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> Adam M's Thread, for Gab's Army
Gabriel Leopardi
post Mar 5 2019, 05:51 PM
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QUOTE (Adam M @ Mar 4 2019, 12:32 PM) *
Is this what happens in the 3rd part of the Anthem Collab or do you mean chords within one key? In the Collab the key changes, I assume, because it's C Aeolian, not Ionian. If it changed to C major, would it be just changing modes or how does this work?


No, by following the chords with thirds I mean to play the third of each chord from the backing when it's sounding. It's not related to modulation which is what's happening on that backing.


QUOTE (Adam M @ Mar 4 2019, 12:32 PM) *
You are right again! But I think the magic formula does exist and it was described in the article. Marty mentioned all the factors that ended up creating his own unique style. I believe while there's no identical formula for everyone, it stays the same for everyone: journey, exploration and discovery. Absorb what you like and reject what you don't. With that said, do you think it's possible to become a real neoclassical shredder and develop rhythmic skills based solely on James Hetfield? I think one would affect the other and I'm not sure if the result would be nice. I do realize that every player, even soloist, should be able to play rhythm guitar as well and for me it's Metallica.


I don't understand your question very well. Do you mean if it's possible to play rhythm as Hetfield and play neoclassical shred? It that's the question, the answer is yes! There are lots of metal guitarists that play neoclassical while play trash riffs. Check our Children of bodom guitarist for example.



QUOTE (Adam M @ Mar 4 2019, 12:32 PM) *
Now I wanted to ask you another thing, related to the Collab. Let's take the 3rd part in the key of A minor. If I wanted to play the Phrygian mode over it, how would work? I think I'd have to use E Phrygian to keep the same notes and the root note would be E? I'll check the Theory section for some introduction to modes when I have more free time but could you explain it a little using this example?


The chord progression is based on Aeolian mode so that's the best choice by now. Once you are more advanced with improvisation, you could add some Phrygian color here and there but the best choice is aeolian.





QUOTE (Adam M @ Mar 4 2019, 12:32 PM) *
I also wanted to share my recordings with you. On last saturday I went to a Metallica S&M concert with my brother and it was amazing. It's an Ukrainian tribute band but I think Metallica acknowledged them as the official. I've recorded two songs. The video quality isn't good at all but the sound is okay. Hearing it live was a great experience! The band is called Scream Inc and they have their concerts on their YT channel too, if you're interested in the whole thing.





Edit: There's first part of my take for 3rd part of the Collab. COuld you let me know if it's okay to use?




Thanks for those Metallica covers links. They sound as good as the originals! Awesome.


Regarding the collab take, yes! Those chords are right and this video and audio can be used for the collab!


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Adam
post Mar 5 2019, 06:31 PM
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QUOTE (Gabriel Leopardi @ Mar 5 2019, 05:51 PM) *
No, by following the chords with thirds I mean to play the third of each chord from the backing when it's sounding. It's not related to modulation which is what's happening on that backing.


I see. I need to try experimenting with that. This is a really interesting concept.

QUOTE
I don't understand your question very well. Do you mean if it's possible to play rhythm as Hetfield and play neoclassical shred? It that's the question, the answer is yes! There are lots of metal guitarists that play neoclassical while play trash riffs. Check our Children of bodom guitarist for example.


I'm sorry if my question confused you but that is what I wanted to ask. I've watched Crossroads recently and the man at the rehearsal said not to serve two masters. He meant Blues and Classical music but I feel the Neoclassical genre is pretty close. If that can work well with thrash, it's a great news for me! I'll check a few Children of Bodom songs. Any specific you can recommend to me?


QUOTE
The chord progression is based on Aeolian mode so that's the best choice by now. Once you are more advanced with improvisation, you could add some Phrygian color here and there but the best choice is aeolian.


My question was theoretical, I didn't want to use Phrygian mode in this Collab but I was curious how would that work. From your answer I inferred that switching between modes means basically playing one or two licks in the said mode then going back to the original scale. Did I get it right? I watched a short tutorial about this scale and what I learned is that to build a Phrygian mode is to take the Aeolian mode and make the 2nd step of it flat. This video also said that Phrygian is all about the flat second. Is this correct?

Now that I think about it, this scale is in some way similar to Harmonic minor which is all about the augmented seventh step. Both these scales are built around a half step above or below the Tonic.

I still don't really know how to use it but I'll just practice more basic things and get back to it when you say I'm ready smile.gif


QUOTE
Thanks for those Metallica covers links. They sound as good as the originals! Awesome.

