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GMC Forum _ Cosmin Lupu _ Chris S. Guitar Development Lab

Posted by: Cosmin Lupu Oct 4 2014, 07:21 AM

Hello Chris! This here is your thread! Since we already discussed and know what you need to be working on, I will only ask you to keep the communication in here, for the sake of having things as centralized as possible!

Thank you and see you around!

Cosmin

Posted by: Chris S. Oct 4 2014, 06:08 PM

Hallo Cosmin,

So as basic as the first lesson you gave me is, I quickly realized that after years of not utilizing both a metronome and the use of backing tracks my timing is horrible!!! dry.gif

I will definitely have to begin using these as much as possible - they are after all, valuable tools.

So I recorded my first take of the lesson, after one day of practice:



It's not perfect (definitely not REC worthy), I know I still have to work on my timing but I was wondering if you noticed anything else?

Also, I thought if I cranked my amp that the audio quality would turn out okay, but I was wrong blink.gif

I'm thinking I would get a better result if I use headphones, load the backing track into REAPER (my recording software), and instead of using my amp, use my Line 6 UX1 and record right over the backing track in REAPER - do you think this would work out a lot better?

Thanks for being such a cool dude! cool.gif

Posted by: Cosmin Lupu Oct 5 2014, 12:47 PM

Hey mate smile.gif if someone would listen to you speak about yourself and not have this track alongside to listen, they would think you are THAT horrible laugh.gif But you aren't bad at all!!

The idea here is that you need to focus on the triplet part - it should sound more even in respect to note lengths and by that I mean that the triplets don't sound even among themselves, some notes feeling a bit shaky. Then, the 16th notes part has a little issue in respect to missing the last notes in each group of 4 16th notes wink.gif These are all things that can be solved with more slow practice over the slower backing tracks, so no worries, you are on the good path!

About the recording question - you need to try that definitely as it's how it's usually done smile.gif I know that the UX works with Gearbox and I know that you can build great tones with that software!

Let's see the improved version then and we'll take it from there, ok?

Cosmin

Posted by: Chris S. Oct 5 2014, 03:39 PM

Thanks for the feedback!

I shall focus on those elements over the next few days and record an update by the end of the week ph34r.gif

Posted by: Cosmin Lupu Oct 6 2014, 07:50 AM

Hey mate! It's a pleasure, as it seems to me you are a dedicated person and I always like working with folks such as yourself wink.gif

Let's see the updates then and we'll take it from there - deal?

Posted by: Chris S. Oct 6 2014, 08:10 PM

So I've been practicing and I feel like there is a slight improvement over my last video:



I focused on making sure I was picking all of the 16th notes in the last passage and not skipping any, and I feel like I've done a better job with that.

However, I'm not sure if the triplet part is any better? dry.gif

I've worked my way up to 130bpm and the triplet part sounds much better but when I slow it down to 120bpm and record over the backing track I don't feel like I've made any improvements... I don't know if it's because I'm just not used to using a backing track or if something else is the problem - any pointers?

P.S. Sorry for the video/audio being slightly out of sync, I don't like the new version of Windows Movie Maker and I was having a really hard time trying to sync them properly unsure.gif

P.S.S. You da man!

Posted by: Cosmin Lupu Oct 7 2014, 02:19 PM

Hey buddy!

Thank you for the video! There is improvement in the 16th notes section for certain! I noticed that you played each and every note this time and the balance is pretty ok.

Now, for the beginning of the piece, it takes you a few seconds to get the timing right. I think you should adopt a more natural playing position. Sitting on your bed is comfy but not productive wink.gif

Sit on a chair and try to tap your foot to the groove before it begins so that you will allow your body to feel the rhythm before your hands start to play - that will improve timing and feeling as well.

As for the triplets - ternary subdivisions are not so natural forthe human brain, so you have to give them a bit of time and focus on counting 1,2,3, 1,2,3 ... and so on over each beat, because when you play triplets, you are cramming three equal notes in duration over each beat in the bar - correct? Try to feel this happening and things will even out wink.gif What do you think?

Posted by: Chris S. Oct 7 2014, 05:52 PM

I usually sit on the edge of my bed, but crossed legged on the bed made it a little easier for recording purposes - but now that you mentioned it, I can see how this would be impractical, considering I never even use the position laugh.gif

There is a comfy desk chair that slowly became my gaming chair because I would always bang my guitar body off one of the arms - so I just removed both arms of the chair and now I will use this from now on! cool.gif

And for the lesson I guess this take was 1 step forward 2 steps back, but since I will be using the chair I can use my foot for at least the first few bars just to get the feeling for the flow and see how that works - and hopefully that will solve the timing issue from the beginning.

And for the triplets... practice, practice, practice - I'm confident I can improve on it over the next few days!

I shall post a video update on Friday, that gives me 3 1/2, 4 days of solid practice to hopefully make some big improvements! cool.gif





Posted by: Cosmin Lupu Oct 8 2014, 03:23 PM

Hehe, self disciplining is always a good choice wink.gif

Now, tapping the foot to whatever you will be playing, is one of the best things that you can do for yourself - try it and make a good habit out of it. It'll feel a bit difficult at first, but then you will slowly get used to it.

About the triplets, yes, try practicing with the original recording and with the backing tracks as well, but also, try to count as I suggested - it's very important to internalize the balance of the triplet. Just tap your foot and count 1,2,3 on each beat executed by the foot. Try this drill without playing, so that you may get used to it and then try it while rehearsing the isolated section with the triplets. Deal?

