Zen's December Mtp Thread, Weekly assignments and uploads here |
GMC Forum > Discussion Boards > VINTAGE GMC > Community Activities and Tutorials > Ask an Instructor > More instructors > Pedja Simovic > MTP (Pedja)|
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Dec 12 2009, 03:57 PM
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Zen I would like to see how you are doing with REC lesson. I have decided to give you official 2nd assignment for that lesson as well. It should give you extra 6 days to work on it, record it and upload video on Youtube!
Your 2nd assignment is : Triads in C major scale part 1 - Record video of Triads in C major scale part 1 lesson found HERE - Use backing track provided in the thread when recording it. - Try to apply left hand fingerings I applied but stick to right hand fingerings all the way. - Upload video on Youtube and post it in this thread here. Deadline for this assignment is 18th of December! Let me know if you have any questions Zen! Pedja |
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Dec 13 2009, 02:17 AM
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Thanks Pedja, I'll record it today, if possible. Coz I've practiced it many times now. Hope i get it right in the recording. Since my pinky is not in the best shape after I tried to attempt a bend using it..
 The main agenda for the day is UFC 107 !!!! woooooooooooooooooooooooooooooooo  Edit: Ok, i've recorded it.. This post has been edited by zen: Dec 13 2009, 05:56 AM -------------------- "If the need is deep, you WILL find a way , if it isn't, you'll find some excuse"
Check out my Student Instructor Lesson on Metal Riffing HERE Visit My Youtube Channel |
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Dec 16 2009, 08:47 AM
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Cool, no worries. I have always tuned the guitar by ear. I'll use the tuner this time to ensure it is tuned appropriately. Will also work on that middle note plucking. Hope the next take is upto the required standard
 .. will try my best.
-------------------- "If the need is deep, you WILL find a way , if it isn't, you'll find some excuse"
Check out my Student Instructor Lesson on Metal Riffing HERE Visit My Youtube Channel |
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Dec 18 2009, 12:04 PM
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Pedja, mixed news from this side... on the positive note, i hope the tuning is ok now. It was a terrible mistake and apologies for that. On the downside, I am not able to record the 'perfect' take for you. In the progression, i always end up making mistakes, some chords ring louder than the others and sometimes the plucking is not even. Practiced it quite a lot and when I tried to record... i just couldn't deliver the perfect take.
 Let me know if you are not OK with this one either, and i will continue to practice the 'evenness' of the picking and upload more takes. Also i used the neck pickup, so it has a bassy tone.. I can experiment recording with the bridge pickup too.There are quite a few lessons here that I am learning as I'm used to playing with distortion most of the time. The need for accurate tuning (on clean settings) and the mistakes are obviously highlighted easily in slow clean playing..... which for me is harder to play.. So this is a perfect leaning curve for me. Thanks for all your help and feedback. This post has been edited by zen: Dec 18 2009, 12:14 PM -------------------- "If the need is deep, you WILL find a way , if it isn't, you'll find some excuse"
Check out my Student Instructor Lesson on Metal Riffing HERE Visit My Youtube Channel |
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Dec 18 2009, 12:55 PM
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Thanks Pedja, will continue to work on those higher strings..
I've submitted this for REC. Cheers. -------------------- "If the need is deep, you WILL find a way , if it isn't, you'll find some excuse"
Check out my Student Instructor Lesson on Metal Riffing HERE Visit My Youtube Channel |
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Dec 20 2009, 05:49 PM
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Zen we continue now with 3rd and 4th assignment which are due by the end of month (since you already submitted lesson for REC).
3rd assignment : Triads in C major scale part 2 - Record video of Triads in C major scale part 2 lesson found HERE - Use backing track provided in the thread when recording it. - Try to apply left hand fingerings I applied but stick to right hand fingerings all the way. - Upload video on Youtube and post it in this thread here. 4th assignment : Chord progressions & harmony analysis - Analyze all chord progressions bellow - For each example write out the proper labeling of each chord - Write a description explaining why you think certain chord progression is in such key/mode. - For extra work, record those chord progressions and improvise over them - upload recording in this thread. Example 1 // C / B min / A min / B min / C / B min / A min / G // Example 2 // D min / G min / C / A min / D min / Bb / C / A min // Example 3 // F min7 / Eb / Bb7 / Bb7 / F min7 / C min Eb / Bb7 / Bb7 // Example 4 // Eb maj7 / D min7 / G min7 / F7 / Eb maj7 / C min7 / Bb maj7 / F7 // Example 5 // D maj7 / B min7 / E min7 / A7 / D maj7 / F# min7 / G maj7 / A7 // Let me know if you have any questions! Pedja |
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Dec 22 2009, 09:18 AM
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Pedja, Here's my attempt at the 4th assignment,.. practicing the rest of the tasks...
