Zen's January 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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Jan 3 2010, 10:29 PM
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Hello Zen,
We are continuing with our MTP in January where we left of in December. I hope you had good celebration for new years and extra couple days of, now its time to do some work. Your 1st assignment will be based on Triads lesson but this time you will do 2nd part of series. 1st assignment and REC : - Triads in C major scale part 3 - Record video of Triads in C major scale part 3 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. - When you are done with video, post it in REC part of forum for grading! Deadline for this assignment is January 10th. Let me know if you have any questions! Pedja |
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Jan 10 2010, 02:39 AM
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Pedja, I'm recording it today.. right on the deadline
-------------------- "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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Jan 10 2010, 03:37 AM
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Look forward to it Zen
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Jan 10 2010, 03:56 AM
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Here it is Pedja,
Ive submitted it for REC. This post has been edited by zen: Jan 10 2010, 06:33 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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Jan 10 2010, 11:26 AM
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Fantastic Zen !
I like that you changed the fingering for some chords to fit your own style like B diminished on string set 321 for example. New assignment coming tomorrow
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Jan 10 2010, 11:34 AM
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Thanks Pedja .. Actually I didnt change the fingering on purpose ... I just misread it
 ... the one in the gp file is easier .. i worked on this stretch for some time but its great now ... haha
-------------------- "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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Jan 10 2010, 12:49 PM
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Thats funny Zen
When I was transcribing the lesson I had doubts whether or not to put fingerings for that chord voicing. It shows that you can go around it either way 
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Jan 14 2010, 02:43 AM
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This is going to be OK as I only know what you've taught me so far
 -------------------- "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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Jan 16 2010, 02:17 AM
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1) Tell me everything you know about major scale. Construction, intervals, harmony and everything else you feel I need to know.
Major scales are constructed using the formula WWhWWWh. So if we want to find the notes of the C major scale, first we list all the notes as follows starting with the root C: C C# D D# E F F# G G# A A# B C then apply the WWHWWWH formula over it to get: C D E F G A B C We can apply this formula to get notes of any major scale. In terms of intervals, they are measured from the root and is the distance in notes away from it .. Major scales have major and perfect intervals for example C - D is a major 2nd C - E is a major 3rd C - F is a perfect 4th C - G is a perfect 5th C - A is a major 6th C - B is a major 7th C - C is an octave Chords can be derived from the major scales. In any major scale, Major chords are on I,IV,V scale degrees Minor chords are on II, III, VI scale degree Diminished chords are on VII scale degree Now lets harmonize the major scale. Major scale can be harmonized into 3 parts (triads) or 4 parts/notes 3 note harmonies are constructed using 1-3-5 notes of the scale. for example, we get C E G as 1 3 5 if we start at note C. This gives us the notes of the C Major chord which lies on the I scale degree. To get the next chord, we start at note D and use 1 3 5 again to get D F A, this gives us D"min" chord as it lies on the second scale degree. Maj and min applications for 3 part harmonies are as follows: maj,min,min,maj,maj,min,dim,maj Cmaj,Dmin,Emin,Fmaj,Gmaj,Amin,Bdim,Cmaj For 4 part harmonies, we use the same way but add a 7th to it. so 1-3-5-7. For example, we get C E G B to get Cmaj7 chord on the I scale degree and so on .. maj7,min7,min7,maj7,D7,min7,min7b5,maj7 Cmaj7,Dmin7,Emin7,Fmaj7,G7,Amin7,Bmin7b5,Cmaj7 Now to distinguish these chords in terms of 'sounds' or 'effects' they produce, diatonic substitutions come in handy. These are functions in a scale and are classified by tonic, subdominant and dominant (all produce different sounds). Tonic chords are on I, III , VI scale degree - Cmaj, Emin, Amin (these chords sound strong and complete as most of em have the root note, if not the 3rd and 5th note) Subdominant chords are on II & IV scale degrees - Dmin, Fmaj (Good for adding variations in songs, must have the 6th note. If 6th and 4th & root note are present, its the perfect subdominant chord) Dominant chords are on V & VII scale degrees - Gmaj, Bdim (these sound incomplete, unstable and tensed and want to resolve to tonic chords immediately ... good additions where fills are required and the song resolves back to the tonic chord.. Must contain the 4th note, 7th & 2nd notes are good additions) Playingwise, I can only play 3 notes per string major scale patterns (dont know how to connect them yet) but not the traditional patterns . 2) Tell me everything you know about cadences in major scale and its modes. Use C major scale for explanations. Modes in a major scale lie on different scale degrees: (we use C Major as example) I - Ionian - C Ionian II - Dorian - D Dorian III - Phrygian - E Phrygian IV - Lydian - F Lydian V - Mixolydian - G Mixolydian VI - Aeolian - A Aeolian VII - Locrian - B Locrian VIII - Ionian - C Ionian C Ionian means it has all the notes of the C major scale starting from note C. D Dorian means it has all the notes of the C major scale started from note D . and so on ... Why is D dorian different to C Ionian when it has exactly the same notes ?? Coz then it mixes with the backing chords, it produces different effects .. like mixing colors.. Scale degrees change as we move through modes.. We gone through the intervals of the C Ionian as: C - D is a major 2nd C - E is a major 3rd C - F is a perfect 4th C - G is a perfect 5th C - A is a major 6th C - B is a major 7th C - C is an octave for D dorian = D E F G A B C D D - E is major 2nd D - F is minor 3rd (flattened in comparison to major scale) D - G is perfect 4th D - A is perfect 5th D - B is major 6th D - C is minor 7th (flattened in comparison to major scale) D - D is octave So scale degree for D Dorian mode becomes I, II, bIII, IV, V, VI, bVII, VIII