Posted by: Chris S. Oct 8 2014, 07:47 PM

So I tried the foot tapping and it has helped slightly, but like most important things (metronome, backing tracks, etc) I have failed to use it/them until now so it will take a little time getting used to you like you said.

This might seem like a silly question but my foot gets really tired after a few measures, is this because I'm doing it wrong or because I'm not used to doing it?

And on a side note, as I mentioned earlier I took the arms off my computer chair but what I failed to realized is that the arms were what held the back on so as soon as I plopped my tookus down the back fell off laugh.gif tongue.gif

Now I have myself a really comfy stool!!!

cool.gif

EDIT:

On another side note, I created a basic drum loop to practice my lesson and when I was done I came up with this quick using the same notes from the lesson:

https://soundcloud.com/stortzmusic/riffin

After 50s it was kinda just improv riffin so the picking is pretty sloppy. I was just wondering what you think overall?

Thanks!

Posted by: Cosmin Lupu Oct 9 2014, 08:17 PM

Hey mate smile.gif the foot tapping will come to you in time and it will feel more and more natural by the day, once you learn how to keep your foot relaxed - don't lift too high and don't tense. Take short breaks and things will be fine wink.gif
About the recording - I like the idea and the riff can be developed further, but please watch out for the following details:

Vibrato - 0:11 - it should be wider, more rhythmic and in pitch
Hand synch - from 0:52 onwards, there are slight issues with syncing your left and right hands - I think that slowing this down a bit and making sure you can play in perfect synch with the drums would benefit the piece nicely wink.gif Let me know what your thoughts are, ok?

Posted by: Chris S. Oct 9 2014, 08:55 PM

Thanks for the tips! My psychic powers see me practicing some vibrato lessons in the future, perhaps? wink.gif

So I've practiced my butt off today using my foot, backing track, guitar pro file, you name it!

(Guest Appearance by Willow the Exotic Shorthair)


I hope I pass! I'm dying to get it good enough for REC! cool.gif

EDIT: I'd also like to apologize, I don't mean to bombard you with a new video every other day but as I mentioned in our messages I'm not really comfortable playing in front of people and as soon as I turn the camera on I get really nervous and start to choke under the pressure.

I feel like if I make an effort to film myself as much as possible I'll start to get more comfortable and one day it'll be like the camera isn't even there! Plus, it's extra practice for syncing my video/audio wacko.gif

Posted by: Cosmin Lupu Oct 10 2014, 08:19 AM

Hey buddy, no worries about any bombardment biggrin.gif

The 'REC fever' will disappear with time, don't worry wink.gif The idea is - the more you do it, the better you will become!

Now, I watched the video and I must say that you move nicely with the adjustments - the triplet section could use a bit more work, as it is a tiny bit rushed, but otherwise, I can say everything flows nicely. We can try and experiment and place this take in the REC zone, to see what the other guys have to say - what do you think?

Posted by: Chris S. Oct 10 2014, 06:16 PM

Thanks Cosmin! I'm glad I've taken a few steps forward since my last take (it's a good feeling) biggrin.gif

That triplet part is going to be the death of me, though tongue.gif
But I just ask myself: "What would Cosmin do?" and the answer would be NAIL IT! So I'm just gonna keep practicing until I can do the same.

I'll submit the REC take like you said just to see what everyone else thinks as well cool.gif

Oh, and I've been reading and watching videos on beginner music theory and some things are finally starting to sink in, maybe I can post any questions about it here when I get stumped?

So far:

1.) I know where all the E A and D notes are (although sometimes it takes me a few seconds to find them) on the fretboard - and I can use those notes to find where a few others are (B would be a whole step up from any A, a G would be a whole step down from any A, etc.)
2.) I know the formula for a major scale W W H W W W H
3.) I know that each note in that scale gets a roman numeral (scale degree)
4.) I understand how to get a major, minor and diminished triad (mostly) - I III V, I bIII, V & I bIII bV
5.) I get the concept of the circle of 4ths/5ths but I have to do some more research because I did get a little lost
6.) I understand how to form a Chord Scale within the major scale but I haven't started applying it because I still have to do a little more research to get comfortable with it

I've never been so motivated to become a better guitarist (musically & technically) and I owe it all to you! Thanks for the continued support. laugh.gif


Posted by: Cosmin Lupu Oct 12 2014, 11:43 AM

Hey buddy!

Thank you for your kind thoughs and for the smile you just put on my face smile.gif I'm in a coffee shop in Budapest, after seeing Tesseract and Animals as Leaders last evening in a club here and I am full of musical energy! Keep tackling those triplets focusing on counting and seeing that each group of three notes fits equally over each beat, ok?

Now, you know pretty much the important elements in what regards the major scale and I totally recommend the next series of lessons, in order to get you acquainted on building triads and learning the notes on the neck with this occasion - please take a look on these lessons and see how the theoretical notions that you know apply in them wink.gif What say you?

http://www.guitarmasterclass.net/ls/Triads_in_Major_Scale_Series_Part_1/
http://www.guitarmasterclass.net/ls/Triads_in_Major_Scale_Series_Part_2/
http://www.guitarmasterclass.net/ls/Triads_in_Major_Scale_Series_Part_3/

Posted by: Chris S. Oct 12 2014, 04:48 PM

Sounds good Cosmin!