This time the orchestra was smaller than last year and they skipped a few songs of the original S&M but the show was still inspiring and amazing experience! This band has been touring in Poland for a year but they are doing really great! I'm looking forward to see how they progress in the future smile.gif

QUOTE
Regarding the collab take, yes! Those chords are right and this video and audio can be used for the collab!

That's great to hear! In this case I'm moving on to the next tracks! I hope I'll finish the whole thing tonight or tomorrow.

I probably overdid it. At this point I have the power chords background I posted before, a rhythmic section and a harmony in 4th to that rhythmic section. I'll think it over and maybe I'll come up with a solution tomorrow.

This post has been edited by Adam M: Mar 5 2019, 11:10 PM


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Adam
post Mar 8 2019, 08:43 PM
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A quick update: I passed this exam!!!!!! Now there's nothing more but thesis defense in July! I'll subscribe to GMC once I get my salary and we'll be able to progress smile.gif I took a break so I wasn't tempted to spend too much time playing instead of studying.


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Gabriel Leopardi
post Mar 10 2019, 03:17 PM
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Great news!! Congrats Adam!!! smile.gif

It’s time for music!!


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Adam
post Mar 11 2019, 03:51 PM
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I was thinking about going for your HIM Love Metal lesson once I get the sub. I rarely like all songs on an album but this is one of them. And it's really easy one too smile.gif I tried figuring out how to play it by watching the vid and in one spot it's much easier to play a different shape starting off a different fret (notes stay the same). Does it automatically fail me if I post such take at REC?


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Gabriel Leopardi
post Mar 12 2019, 05:10 AM
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Hi Adam,

That's a nice lesson! Regarding your question, I don't think that it's a problem if is sounds the same. In some cases, changing the shapes or position can give a lesson a different feel or style, but if you don't think that this is the case, you can go for it.


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Adam
post Mar 21 2019, 12:04 AM
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QUOTE (Gabriel Leopardi @ Mar 12 2019, 05:10 AM) *
Hi Adam,

That's a nice lesson! Regarding your question, I don't think that it's a problem if is sounds the same. In some cases, changing the shapes or position can give a lesson a different feel or style, but if you don't think that this is the case, you can go for it.

Thank you, that's a great news! I don't think this change will affect anything but uncomfortable fingering pattern.

I'm posting one of my overdue videos. I'm really ashamed I had to record these parts separately. This lesson has low difficulty level and I should be able to do it. I really wanted to do it in one go but today I decided that maybe you'll be able to point out whatever I'm doing wrong that keeps me from it. Einstein said that repeating the same actions and expecting different results is insanity and this is exactly what I'm doing here - repeating it over and over again but I have no idea what I should improve to get it done. Maybe we'll finally move forward with this video:



PS. Could you explain a bit about pickups? I feel like it's time for me to learn what are the differences between low, medium and high outputs. I know high-output pups are tailored for heavy-gain and rhythm sections that don't involve much articulation that they don't capture as well as in pickups with lower output. I think medium output is what PAFs or DiMarzio Evolutions are. Based on logic, I think they are quite well balanced but also aren't as good as neither low or high output ones in certain areas. About low output I know literally nothing, only as much as I deduced.

I couldn't find much useful info with Google - the results were mostly about pickup types (single, P90, etc.) and magnets' features that I already know. This is a technical stuff that most players don't think about but I feel that learning the differences could help me use each type in such way to make it shine. I could set up the guitars to use those features to my advantage.

This post has been edited by Adam M: Mar 21 2019, 12:11 AM


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Gabriel Leopardi
post Mar 22 2019, 07:26 PM
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Hi Adam, I don't see anything wrong in your video. It sounds good, doesn't it?

In order to get more control, and speed, you could focus on making your right hand movement smaller. An also, I would keep left hand fingers closer to the fret-board when you are not using them. Check out how Ben uses his left hand fingers in the original lesson.

Regarding pick ups, I'm not a specialist, but the difference between low and high output is the fact that you get more "driven" signal so depending on the amp and sound that you want to get, you'll prefer low output (maybe pop guitarist?) or high output (metal guitarist).


There are many youtube videos about this here: https://www.youtube.com/results?search_quer...+output+pickups



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Adam
post Mar 22 2019, 09:08 PM
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QUOTE (Gabriel Leopardi @ Mar 22 2019, 07:26 PM) *
Hi Adam, I don't see anything wrong in your video. It sounds good, doesn't it?

