Collaboration - Slow Neoclassical Solo (discussion And Upload), Harmonic/Natural Minor and Phrygian Dominant lovers come and join |
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Aug 24 2009, 08:53 PM
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QUOTE (twist @ Aug 24 2009, 06:04 PM)  i attached the gp file i made. Its not exactly what i am playing (notes are the same, but i played a different timing in the end). Ok Twist here is the fixed one. This is where I changed notes in your GP file: Bar 8 I changed this pattern into the A major 9 arpeggio because the chord here is A. You played something that sounds like E major. The notes were in the A scale but the resolution was totally out of the A definition. You have the same thing in the bar 16 but I left that one as you played so you decide which one you prefer. Bar 9 I changed minor 3rd note into major 3rd Bar 17 The same as for the bar 9 Bar 18 (here I changed the whole line) if you think your one sounded better then you can leave it. I think this makes more sense as your one was too repetitive Bar 22 Changed 14 - 12 to 15 - 12 as that's the right diminished pattern for Fdim7 Bar 23 Here you had wrong chord on the second guitar. You played F chord but you need F#. I changed it to F#sus4 (half a bar) and F# (the second half). So the lick started with the B note to target that sus4 and then resolve to F# (root note) and A# (major 3rd from F#) I hope you understand this Bars 24-29 Here I changed your diminished pattern. Now you have some melodic structure and a solid resolution. There were other couple of notes I changed later just for a better note choice even though your ones were in the scale. I noticed you're often finishing prase on the 4th or 7th against the root. That gives completely different dimension and doesn't sound like a resolution. Jazz guys use it a lot but here in the neoclassical style we need to keep things simple obvious and logical. The simplest is to resolve the phrase on the root, 3rd or 5th. You will never go wrong like that. I also changed the end a little so it better matches the backing. Check your take now and let me know if you're happy with that. I tried to keep it your way as much as I could. This style of music is really not a science. Yngwie Malmsteen has been playing it for ages and still he is using only 3 scales throughout his whole career. QUOTE (Nimrandir @ Aug 24 2009, 08:22 PM) This one is a bit confusing. I'm using B harmonic minor over the whole Bm->G->Bm/F# bit, and it contains both Bb and B notes. I just thought that Bb sounds kind of evil  Also, should I then avoid C# note which is #4 relative to G? That's G major chord. If you want to be specific then it's G lydian or B aeolian because the root key is Bm of the whole thing. B harmonic minor can't be used in this situation but there is space for it on some parts. p.s. it doesn't let me make a new post. The below GP file is for TWIST This post has been edited by Emir Hot: Aug 24 2009, 08:54 PM -------------------- Check out my <a href="https://www.guitarmasterclass.net/instructor/Emir-Hot" target="_blank">Instructor profile</a>
www.emirhot.com www.myspace.com/emirhotguitar www.myspace.com/sevdahmetal |
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Aug 24 2009, 10:34 PM
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QUOTE (leedbreak @ Aug 24 2009, 03:51 AM) Hi This is where I changed some notes: Part 1 Bar 2 - 14 instead of 13 on the 2nd string Bar 8 - 18 instead of 17 on the 1st string Bar 10 - 14 instead of 13 on the 2nd string Bar 15 - 9 instead of 11 on the 3rd string. Here your note was correct (6th interval from A root) but that note makes the whole line somehow undefined. Now you have a better kind of A7 arpeggio with the 11th(4th) added. Part 2 Bar 1 - I just switched 17 and 16 into 16 - 17 on the 4th string as that produces one dissonant note (min 2nd) together with my background melody. This way they have nice harmony in minor 3rd (only on 1 note) instead of that clash Bar 3 - 18 instead of 17 on the 3rd string Bar 5 - this is now correct pattern for the F diminished 7. Your rhytmical structure was ok but these notes work better over that chord Bar 6 - I just resolved the previous diminished line on the F# note (14th fret 1st string) Bar 8 - 17 instead of 16 on the 4th string as that follows G dim 7 pattern Bar 9 - 4th fret on the 3rd string instead of 4th string. This now produces B min triad chord (first 3 notes) and F# triad major (second 3 notes). Also you're now not repeating the same note twice in the bar. Very nice line here Bar 10 and 11 - I changed your ending line here. You started some repetitive patern in Bm pentatonic. Not bad but this now sounds much more neoclassical. That's especially important when you're ending the piece of music. It has to have the "name and surname" and the perfect resolution. If you liked your one then feel free to leave it but there I couldn't hear well defined resolution. I hope this will now help you with the right approach. I didn't change much, just shifted some wrong notes. Wherever I didn't explain why I moved the note, that one wasn't in the scale You were not far, just one fret away most of the time.Cheers This post has been edited by Emir Hot: Aug 24 2009, 10:39 PM
Attached File(s)
emirpart1_fixed.gp5 ( 2.61K )
Number of downloads: 148
emirpart2_fixed.gp5 ( 2.32K )
Number of downloads: 165-------------------- Check out my <a href="https://www.guitarmasterclass.net/instructor/Emir-Hot" target="_blank">Instructor profile</a>
www.emirhot.com www.myspace.com/emirhotguitar www.myspace.com/sevdahmetal |
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Aug 24 2009, 11:05 PM
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Hi Emir.