I've been watching some basic videos on the web but I didn't really know how to practice them on the guitar and the lessons you provided are perfect!

Do you think that when I finish one video and the take becomes good I should try to apply to it a different key? Like once C major sounds good I should try to apply the video to D major, etc. ?

Thanks biggrin.gif

EDIT:

After giving the first part of the lesson a go - boy is my fretting hand tired! I've only ever really dabbled around with basic open chords so forming these triads and moving them up the neck is a killer workout - I'm lovin' it!

So far the only real problem I've run into is when I start to move the triads up the neck I find that I'm slightly bending a string or two from time to time. Usually it's not enough for the triad to ring out of tune but sometimes it is.

Any pointers? biggrin.gif

Posted by: Cosmin Lupu Oct 13 2014, 08:20 AM

Hey mate! Great to hear you are digging these lessons biggrin.gif Now, applying the concepts to other keys is a perfect way to exercise the concept and to become familiar and natural with using it, so yes, by all means, do that!

Now, about your issue - it is only normal, because as long as you aren't aquainted to the forms, your brain will feel insecure and it will urge you to rush into changing them to stay on time. That's why your fingers are pressing hard on the strings and you have no control. Exercise each change slowly, by making sure that you can place all your fingers into the desired shape at once, just like a stamp, not one at a time wink.gif Practice this overthe metronome for each change and you will feel much more confident when you will play them all over the backing track then. Let me know what your thoughts are and we'll take it from there, deal?

QUOTE (Chris S. @ Oct 12 2014, 03:48 PM) *
Sounds good Cosmin!

I've been watching some basic videos on the web but I didn't really know how to practice them on the guitar and the lessons you provided are perfect!

Do you think that when I finish one video and the take becomes good I should try to apply to it a different key? Like once C major sounds good I should try to apply the video to D major, etc. ?

Thanks biggrin.gif

EDIT:

After giving the first part of the lesson a go - boy is my fretting hand tired! I've only ever really dabbled around with basic open chords so forming these triads and moving them up the neck is a killer workout - I'm lovin' it!

So far the only real problem I've run into is when I start to move the triads up the neck I find that I'm slightly bending a string or two from time to time. Usually it's not enough for the triad to ring out of tune but sometimes it is.

Any pointers? biggrin.gif


Posted by: Chris S. Oct 13 2014, 10:34 PM

Alright, will do! smile.gif

I think I'm also going to play them as arpeggios that way instead of just knowing the chord name I'll also become familiar with the note names individually which can maybe help me learn where all the notes are on the fret board faster?

And not to go off topic, but I saw your youtube videos of your sword and sword strike - badass! cool.gif

Are you a self taught? I knew you were an awesome guitarist but I didn't know you were a dragon slayer in your off days! wink.gif


Posted by: Cosmin Lupu Oct 14 2014, 02:17 PM

Hey mate! That is once again a very good choice wink.gif Try to phrase in 16th notes, 8th notes or even triplets when arpeggiating - you will not only develop your picking technique, but as you said, becoming aware of WHAT NOTES you play (their names, not numbers as in tabs) and THEIR POSITION on the neck, is pretty much the most natural and organic way to learn your fretboard in the standard tuning. When changing tunings, well, that's a different story alltogether biggrin.gif But the most important step is to learn the neck in standard tuning and then, you will have the necessary experience to make a fluid transition to other tunings as well wink.gif

About the sword.. well, I am passionate Japanese classical swordsmanship practitioner - that is called Kenjutsu and that there was my actual first cut smile.gif I practice daily as it calms my mind, sharpens my spirit and it has taught me a lot of great things about life so far. I am not self taught, as I go twice a week at a fencing school where I study Taisha Ryu and Niten Ichi Ryu - two very old Japanese fencing traditions biggrin.gif

Posted by: Chris S. Oct 14 2014, 07:26 PM

So I've come to the conclusion that this one is going to take me a while tongue.gif
I haven't really ever formed chords up and down the neck so I'm gonna have to take my time making sure everything is fluent and my notes are ringing through clearly.

However, I did run across a new problem relating to my guitar. I recently put a new bridge on my strat (it has a super fat trem block for more sustain) however the saddles were set up horribly!

I set most of them up however the low e string won't budge. When I play the very last C triad on the 4th 5th and 6th strings it sounds horrible and when I clipped my tuner on the C note on the low E string is halfway between C and C#.

I moved the saddle as close as it can go towards the fretboard but it changed nothing mad.gif
Any suggestions?

Also,

Since this lesson is going to take me a while I started working on this with any spare time I have when I'm finished with the triad lesson:

http://www.guitarmasterclass.net/ls/Altern...king-Workout-2/

Gab recommended it in my REC take. It's going a long pretty well, so you might see a video update for this one before the triad one tongue.gif

Posted by: Cosmin Lupu Oct 15 2014, 07:23 AM

Hey buddy smile.gif Take your time with the triads until the shifting feels natural and as effortless as possible - you'll see it'll pay of big time on the long run wink.gif About the guitar setup, might be you have tweaked with the intonation without wanting to - I am not really knowledgeable with this stuff, as I have a luthier that takes care of my guitars. I have a saying - each person knows how to do something - let them do it and you focus on doing your own thing wink.gif So my best advice here would be:

- post this in the Gear section and maybe someone here who knows the problem can hint a solution
- if nothing comes along, go see a luthier - they know EXACTLY what to do smile.gif

About the new lesson, if you have enough time and if you like it, why not? It's a very fine choice and I would be delighted to see a video with your progress on the lesson wink.gif

Let's keep rocking!