Example 1 // C / B min / A min / B min / C / B min / A min / G // //IV / III / II / III / IV / III / II / I // kEY - G (two consequetive minors Amin & Bmin, make them on II & III scale degree, making the scale as G Maj) Mode - C Lydian (starting chord is C; C is on IV scale degree in G Major, Hence mode is C Lydian) Example 2 // D min / G min / C / A min / D min / Bb / C / A min // // VI / II / V / III / VI / IV / V / III // KEY - F (two consequetive minors Gmin and A min, make them on II & II scale degrees, also Bb & C on IV & V, making the scale as F Major) Mode - F Aeolian (starting chord is Dmin; Dmin is on VI scale degree in F Major, hence mode is F Aeolian) Example 3 // F min7 / Eb / Bb7 / Bb7 / F min7 / C min / Eb / Bb7 / Bb7 // // II / I / V / V / II / VI / I / V / V // KEY - Eb (dominant 7 chord is Bb7 which is on V scale degree, making the scale Eb major) Mode - F Dorian (staring chord is Fmin7, which is on II scale degree in Eb major scale, hence mode is F dorian) Example 4 // Eb maj7 / D min7 / G min7 / F7 / Eb maj7 / C min7 / Bb maj7 / F7 // // IV / III / VI / V / IV / II / I / V // Key - Bb ( dominant 7 chord is F7 which is on V scale degree, making this scale Bb Major) MOde - Eb Lydian (staring chord is Ebmaj7, which is on IV scale degree in Bb major scale, hence mode is Eb Lydian) Example 5 // D maj7 / B min7 / E min7 / A7 / D maj7 / F# min7 / G maj7 / A7 // // I / VI / II / V / I / III / IV / V // Key - D (dominant chord A7 is on V scale degree, making the scale D Major) Mode - D Ionian (staring chord is Dmaj7 which is on I scale degree in the scale of D Major, hence mode is D Ionian) -------------------- "If the need is deep, you WILL find a way , if it isn't, you'll find some excuse"
Check out my Student Instructor Lesson on Metal Riffing HERE Visit My Youtube Channel |
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Dec 23 2009, 09:42 AM
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Pedja, I'm confused now. I probably didn't grasp the concept well. Let me share what i have understood so far in a nutshell:
Modes exist within scales. It depends on which scale degree note of the scale we start playing and come back to it. So in C Major scale, modes are C ionian, D dorian, E phrygian and so on. Now how do scale degrees get impacted when we start playing modes? C Ionian: I - II - III - IV - V - VI - VII - VIII Cmaj,Dmin,Emin,Fmaj,Gmaj,Amin,Bdim,Cmaj D dorian Imin - II min -III - IV - V min- VI - VII - VIII min (???? is this how? i guess i was still stuck with I,IV,V on major and II,III,VI on minors) Dmin,Emin,Fmaj,Gmaj,Amin,Bdim,Cmaj,Dmin ( I was sucessfully able to move the chords around but I struggled to apply the maj or minors on degrees and also confused with the applicaiton of "b" in bVII etc.. not sure about that. ) Let me pick 2 examples from above: Example 2 // D min / G min / C / A min / D min / Bb / C / A min // // VI / II / V / III / VI / IV / V / III // (this is what i wrote previously which is wrong) // I min/ IV min/ VII maj/ V min/ I min/ VI maj/ VII maj/ V min// (is this correct?) KEY - F (two consequetive minors Gmin and A min, make them on II & II scale degrees, also Bb & C on IV & V, making the scale as F Major) Mode - D Aeolian (starting chord is Dmin; Dmin is on VI scale degree in F Major, hence mode is D Aeolian) Example 3 // F min7 / Eb / Bb7 / Bb7 / F min7 / C min / Eb / Bb7 / Bb7 // // II / I / V / V / II / VI / I / V / V // (this is what i wrote previously which is wrong) // I min7/ VII maj/ IV 7/ IV 7/ I min 7/ V min/ VII maj/ IV 7/ IV 7 // (is this correct?) KEY - Eb (dominant 7 chord is Bb7 which is on V scale degree, making the scale Eb major) Mode - F Dorian (staring chord is Fmin7, which is on II scale degree in Eb major scale, hence mode is F dorian) Improvisation extra exercise: Ok, I've never done this before. So wouldn't call it improvising