- the simplest way to see the notes on the neck - it's a straight line!
- learning the fretboard in an organic way with fast and durable results - you CAN'T rely on fingering patterns that can trick you into learning positions
- direct relationship between interval distance and movement in space
- ease when playing various types of phrases and techniques
- dynamics and articulation are clearer
The possibilities:
a) One finger at a time: 1,2,3,4
2 fingers at a time: 1 2, 1 3, 1 4, 2 3, 2 4, 3 4
c) 3 fingers at a time: 1 2 3, 1 2 4, 1 3 4, 2 3 4
d) All 4 fingers
What will we do?
For today - I will use the attached backing track (The Day backing track by Darius Wave, we used in the latest GMC collab) and we will break down the above possibilities in respect to the Ionian mode on each string at a time. The whole deal is that we need to use the rules below:
- we are only allowed to use half step bends
- we are only allowed to use one string at a time
- we can use vibrato, bending, slides, legato, tapping, natural harmonics, muting, various rhythmic subdivisions
- various dynamic approaches such as picking harder or softer and along the string
Looking forward to seeing as many of you as possible tonight!
Cosmin
I think that playing on a single string helps to eliminate two potential problems: "Paralysis", the fear of movement, and "acrophobia", the fear of higher frets, since the entire length of the fretboard is utilized from the very beginning.
It avoids the problem of changing strings. It simplifies the right hand function and displays the principle of left hand function in their purest form.
Isn't it obvious that someone has already invented the one-string instrument? Wouldn't it be sensible to learn the way the instrument wa developed chronilogically?
That's precisely why I chose this idea I am studying a great book that talks about these things and I want to share them with you guys as well!
Can't wait to learn from your video chat.
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