I have figured it out, but I won't be able to meet the deadline. Is it ok to record it tomorrow (26)? -------------------- my "Thank you GMC!" video
If you like it please vote in the competition ;-) Gus Stairway to Guitar Heaven - my practice agenda Check out my lesson here Phrygian Dominant Solo lesson Gear : Ibanez RGT320q (I just love the neck-thru sustain), Washburn EA-20SDL (acoustic 6 string), Standard strat (Mexico), POD X3 Live Some of my Guitar heroes: Jimmy Page, Slash, Kirk Hammett, Augusto Licks, Joe Satriani, Gus G, David Gilmour, Mark Knopfler... |
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Aug 24 2009, 11:14 PM
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QUOTE (Gus @ Aug 24 2009, 11:05 PM) Hi Emir. I have figured it out, but I won't be able to meet the deadline. Is it ok to record it tomorrow (26)? Yes. While I am mixing the first and the second group So far I have received around 10 takes out of almost 30. Looks promissing
-------------------- Check out my <a href="https://www.guitarmasterclass.net/instructor/Emir-Hot" target="_blank">Instructor profile</a>
www.emirhot.com www.myspace.com/emirhotguitar www.myspace.com/sevdahmetal |
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Aug 24 2009, 11:49 PM
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QUOTE (leedbreak @ Aug 24 2009, 11:36 PM) I will check it out and try to get a take up tonight or tom night at the latest, thanks again Ok take your time
-------------------- Check out my <a href="https://www.guitarmasterclass.net/instructor/Emir-Hot" target="_blank">Instructor profile</a>
www.emirhot.com www.myspace.com/emirhotguitar www.myspace.com/sevdahmetal |
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Aug 25 2009, 12:59 AM
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QUOTE (leedbreak @ Aug 25 2009, 12:38 AM) Since I am such a neo newbie, I have to ask, Just now looking at your changes in part one. "Bar 2 - 14 instead of 13 on the 2nd string" 14 is not part of Em "Bar 8 - 18 instead of 17 on the 1st string" 18 is not part of F# Phry Dom Which I tried to use "Bar 10 - 14 instead of 13 on the 2nd string" 14 is not part of Em While I may aggree they may sound better, why do they sound better or in theory why would you say these note are the better choice? Good point. That's called targeting towards the resolution. In bar 2 that 14th fret is the 6th interval from E which is E dorian and dorian is minor scale. Yes it is still Em. Think of this whole first part like D major scale all the way (except E/G#). Our root is B minor which is a relative minor to D major. Now if you count the modes from D in order you will find that Em is going to be dorian, A will be mixolydian, D will be ionian(major), G will be lydian etc... That's why we need that 14th fret because you're going to resolve on the A chord and that 14th fret becomes major 3rd from A which is what we need. About bar 8, yes 18 is major 3rd from F# phrygian dominant and that's the note you need. Phrygian dominant has major 3rd in the scale formula. Pure phrygian (which is the 3rd mode from major scale) has minor third. This phrygian dominant is not coming from the major scale. This is the 5th mode of Harmonic minor. So F# phrygian dominant is the 5th mode of B harmonic minor. I hope this is clear. Feel free to ask anything I am happy to explain -------------------- Check out my <a href="https://www.guitarmasterclass.net/instructor/Emir-Hot" target="_blank">Instructor profile</a>
www.emirhot.com www.myspace.com/emirhotguitar www.myspace.com/sevdahmetal |
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Aug 25 2009, 01:27 AM
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QUOTE (leedbreak @ Aug 25 2009, 01:21 AM) No not clear. but again I am a newbie and it shouldn't make since. I will just record it as you wrote it and upload the one I like best. Please see the very last edit of my previous post. It is funny Hahahah, but accidentals are made for writting music. You shouldn't be scared of that. Actually the whole score should have 2 sharps at the beginning of each note system (score row). That's beacuse we are in B minor key and it has F# and C#. With these two your notes inside each bar won't have that many accidentals as they are defined at the beginning of the score for each F and C note which you write normaly but they sound like F# and C#. If you end up with some more inside the score don't worry, that's all music you wanna write