Posted by: Chris S. Oct 15 2014, 08:28 PM

I'm slowly getting better with my triads, here and there my fingers will be a little too close to the fret and it'll buzz or the fingers on my picking hand will make a mistake but overall it's slowly getting better!

Like I said I've also been practicing them as arpeggios and I came up with this little rhythm piece. It's pouring rain and the power went out on my whole street so I tried to use the triads to get a feel for that mood.

I came up with it quick and wanted to record it so I don't forget it, so it's not perfect (some minor mistakes and the timing is a bit off).
It's only a simple little piece but it excites me because before you started to help me I wouldn't have been able to even come up with something like it! biggrin.gif

I attached the file and was wondering what you're thoughts were? I can't wait until I can be like you and hum a melody in my head and be able to create a solo over it!

Thanks!! laugh.gif

EDIT: I know you have experience with baritones and I was wondering what the benefits are of having one? I found a baritone strat copy with 24 frets! From what I understand you can use lower tunings? Are there any other pros/cons?

 Rain.mp3 ( 506.53K ) : 134
 

Posted by: Cosmin Lupu Oct 16 2014, 09:16 AM

Hey mate! I am very glad to hear that you are slowly opening up biggrin.gif Just keep going and you'll get to discover amazing things about music and yourself as well wink.gif

The piece sounds very nice and it has a certain vintage feel - it really makes me think about rain, as it resembles one of those evergreen songs that I used to listen as a kid, when I was sad about not being close to a girl I really, really liked smile.gif Thank you for the memory!

Keep practicing with chords and arpeggios as well and you'll nail the lessons - let me know when you can show me a recording, ok?

About the baritone - yes indeed, I own and use a PRS SE Mike Mushok with my band and I must say it's an extraordinary instrument. Indeed, it is a guitar that was created for lower tunings without needing extra strings. I keep it tuned to drop A and more recently B standard with the thickest string dropped to G - that's how we recorded our single released earlier this year - Bloodstream.

The cons, if you may call them like that, are that you can't solo in standard tuning, as the tuning is different - this is a pro feature of the 7 or 8 string - you have low register and normal tuning all in one, but since we don't solo or use standard key for our music, the baritone is the perfect weapon smile.gif Please let me know if there's anything else I can help with in respect to this, ok?

Posted by: Chris S. Oct 16 2014, 06:31 PM

Thanks for the kind words my friend! I wouldn't have expected something I made to trigger a memory, that's such an awesome feeling! biggrin.gif

My fingers get really cramped in the higher frets and that's where most of my mistakes are, along with my picking hand not striking each string or each triad with a consistent attack. Other than that it's basically the big changes from moving from the last triad from one set of strings to the first triad on the next set of strings.

I'm practicing at a slow 80bpm - I'm hoping I get it better by Monday or Tuesday so I can post a take because right now it's pretty sloppy tongue.gif
It seems a little bit easier when I use a pick that's cheating since the video lesson calls for finger picking rolleyes.gif

I'll keep you posted smile.gif

EDIT:

So you're not entirely in the dark I thought I would do a quick take, but silly me rendered the backing track at 100bpm instead of 80bpm but like I always say "When life gives you backing tracks 20bpm faster than what you're used to, you roll with it!" - Actually, I have never said that before tongue.gif



But yeah, I went with it so you can get an idea of where I am at. It needs a lot of work, but trust me when I say it's A LOT better than it was a few days ago!

Whenever I use a clean amp in POD Farm and record into Reaper the volume is so wimpy. I cranked the volume on the amp in POD Farm and I boosted the gain of the track in Reaper but as you can hear it's still really quiet.

If I keep boosting the gain the track is going to start getting all fuzzy and distorted, do you know of another way I can make it louder? I thought about boosting the gain of the amp but then the tone becomes overdriven instead of clean dry.gif

Thanks man!


Posted by: Chris S. Oct 17 2014, 05:52 AM

Also,

I don't know if you saw my thread in the Gear section but my soul mate bought me a new axe!

Thought I'd do a little free-form blues improv:

https://soundcloud.com/stortzmusic/freeform-blues-improv

I feel like if I write a little riff or lick once a day it'll help me in the long wrong with my songwriting?

biggrin.gif

Posted by: Cosmin Lupu Oct 17 2014, 09:27 AM

Hey buddy! Thank you for the video - it's clear that you are on the good path, but let's see how we can improve wink.gif Out of what I am noticing:

- timing could be improved in respect to landing the chords on the beat
- you need to relax your left hand in order to make the chord sound natural and for all the notes to be heard. Sometimes, you tend to push too hard on the string and that can be heard in the pitch of some notes smile.gif
- reduce the tempo when practicing, in order to manage to play in good timing, stay relaxed and land the chords with all the notes ringing out clean and clear

Do we have a deal, young man? biggrin.gif

About the volume - maybe it's the input level that needs to be raised - I am guessing here.. Todd knows a lot of stuff about Reaper, so I guess that the best thing would be to post a question on the matter in the Practice room.