coz I had to sort of compose what I was playing very slowly first and then tied the pieces together and went with what sounded good. So attached is my solo attempt on example 1 chord progression. Triad 1st inversion is coming along ok.. working on the 321 & 432 strings which are troublesome coz of the new shapes that Im not used to. But should be able to achieve it within deadlines. On the +side picking is improving a bit. This post has been edited by zen: Dec 23 2009, 11:52 AM -------------------- "If the need is deep, you WILL find a way , if it isn't, you'll find some excuse"
Check out my Student Instructor Lesson on Metal Riffing HERE Visit My Youtube Channel |
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Dec 24 2009, 09:58 AM
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Pedja, thanks a lot for the explanation. I think it's clear now. Here are my answers and some questions in red again:
Example 1 // C / B min / A min / B min / C / B min / A min / G // // Imaj /VIImin/ VImin/ VIImin/ Imaj/ VIImin/ VI min/ Vmaj // kEY - G (two consequetive minors Amin & Bmin, make them on II & III scale degree, making the scale as G Maj) Mode - C Lydian (starting chord is C; C is on IV scale degree in G Major, Hence mode is C Lydian) Notes of G major scale - G A B C D E F# G C Lydian - C D E F# G A B C If there was chord F# in the progression, how will its scale degree be shown? As IVaug or IV dimaug? Example 2 // D min / G min / C / A min / D min / Bb / C / A min // // Imin / IVmin/ bVIImaj/ Vmin/ Imin/ bVImaj/ bVIImaj/ Vmin// KEY - F (two consequetive minors Gmin and A min, make them on II & II scale degrees, also Bb & C on IV & V, making the scale as F Major) Mode - D Aeolian (starting chord is Dmin; Dmin is on VI scale degree in F Major, hence mode is D Aeolian) Notes of F Major scale - F G A Bb C D E F D Aeolian - D E F G A Bb C D Example 3 // F min7 / Eb / Bb7 / Bb7 / F min7 / C min / Eb / Bb7 / Bb7 // // Imin7 /bVIImaj/IV7/IV7/Imin7/Vmin/ bVIImaj/IV7/IV7// KEY - Eb (dominant 7 chord is Bb7 which is on V scale degree, making the scale Eb major) Mode - F Dorian (starting chord is Fmin7, which is on II scale degree in Eb major scale, hence mode is F dorian) Notes of Eb Major scale - Eb F G Ab Bb C D Eb F Dorian - F G Ab Bb C D Eb F Example 4 // Eb maj7 / D min7 / G min7 / F7 / Eb maj7 / C min7 / Bb maj7 / F7 // //Imaj7/ VIImin / IIImin7/ II7/ Imaj7/ VImin7 / Vmaj7/ II7 // Key - Bb ( dominant 7 chord is F7 which is on V scale degree, making this scale Bb Major) MOde - Eb Lydian (starting chord is Ebmaj7, which is on IV scale degree in Bb major scale, hence mode is Eb Lydian) Notes of Bb major scale - Bb C D Eb F G A Bb Eb Lydian - Eb F G A Bb C D Eb If there was chord A in the progression, how will its scale degree be shown? As IVaug? Example 5 // D maj7 / B min7 / E min7 / A7 / D maj7 / F# min7 / G maj7 / A7 // // Imaj7 / VImin7 / IImin7 / V7 / Imaj7 / IIImin7 / IVmaj7 / V7 // Key - D (dominant chord A7 is on V scale degree, making the scale D Major) Mode - D Ionian (starting chord is Dmaj7 which is on I scale degree in the scale of D Major, hence mode is D Ionian) Notes of D major scale - D E F# G A B C# D Now for the triad harmony revision for all the modes: Ionian - Imaj/ IImin/ IIImin/ IVmaj/ Vmaj/ VImin/ VIIdim / VIIImaj Dorian - Imin/ IImin/ bIIImaj/ IVmaj/ Vmin/ VIdim/ bVIImin/ VIIImaj Phrygian-Imin/ bIImaj/ bIIImaj/ IVmin/ Vdim/ bVImaj/ bVIImin/ VIIImin Lydian - Imaj/ IImaj/ IIImin/ IVdimaug/ Vmaj/ VImin/ VIImin/ VIIImaj Mixolydian- Imaj/ IImin/ IIIdim/ IVmaj/ Vmin/ VImin/ bVIImaj/ VIIImaj Aeolian - Imin/ IIdim/ bIIImaj/ IVmin/ Vmin/ bVImaj/ bVIImaj/ VIIImin Locrian - Idim/ bIImaj/ bIIImin/ IVmin/ bVmaj/ bVImaj/ bVIImin/ VIIIdim As for the improvisation, thanks for your feedback. Yes, i played Cmin instead of Bmin .. not quite sure how that happened .. no wonder the solo was a bit dark ..