harmonizing it we get : Imin,IImin, bIIImaj,IVmaj,Vmin,VIdim,bVIImaj,VIIImin (i dont remember the all the modes and on which scale degrees are they flats or raised  .. i know i did it in the last assignment but dont remember on the top of the head but I've just explained the way I will find them out)Cadence are group of chords are define a given mode. So if we have the following chord progression: Dmin/ Cmaj/ Gmaj / Dmin / Fmaj/ Gmaj/ Fmaj/ Emin // we would know the key is C as we have F and G as majors , so IV & V they must be IV & V scale degrees. starting chord is D, D is dorian in C major. .. therefore D Dorian mode. Now we apply the scale degrees on that cadence to get: Imin / bVIImaj/IVmaj/ Imin/ bIIImaj/ IVmaj/bIIImaj/IImin // Playingwise, I only know the basic chord shapes, some open , some barr, and some from your triads lessons .. haven't played any 7th chords yet. 3) Tell me everything you know about major scale modes? Refer previous question.. If I have'nt included anything means that I don't know it 4) Tell me everything you know about modal harmony? ?? 5) Tell me everything you know about pentatonic scales? I just know how to play the 5 boxes patterns (minor pentatonics).. havent started learning how to connect them or the theory behind it. I just use it as a warmup exercise. 6) Tell me everything you know about chord tone and tension relationship with harmony ? not sure what this means or if i have covered it already above or not 7) Tell me everything you know about natural/harmonic/melodic minor scale harmony? I havent learnt or played minor scales yet but this what I "theoretically" know on the subject (not harmony) Natural Minor scales are constructed using the formula WHWWhWW. They have flattened 3rd, 6th & 7th (in comparison to the major scale) Harmonic minor has flattened 3rd & 6th (in comparison to the major scale) Melodic minor has flattened 3rd (in comparison to the major scale) For example: A major scale - A B C# D E F# G# A A natural minor- A B C D E F G A A Harmonic Minor- A B C D E F G# A A Melodic Minor - A B C D E F# G# A 8) Tell me everything you know about natural/harmonic/melodic minor modes and harmony? Fail
This post has been edited by zen: Jan 16 2010, 04:50 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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Jan 17 2010, 10:43 AM
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Did i pass ?
-------------------- "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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Jan 22 2010, 07:37 PM
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Zen here are your remaining assignments for January.
3rd assignment : - Read Superimposing with Minor Pentatonics post HERE - After reading the whole thing with related link posts, think about choosing one chord and one approach you will use for recording! 4th assignment : - After you have chosen your approach, record a backing track with that chord and on top of that record yourself soloing with 1 or all 3 minor pentatonics corresponding with that mode! Let me give you an example here. Lets say that you have chosen A minor as your chord. Now you also chose A minor to be treated as II (Dorian sounding). In that case you should play minor pentatonics from G major scale ( A , B and E minor pentatonics) over A min chord in the background. 4th assignment asks you only to pick 1 but it also allows you to use all 3 pentatonics if you want to. Backing track doesn't have to be anything fancy for this purpose. Just guitar playing the chord will do, if you want to add bass and drums to that to make it sound tighter go ahead! Deadline for these assignments is 31st of January! Let me know if you have any questions ! Pedja |
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Jan 25 2010, 01:10 AM
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I have never ever understood a theory post in one attempt/ reading before. But this time, I think i get it and it's all thanks to you my friend. Now my challenege (as always) is implementing it. Since I metioned that I'm still stuck in the pentatonic boxes.
My first question is .. in the backing track, should i just keep repeating the same chord? Wouldnt it be weird? Or is that the purpose, to have a constant ring in the background and experiment with the modes (sounds over it)? p.s - I still get a little stuck in calculating intervals etc .. but working on it. This post has been edited by zen: Jan 25 2010, 01:21 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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Jan 26 2010, 09:31 AM
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Pedja.... can we use a few notes here n there that are outside the minor pentatonic too please .. ? This exercise is trance-like .. the constant hum of the background chord creates a magical resonance
..
-------------------- "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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Jan 26 2010, 12:58 PM
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Sure Zen , go ahead and show me what you can do
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Jan 27 2010, 11:42 AM
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Thanks Pedja..
Just to confirm if I've got the concept down ... requesting you to please validate this: I've chosen B minor (as discussed in the chatroom the other day  ) .. Backing track will play that chord constantly. Superimpose and make it sound Dorian - solo in C#min pentatonic or F#min pentatonic. (A major scale) Superimpose and make it sound Aeolian - solo in Emin pentatonic or F#min pentatonic. (D major scale) Superimpose and make it sound Phrygian - solo in Amin pentatonic or Emin pentatonic. (G major scale) I might only choose one pentatonic scale to solo as I'm still figuring out moving between boxes , hehe If the above is correct, and then I choose F#min pentatonic to solo over B minor chord ... will the sound be Dorian or Aeolian? I'm gonna create some serious 'tension' in this solo -------------------- "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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Jan 28 2010, 11:08 AM
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Thanks man.
Will F#min pentatonic (on B min) sound Dorian or Aeolian ?? since it's in both D major and A major scale. By the way, I like this assignment so much that I've decided to do it properly with proper drumtrack, rhythm and about 2 min of solo that may just end up into my FIRST ever song ...(wishful thinking).. So I have started laying down and composing the backing track. Don't worry, I'll have it posted before the deadline .. i think I may have composed something that i cannot play (at the bpm i want to) .. But it will be a good learning curve. I am trying my best.
This post has been edited by zen: Jan 28 2010, 11:09 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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