QUOTE (Chris S. @ Oct 16 2014, 05:31 PM) *
Thanks for the kind words my friend! I wouldn't have expected something I made to trigger a memory, that's such an awesome feeling! biggrin.gif

My fingers get really cramped in the higher frets and that's where most of my mistakes are, along with my picking hand not striking each string or each triad with a consistent attack. Other than that it's basically the big changes from moving from the last triad from one set of strings to the first triad on the next set of strings.

I'm practicing at a slow 80bpm - I'm hoping I get it better by Monday or Tuesday so I can post a take because right now it's pretty sloppy tongue.gif
It seems a little bit easier when I use a pick that's cheating since the video lesson calls for finger picking rolleyes.gif

I'll keep you posted smile.gif

EDIT:

So you're not entirely in the dark I thought I would do a quick take, but silly me rendered the backing track at 100bpm instead of 80bpm but like I always say "When life gives you backing tracks 20bpm faster than what you're used to, you roll with it!" - Actually, I have never said that before tongue.gif



But yeah, I went with it so you can get an idea of where I am at. It needs a lot of work, but trust me when I say it's A LOT better than it was a few days ago!

Whenever I use a clean amp in POD Farm and record into Reaper the volume is so wimpy. I cranked the volume on the amp in POD Farm and I boosted the gain of the track in Reaper but as you can hear it's still really quiet.

If I keep boosting the gain the track is going to start getting all fuzzy and distorted, do you know of another way I can make it louder? I thought about boosting the gain of the amp but then the tone becomes overdriven instead of clean dry.gif

Thanks man!



QUOTE (Chris S. @ Oct 17 2014, 04:52 AM) *
Also,

I don't know if you saw my thread in the Gear section but my soul mate bought me a new axe!

Thought I'd do a little free-form blues improv:

https://soundcloud.com/stortzmusic/freeform-blues-improv

I feel like if I write a little riff or lick once a day it'll help me in the long wrong with my songwriting?

biggrin.gif


Hey again mate - that's a very good idea and I totally support it wink.gif Now about this one - it has potential, but you need to take into account a few things:

- groove - there's no rhythm emanating from the playing - if you decide on playing with the guitar only, you need to play very groovy. Can you take this idea and establish a groove with it? By that, I mean, playing the lead ideas in a rhythmic fashion and then, once a groove stays in the mind of the listener, you can develop the lead further on smile.gif

- articulation - you need to bend and vibrate a bit smoother, but this is an aspect which we will develop together in our further musical endeavors wink.gif

Keep going with this!

Posted by: Chris S. Oct 17 2014, 05:49 PM

QUOTE
- groove - there's no rhythm emanating from the playing - if you decide on playing with the guitar only, you need to play very groovy. Can you take this idea and establish a groove with it? By that, I mean, playing the lead ideas in a rhythmic fashion and then, once a groove stays in the mind of the listener, you can develop the lead further on


I'm a little confused in regards to groove sad.gif

So if it's guitar only do I make a rhythm guitar in my head and try to play a long - so that no one can hear the rhythm but me, but they can feel it through what I'm playing?

Do you know any examples on youtube or anything where it's just the lead guitar - so I can listen and get a better understanding?

QUOTE
- timing could be improved in respect to landing the chords on the beat
- you need to relax your left hand in order to make the chord sound natural and for all the notes to be heard. Sometimes, you tend to push too hard on the string and that can be heard in the pitch of some notes
- reduce the tempo when practicing, in order to manage to play in good timing, stay relaxed and land the chords with all the notes ringing out clean and clear


I will definitely focus on those aspects!

I agree, a lot of the triads that are an awkward positioning for my fingers I tend to really push down really hard causing some pitch issues. And slow and steady wins the race! So I will lower the tempo and work on landing the chords on the beat biggrin.gif

ALSO:

One more question about baritones: You said that you can still play a baritone in standard tuning, or would there be too much string tension?

I'm a hardcore strat guy but I hate how it's really awkward to play the higher frets, so when I saw the baritone that's 24 frets I know it would be a lot easier since the cutaways in the body are deeper.

It probably would be a waste to get a baritone and never play it in a lower tuning, though tongue.gif

Posted by: Cosmin Lupu Oct 18 2014, 02:08 PM

QUOTE (Chris S. @ Oct 17 2014, 04:49 PM) *
So if it's guitar only do I make a rhythm guitar in my head and try to play a long - so that no one can hear the rhythm but me, but they can feel it through what I'm playing?


EXACTLY! Nailed it like a pro wink.gif A good example.... hmmm, lemme see - this theme, it's the first thing that popped to my mind smile.gif Once the groove was established, you can build a steady improv following the groove - that is usually done, by slowly modiffying the initial groove by adding and substracting notes, so that you may obtain something that retains the groove, has something of the original theme and is yet different wink.gif It's one technique!