In order to get more control, and speed, you could focus on making your right hand movement smaller. An also, I would keep left hand fingers closer to the fret-board when you are not using them. Check out how Ben uses his left hand fingers in the original lesson.

Regarding pick ups, I'm not a specialist, but the difference between low and high output is the fact that you get more "driven" signal so depending on the amp and sound that you want to get, you'll prefer low output (maybe pop guitarist?) or high output (metal guitarist).


There are many youtube videos about this here: https://www.youtube.com/results?search_quer...+output+pickups

Then maybe the issue I'm having is related to playing the whole thing in one go. If these pieces are okay, than maybe it's about losing concentration. I'll give it some more time over the weekend smile.gif

I know it's better to keep the fingers close but I'm not sure if it can happen in one practice session. Is it okay if I just keep it in mind while playing and hope it will come to me naturally when I get better?

I'm sorry, I should have checked the YouTube too. I assumed it won't be there if Google didn't work for me. I watched 2 of the videos in the link from you and they didn't answer all my questions. I'll try the other after returning home. I'd like to understand not only what genres they work well in but also why they work there but it's maybe too technical knowledge.


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Gabriel Leopardi
post Mar 25 2019, 07:04 AM
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QUOTE (Adam M @ Mar 22 2019, 05:08 PM) *
Then maybe the issue I'm having is related to playing the whole thing in one go. If these pieces are okay, than maybe it's about losing concentration. I'll give it some more time over the weekend smile.gif


Yes, being able to play a full lesson or song requires extra attention and focus. This must also be practiced.



QUOTE (Adam M @ Mar 22 2019, 05:08 PM) *
I know it's better to keep the fingers close but I'm not sure if it can happen in one practice session. Is it okay if I just keep it in mind while playing and hope it will come to me naturally when I get better?


Yes, but the best is to dedicate some time to slower practice to be able to control your fingers and keep them the closer possible to the fretboard.


QUOTE (Adam M @ Mar 22 2019, 05:08 PM) *
I'm sorry, I should have checked the YouTube too. I assumed it won't be there if Google didn't work for me. I watched 2 of the videos in the link from you and they didn't answer all my questions. I'll try the other after returning home. I'd like to understand not only what genres they work well in but also why they work there but it's maybe too technical knowledge.


Yes, that’s very technical. I’ve never investigated it.

Check out this link:
https://www.seymourduncan.com/support-picku...standing-output


This post has been edited by Gabriel Leopardi: Mar 25 2019, 07:05 AM


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Adam
post Mar 26 2019, 11:29 PM
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QUOTE (Gabriel Leopardi @ Mar 25 2019, 07:04 AM) *
Yes, being able to play a full lesson or song requires extra attention and focus. This must also be practiced.

I'm getting close. It seems the problem lied in switching picking patterns, so when I play each part isolated it doesn't happen.

QUOTE
Yes, but the best is to dedicate some time to slower practice to be able to control your fingers and keep them the closer possible to the fretboard.

This will take some time but I've added it to my practice routine. To maximize the result, I practice downstrokes with the picking hand and chromatic scale with fretting hand at a slower tempo that allows me to focus on these objectives smile.gif

QUOTE
Yes, that’s very technical. I’ve never investigated it.

Check out this link:
https://www.seymourduncan.com/support-picku...standing-output

This article is quite informative! I'm not sure if I got this part right but it sounds like a high output pickup will behave accordingly as I turn down the volume on guitar. Until now I used volume knob to keep the signal around 7, so I could get that extra punch and cut through the mix for solo etc. It also cleared up for me how the pickup's type reacts to distortion in a more theoretical way.

I also tried again the Bending lesson you suggested and I'm starting to connect the intervals between notes, steps of a given scale and most importantly, I'm starting to see it on the fretboard - which notes I can bend in a given key and how much I should bend them. And what I shouldn't bend. To be honest, I usually did bending using my ears in a manner to make it sound okay but this lesson showed me that sometimes what sounds acceptable is actually off-key. I know it's common to use the notes outside of scale but I guess it's done by people who understand how to do it right. And in my case I should stick to the key, right?


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Gabriel Leopardi
post Mar 27 2019, 01:57 AM
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QUOTE (Adam M @ Mar 26 2019, 07:29 PM) *
I'm getting close. It seems the problem lied in switching picking patterns, so when I play each part isolated it doesn't happen.