-------------------- "If the need is deep, you WILL find a way , if it isn't, you'll find some excuse"
Check out my Student Instructor Lesson on Metal Riffing HERE Visit My Youtube Channel |
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Dec 25 2009, 09:50 AM
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Thanks Pedja.. i think i finally got the hang of it
but definitely need more practice to confirm this. .. How about a few more theory questions ...? Im on my last leg of practicing the triad lesson, which means that ive memorized the shapes now , just have to make the transitions clear and smooth.. Will upload very soon in a day or 2 hopefully. Edit - Here's the next assignment and I think this is as clear as I can make it before my head explodes .. Hope you like it.. (I think taking yesterday off work helped me practice a bit  )This post has been edited by zen: Dec 25 2009, 12:38 PM -------------------- "If the need is deep, you WILL find a way , if it isn't, you'll find some excuse"
Check out my Student Instructor Lesson on Metal Riffing HERE Visit My Youtube Channel |
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Dec 25 2009, 04:25 PM
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Thanks Pedja.. Yes, since i just learnt the shapes.. not so confident of landing on the new chord immediately, which is why there's a rush. It will improve as i incorporate this in my routine ..
As for improvisation solo, I will upload another basic one tomorrow and looking forward to the theory questions p.s - thanks for correcting the title of the vid . I've fixed it 
This post has been edited by zen: Dec 25 2009, 04:27 PM -------------------- "If the need is deep, you WILL find a way , if it isn't, you'll find some excuse"
Check out my Student Instructor Lesson on Metal Riffing HERE Visit My Youtube Channel |
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Dec 26 2009, 01:51 AM
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Pedja, here's what i composed in Example 2
// D min / G min / C / A min / D min / Bb / C / A min // I think the problem I'm facing is that: 1. Cant compose anything complicated or fast 2. Not really sure if Im stickin to the mode .. im just playin what sounds and feels right  Take attached with this post -------------------- "If the need is deep, you WILL find a way , if it isn't, you'll find some excuse"
Check out my Student Instructor Lesson on Metal Riffing HERE Visit My Youtube Channel |
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Dec 26 2009, 04:34 AM
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QUOTE (Pedja Simovic @ Dec 26 2009, 02:11 PM)  Zen cool solo sample Lets talk about your questions now...1. In order for you to compose something fast your ear needs to listen and play fast music. So you pretty much have to listen to shred type music to get some runs in your ears. It is entirely up to you who you prefer over who but the idea is to get as much as possible from your guitar heroes. I know I started learning Santana, then Slash followed by Gary Moore and Satriani, which later followed to Eric Johnson, Mike Stern, Pat Metheny and other non guitar related musicians. You can always play sequences (groupings of notes that move through the scale/mode/pentatonic) so that could be a good starting point as well. Hope that gives you some ideas man. That's the sad part .. I listen to metal mostly and most guitarists have fast licks, chops and shredding solo's. I still have to master those techniques though. I mostly cant figure out what they're playing but thats what I like 'listening' to .. In terms of solo artists, i've heard satriani the most and love his playing style. I hear people say that it's also based on one's lick vocabulary .. more licks one learns the better he can incorporate them in his playing style.. i guess i'll have to start learning some licks. STarting with sequences or the scale itself played runs of 3rd's of 5ths is a good idea, i'll try that. Thanks for that . + I also think in order to "think fast shreddy stuff" , i gotta change the backing to somethin more appropriate so it gives me suitable ideas for it. I will try it next time. QUOTE 2. I am hearing a lot of chord tones and available tensions in your solos. If you will have some extra time try to analyze what notes you played over each chord and you will see why it works Overall I am happy with what you did here. You also used drums and rhythm guitar. I think rhythm guitar could be more tighter and in sync with drum beat, otherwise very good work. If you are thinking of adding bass part, remember that ROOTS are always your best choice when playing bass. Occasionally you could throw in 3rd and/or 5th of the chord but that might be too crowded for specific style and tempo of music. Let me know if you need any more help man Thank you very much for your kind feedback. This is the first time i recorded a backing and tried to play a solo over it .. so yes, it will hopefully improve from here. I'll analyse the notes as well. Edit: Ive analysed the notes .. All of them are from the F major scale or the F key.. so it fits .. But I wanna learn where modes come into practice.. Each mode hasa different 'sound' from what Ive heard but we are playing the same notes in all modes , how is the sound going to be different? Does that mean to make this solo in true D Aeolian , i start my solo from the note D always ? Edit 2: I played the same progression in power chords and recorded a concept of a solo..Please see attached file.. It has timing and note faults everywhere but this is what I was speaking about .. Its an idea .. I wanna build on such a style.. I'm really enjoying this MTP
This post has been edited by zen: Dec 26 2009, 06:57 AM -------------------- "If the need is deep, you WILL find a way , if it isn't, you'll find some excuse"
Check out my Student Instructor Lesson on Metal Riffing HERE Visit My Youtube Channel |
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