Slow is the way to go - you should definitely aim for control here and not speed - so focus on nailing the changes and playing the positions as clean as possible and only then, speeding up towards the original speed and making sure you can keep the same relaxed spirit smile.gif

About the baritone - mate, a baritone is meant to be played low - I mean, there is no sense in having one if you want to keep it into a normal tuning wink.gif I for one, have never played anything else but band related stuff, which is pretty low - drop A or a hybrid between B standard and the thickest string detuned to G. But who knows what one can discover? I am not to one to bash anyone for using a certain instrument or device unconventionally, so let me know if you decide to get one anyway wink.gif

Posted by: Chris S. Oct 19 2014, 05:34 PM

I had to work mandatory overtime this weekend so I was only able to practice about 20 minutes on Friday and Saturday mad.gif

But I'm back to 1 hour of practice each day again and can make up for the lost practice time on Tuesday and Wednesday when I'm off biggrin.gif

I slowed it back down to 80bpm and am working on getting everything clean. The new guitar my girlfriend bought me has slightly wider fret spacing than what I'm used to so I'm practicing on this guitar, my Strat and my LP copy which all have different style necks, neck joints and fret spacing - I don't want to just be able to play it on one guitar but any guitar I pick up cool.gif

EDIT: Also, I just saw your post in the Chill Out section from a few weeks ago about the photo shoot and upcoming goodness with PRS and I just wanted to say super congratulations!!!

Even with everything going on right now, the fact that you still take the time to come on and help all of us out means a whole lot! We couldn't do it without you, my friend biggrin.gif


Posted by: Cosmin Lupu Oct 20 2014, 11:51 AM

Great approach, man! Like a pro! biggrin.gif And thank you for your kind thoughts - I am trying not to forget where I started and if I can help out, I am gladly doing it in the time that I can offer wink.gif

Keep rocking - umm errh, chording biggrin.gif and let me know how it goes, ok?

Posted by: Chris S. Oct 21 2014, 04:04 AM

I've isolated the chord changes that are causing me problems and I'm going to spend the week improving them. When I feel confident with them I shall post a take at 80 bpm, and then if all is well I'll work on increasing the speed cool.gif

I've also been trying to work on my grooooooooveeee wink.gif

I came up with a little pentatonic riff that reminded me of a spy move like James Bond and I thought I would try to make it have some groove like you talked about:

https://soundcloud.com/stortzmusic/spy-groove-snippet

Is this a better concept of groove?

Also,

I've really been trying to break down the triad lesson and take as much information from it as possible and I came across a question that I was hoping you could answer?

So all the triads in the lesson make up the C Major scale, and I made that little song on the rainy day that is in the key of C.

Now the chord progression goes C Am Dm G

My question is, if the progression starts with a different chord other than C, would it still be in the key of C?

Like if the progression was Am Dm Em G - all those triads are in the C Major scale but would you still be in the key of C and use the C Major scale or would it be in a different key and with a different scale?

Sorry if I didn't explain that well blink.gif

Posted by: Cosmin Lupu Oct 21 2014, 10:18 AM

Hey Chris!!

Definitely!! You made me nod my head biggrin.gif The first part is very groovy and well interpreted, but the second half of the theme could have a little bit more confidence - from 0:10 onward, you need to play that accentuated chords a bit more firmly, as it weakens up a bit.

But you, my friend, understood the concept smile.gif Good goin! Try to implement the idea of grooving with everything you create and it will only get better!

Please proceed as you stated with the lesson and when you feel like you are ready with the 80BPM take, show me a recording and we'll take it from there on smile.gif

I understood your question perfectly - and it is a very good one indeed! The idea here is that you stay in the same key for all the progressions you mentioned, but each progression can be related to a different mode, which can be derived from that specific key. For instance:

C Am Dm G is a major progression related to the Ionian mode - the C major scale while the Am Dm Em G is an A Aeolian mode or natural minor scale, if you want to call it like that. We need to delve into modal theory a bit, so that you may understand these ideas better. Having a good grasp on harmonizing the major scale with triads will allow you to juggle with modal progressions as well wink.gif

Have you read about harmonizing so far - I mean aside what the theoretical part of the lessons you are working on right now, mentioned?


QUOTE (Chris S. @ Oct 21 2014, 03:04 AM) *
I've isolated the chord changes that are causing me problems and I'm going to spend the week improving them. When I feel confident with them I shall post a take at 80 bpm, and then if all is well I'll work on increasing the speed cool.gif

I've also been trying to work on my grooooooooveeee wink.gif

I came up with a little pentatonic riff that reminded me of a spy move like James Bond and I thought I would try to make it have some groove like you talked about:

https://soundcloud.com/stortzmusic/spy-groove-snippet

Is this a better concept of groove?

Also,

I've really been trying to break down the triad lesson and take as much information from it as possible and I came across a question that I was hoping you could answer?

So all the triads in the lesson make up the C Major scale, and I made that little song on the rainy day that is in the key of C.

Now the chord progression goes C Am Dm G

My question is, if the progression starts with a different chord other than C, would it still be in the key of C?

Like if the progression was Am Dm Em G - all those triads are in the C Major scale but would you still be in the key of C and use the C Major scale or would it be in a different key and with a different scale?

Sorry if I didn't explain that well blink.gif


Posted by: Chris S. Oct 21 2014, 07:55 PM

Thanks Cosmin!

I feel like I'm starting to understand groove a little better but with slower more emotional songs I don't really know how to develop or feel the groove.

For example, that little spy riff sounds upbeat, it's a little on the fast side so I can nod my head and feel the groove kind of like a song that you would dance to.

However, I listened to your Sad Theme in G Minor (which is an absolutely fantastic song by the way, I can only hope to write something half as good as that one day) and since it's not a fast or upbeat song I can't really determine the groove.

Do you have any advice how to feel a groove on a slower emotional song such as the one you wrote?

Also:

I know what harmonies sound like, I love that sound like Iron Maiden and Avenged Sevenfold, but I don't actually know how to harmonize or anything.