This will take some time but I've added it to my practice routine. To maximize the result, I practice downstrokes with the picking hand and chromatic scale with fretting hand at a slower tempo that allows me to focus on these objectives smile.gif


This article is quite informative! I'm not sure if I got this part right but it sounds like a high output pickup will behave accordingly as I turn down the volume on guitar. Until now I used volume knob to keep the signal around 7, so I could get that extra punch and cut through the mix for solo etc. It also cleared up for me how the pickup's type reacts to distortion in a more theoretical way.

I also tried again the Bending lesson you suggested and I'm starting to connect the intervals between notes, steps of a given scale and most importantly, I'm starting to see it on the fretboard - which notes I can bend in a given key and how much I should bend them. And what I shouldn't bend. To be honest, I usually did bending using my ears in a manner to make it sound okay but this lesson showed me that sometimes what sounds acceptable is actually off-key. I know it's common to use the notes outside of scale but I guess it's done by people who understand how to do it right. And in my case I should stick to the key, right?



Great stuff Adam! Everything sounds good here! Regarding your question about bending, I think that it's a good thing to start bending to inside notes to train your ear. There is also something cool that is done for example by Marty Friedman, that is bending from outside notes to scale notes. This is a cool effect and it also works for training your ear.




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Adam
post Mar 27 2019, 11:21 PM
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QUOTE (Gabriel Leopardi @ Mar 27 2019, 01:57 AM) *
Great stuff Adam! Everything sounds good here! Regarding your question about bending, I think that it's a good thing to start bending to inside notes to train your ear. There is also something cool that is done for example by Marty Friedman, that is bending from outside notes to scale notes. This is a cool effect and it also works for training your ear.

That sounds like a great idea! Up until now I only did that to make up for hitting the wrong notes but I'm interested learning to use it intentionally! Practicing bends seems a bit boring but it definitely isn't. I've had fun in today's session and I'm looking forward for more! Do you know any drills or patterns I could use to make it even more interesting?

I have an idea for the Collab song's lyrics but I'll probably take time at work to write something nice over the weekend. I don't have a computer or guitar there, so I won't get distracted. I'll let you know if I come up with something around Monday smile.gif

This post has been edited by Adam M: Mar 27 2019, 11:25 PM


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post Mar 28 2019, 05:21 AM
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Hi Adam! Great to know that you'll record something for the collab! smile.gif

Have you done this search?

https://www.guitarmasterclass.net/search/friedman+bending/



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Adam
post Mar 28 2019, 11:03 AM
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QUOTE (Gabriel Leopardi @ Mar 28 2019, 05:21 AM) *
Hi Adam! Great to know that you'll record something for the collab! smile.gif

Have you done this search?

https://www.guitarmasterclass.net/search/friedman+bending/


No, I didn't think there would be any lesson on this subject. Thank you! smile.gif


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post Mar 28 2019, 06:53 PM
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QUOTE (Adam M @ Mar 28 2019, 07:03 AM) *
No, I didn't think there would be any lesson on this subject. Thank you! smile.gif


yeah! There are some bending like friedman lessons by Ben that are amazing!


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post Mar 29 2019, 02:01 AM
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QUOTE (Gabriel Leopardi @ Mar 28 2019, 06:53 PM) *
yeah! There are some bending like friedman lessons by Ben that are amazing!

I'll make sure to try these out! I checked a few and they are so similar to the real Marty it's confusing me a bit. Sounds like fun!



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Gabriel Leopardi
post Mar 29 2019, 09:24 PM
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QUOTE (Adam M @ Mar 28 2019, 10:01 PM) *
I'll make sure to try these out! I checked a few and they are so similar to the real Marty it's confusing me a bit. Sounds like fun!



hehe yeah! Ben can really capture Marty's style! smile.gif


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post Mar 31 2019, 10:37 PM
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QUOTE (Gabriel Leopardi @ Mar 29 2019, 09:24 PM) *
hehe yeah! Ben can really capture Marty's style! smile.gif

I'll have to pay closer attention to his lessons, then! smile.gif

I did some brainstorming at work and I came up with almost whole song. There's the beginning, maybe a prechorus and something chorus-like but I need a few more days because I got the ending but I can't find a way to connect it to the whole. I'll post the whole thing here once I'm done writing and correcting things and we can focus on the melodic line for it. It came to me much easier than I expected! smile.gif


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post Apr 2 2019, 12:51 AM
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Great! It would be good if you also share it with Cael since he composed the tune, what do you think?


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