-------------------- Check out my <a href="https://www.guitarmasterclass.net/instructor/Emir-Hot" target="_blank">Instructor profile</a>
www.emirhot.com www.myspace.com/emirhotguitar www.myspace.com/sevdahmetal |
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Aug 25 2009, 01:43 AM
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QUOTE (leedbreak @ Aug 25 2009, 01:35 AM) Ok so why did we try to use all the scales, would it have been easier to just say we are in Bm boys, good luck. LOLOLOL Ahh, that must be the "Neo" part I bet In this post you are talking gereral math, while in the other post you are talking trigometry or so it feels. Besides I was not scared of accidentals, I was scared of you. lol Hahah this is funny. No reason to be scared of me I am here to help. Regarding "all the scales", we're actually not playing that many. Here is why:Bm, Em, A, D, G - this is all one scale. Or you can call it like this: B aeolian, E dorian, A mixolydian, D ionian, G lydian - again all this stuff is just one scale but different root note Try it yourself and you'll see. Play B minor scale and just think that your root is A instead of B, you will end up with A mixolidyan.When you get into modes you will understand this stuff. Don't worry for now. Just record that take and you'll be fine. I am not going to judge your theory knowledge, only your playing this time. -------------------- Check out my <a href="https://www.guitarmasterclass.net/instructor/Emir-Hot" target="_blank">Instructor profile</a>
www.emirhot.com www.myspace.com/emirhotguitar www.myspace.com/sevdahmetal |
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Aug 25 2009, 02:43 AM
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QUOTE (leedbreak @ Aug 24 2009, 08:01 PM) You look kinda mean in your pictures and for sure in your shredding. You haven't seen him ... like THIS: Then you'll see the kindly young man "beneath the metal" -------------------- ::jafomatic
 http://jafomatic.net/tunes/ <-- Here lies the master collection of my collaboration and other improvisation recordings. |
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I found it a few nights ago and enjoyed it. |
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Aug 25 2009, 07:00 AM
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Ok Emir:
Here's my take. I'm still working on the GP file and will upload tomorrow. If you get a chance please take a look at the notation (tomorrow) to see if I've got everything right. I hope I didn't get too carried away on the ending.  Thanks again for the awesome backing track. I can't wait to hear everyone's final mix. 
20090824_NeoclassicalCollab_wbt.mp3 ( 2.81MB )
Number of downloads: 209[attachment=17377:20090824...lab_nobt.mp3] This post has been edited by JamesT: Aug 25 2009, 07:02 AM |
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Aug 25 2009, 07:15 AM
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Emir, sorry for the delays but when I get back from work tonight I will record my take.
Cheers Roger -------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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Aug 25 2009, 09:53 AM
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Thanks a lot Emir, i will try to record my take again today!
-------------------- rivers just happen
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Aug 25 2009, 10:37 AM
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Ok guys take you time. I am mixing group 1 today so you can send the take tomorrow as well.
-------------------- Check out my <a href="https://www.guitarmasterclass.net/instructor/Emir-Hot" target="_blank">Instructor profile</a>
www.emirhot.com www.myspace.com/emirhotguitar www.myspace.com/sevdahmetal |
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