But I did pick up this at my local bookstore today - and it even has a PRS on the cover wink.gif (at least I think it is one):



Part two seems to talk about what you mentioned:

Part II:

-Harmonzing the Major Scale to Form Triads and Chords
-Forming Chord Shapes with the CAGED System
-Adding Chord Tones and Extensions to Chords

Part III goes to talk about modes but I think I'm going to tackle Part II first. cool.gif

So I'm going to be a little bookworm and do some reading and see if I can get a better grasp of the concepts you talked about and let you know how it goes laugh.gif



Posted by: Cosmin Lupu Oct 22 2014, 08:19 AM

Hey lil' buddy! biggrin.gif It is indeed a PRS - those bird inlays are unmistakeable wink.gif

So let's take things one at a time - first things first, thank you for your kind thoughts on my composition - it has a very deep meaning for me. One thing that you need to know, is that emotional music needs to have a real basis. I mean, whenever I manage to put my feelings into music, I get something genuinely true and beautiful. But that doesn't occur easily and it doesn't come to me everyday. It hurts most of the times, because somehow, it seems that the best songs I have written so far are pretty darn sad and it has to hurt in order for something worthy of recording to come out smile.gif But hey, that's what happens in my case - it doesn't have to be the same with everyone.

In order to feel the groove, you need to be able to have a good grasp on rhythmic subdivisions and on groove in general. It's something that comes with experience and in order to get more and more into it, we can work on similar pieces found in GMC lessons and then, based on what you have learned and synthesized out of them, you will be able to build your own ideas. I also have this little trick here: http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=41914

If you are able to play ANYTHING using those backing tracks in there, you will become the master of rhythm and groove smile.gif Read through a bit and let me know what you think about the backing tracks wink.gif

Regarding the book - it can help of course - we have all those concepts written in the Theory section here in the forum so let me know if everything is easy to understand from the book and based on your newly acquired knowledge, we will add some more and develop things.

Let the questions pour! smile.gif

Posted by: Chris S. Oct 22 2014, 08:08 PM

Taking bars out of backing tracks at random times, YOU MONSTER!!! laugh.gif

I love the concept actually, but my problem is that I can keep time pretty well if its consistent note values - like all triplets, all quarter notes, all 8 notes and so on - but to actually solo over a backing track where all the notes are different values plus there is rests, I goof up a lot sad.gif

So far, I'm reading through part one of the book because it focuses on learning where all the notes are. I've been trying to just memorize where every single note is but the book says a great way to do it is learn all the natural notes on the 5th and 6th string and with that you can use the octaves to find out where those notes are on the rest of the fretboard, and if you need a sharp or flat it's only a semitone away. I've been applying these concepts and it's going by pretty slow but I know it will come with time.

Also:

I've been practicing my butt off with the triad lesson and I thought I would surprise you with another take at 120bpm instead of 80bpm!

I've been playing along to the original video, but the backing track by itself is a little hard for me to follow along with because I'm used to drum beats that are simple like 1 , 2, 3, 4 kind of like a metronome so this is very different for me but overall I feel like I have come a long way since my last take - what do you think?

https://soundcloud.com/stortzmusic/major-triads-lesson-120bpm-take-two

I was playing at 80bpm and was getting so bored so I started playing the piece in quarter notes instead of half notes and challenged myself to work through it and I feel like it has helped me improve my changes since the last take.

Stay sharp, my friend!

P.S. I'll be waiting for the PRS Awesome Sauce 3000 - the name of your signature guitar that PRS better make tongue.gif cool.gif

Posted by: Cosmin Lupu Oct 23 2014, 10:45 AM

Hehehe biggrin.gif Well, if you are able to play anything you learn - be it rhythm or lead oriented, against those tracks, you will be a hell of a timing machine wink.gif Try it from time to time and you'll be amazed by how your abilities will grow smile.gif

It is important to start with consistent values and then slowly diversify, until you are confident in playing more loose and complex forms, such as a slow ballad phrase for instance. Playing slow is as difficult as playing fast smile.gif But if you learn how to play slow, you will have a far easier time learning how to play fast. We'll talk about various concepts and ideas, as they pop up in the lessons anyway, so as I said, the more questions you ask, the more you will understand and know smile.gif

Learning the notes on the neck would be far easier if you reduce your instrument as if it were a one string guitar and learning the notes on that one string musically - for instance - please check out this post in the link below:

http://www.guitarmasterclass.net/guitar_forum/index.php?s=&showtopic=39243&view=findpost&p=671081

Use the backing track and on each chord change - the progression in the track is Cmajor, Aminor, Fmajor,Gmajor, play the root of each chord on just the high E string. Then the thirds and then the 5ths smile.gif The idea here is to say the names of the notes out loud as you play them smile.gif

Once you are comfy with doing this on the E string, get to the B string and so on. The final result? You will know where the C, A, F, G, E, B and D notes are on the entire neck wink.gif You will learn it in an organic manner and what's more you will become able to associate a sound, a name and a position, for each note, in respect to where it will be played.

About the take - your chords sound a lot better, but there's a slight delay when you change the position - I mean you are not dead on the beat - maybe slowing things down to 100 BPM and focusing on the exact shits, would be a good step right now, so that you will make the lesson get as close to perfection as possible smile.gif

What do you think?

QUOTE (Chris S. @ Oct 22 2014, 07:08 PM) *
Taking bars out of backing tracks at random times, YOU MONSTER!!! laugh.gif

I love the concept actually, but my problem is that I can keep time pretty well if its consistent note values - like all triplets, all quarter notes, all 8 notes and so on - but to actually solo over a backing track where all the notes are different values plus there is rests, I goof up a lot sad.gif

So far, I'm reading through part one of the book because it focuses on learning where all the notes are. I've been trying to just memorize where every single note is but the book says a great way to do it is learn all the natural notes on the 5th and 6th string and with that you can use the octaves to find out where those notes are on the rest of the fretboard, and if you need a sharp or flat it's only a semitone away. I've been applying these concepts and it's going by pretty slow but I know it will come with time.

Also:

I've been practicing my butt off with the triad lesson and I thought I would surprise you with another take at 120bpm instead of 80bpm!

I've been playing along to the original video, but the backing track by itself is a little hard for me to follow along with because I'm used to drum beats that are simple like 1 , 2, 3, 4 kind of like a metronome so this is very different for me but overall I feel like I have come a long way since my last take - what do you think?

https://soundcloud.com/stortzmusic/major-triads-lesson-120bpm-take-two

I was playing at 80bpm and was getting so bored so I started playing the piece in quarter notes instead of half notes and challenged myself to work through it and I feel like it has helped me improve my changes since the last take.

Stay sharp, my friend!

P.S. I'll be waiting for the PRS Awesome Sauce 3000 - the name of your signature guitar that PRS better make tongue.gif cool.gif


Posted by: Chris S. Oct 23 2014, 06:10 PM

QUOTE
Learning the notes on the neck would be far easier if you reduce your instrument as if it were a one string guitar and learning the notes on that one string musically - for instance - please check out this post in the link below:

http://www.guitarmasterclass.net/guitar_fo...st&p=671081

Use the backing track and on each chord change - the progression in the track is Cmajor, Aminor, Fmajor,Gmajor, play the root of each chord on just the high E string. Then the thirds and then the 5ths smile.gif The idea here is to say the names of the notes out loud as you play them


Thanks Cosmin! This definitely seems like a more interesting approach - you should have been the one to write this book wink.gif

QUOTE
About the take - your chords sound a lot better, but there's a slight delay when you change the position - I mean you are not dead on the beat - maybe slowing things down to 100 BPM and focusing on the exact shits, would be a good step right now, so that you will make the lesson get as close to perfection as possible


So basically I have like an 8th rest at the end of each chord which is me changing from chord to chord and I should focus on making the changes happening instantly, correct?

Also:

Todd made me a thread on his board which is open to anyone, it's going to focus on improving my mixing/recording/editing skills.

With you as my guitar teacher and Todd as my mixing mentor I WILL BE UNSTOPPABLE!!! laugh.gif

(I should lay off the caffeine) tongue.gif

EDIT:

So I was thinking of a little snippet to record for Todd so he can get the full picture of how horrible I am at mixing tongue.gif

Anyhoo, I wrote a little lick a few years ago when the Haiti disaster happened and I haven't touched it until now so I decided I was going to make something out of it:

https://soundcloud.com/stortzmusic/hear-our-cries-snippet

I'm a little proud of myself for actually coming up with something halfway close to being halfway decent tongue.gif

Although I admit that I do not know the names of the chords I used and I don't know scales therefor I don't even know what scale I am using and I'm sure the chords don't match the scale and would have to be adjusted to fit the scale...

Yeah, that's how bad my theory is dry.gif

Posted by: Cosmin Lupu Oct 24 2014, 09:05 AM

Hey Chris!

Thanks again for your kind words, man smile.gif It's not really an 8th there, it's a bit less than that, but it's not on the beat and that's what you should be focusing on - getting it on the beat wink.gif

Hehe, I like the piece, but you should pay attention on a few aspects:

- bending - always strive to reach the correct pitches
- vibrato - play it wider and more rounded

We will get to articulation - bending and vibrato that is - so no worries wink.gif About the chords and notes used. Now that you have learned how chords are built and derived - can you apply the knowledge in your own piece?

- what notes make up each chord?
- what notes are you playing in the solo?

Let's see this and I will tell you how to establish the key once you know the answers to the questions above!

Congrats on working with Todd, mate! He is VERY knowledgeable and he will teach you a lot of important stuff!

Posted by: Chris S. Oct 25 2014, 04:36 AM

QUOTE
Hehe, I like the piece, but you should pay attention on a few aspects:

- bending - always strive to reach the correct pitches
- vibrato - play it wider and more rounded


Thanks!

I understand that "wider" means I should be bending the string to get a higher pitch with the vibrato but what do you mean by "more rounded" ? Slower?

Didn't realize how bad my vibrato was until you started to help me out - and here I thought I've been doing it right all these years dry.gif tongue.gif

QUOTE
- what notes make up each chord?


Well there are 3 chords and then I add an extra note to two of them:

CODE
E|-----|--------|--2--3--|
B|--3--|--2--3--|--3-----|
G|--4--|--2-----|--2-----|
D|--4--|--2-----|--0-----|
A|--2--|--0-----|--------|
E|-----|--------|--------|


So I know that the root of the first chord is a B note (so it must be some sort of B chord?) and the other notes would be F#, another B but an octave up and finally a D.

The second chord I know is an A chord because it's one of the few open chords I know:

A E A (one octave higher) and C# but then I hammer on the C# to a D and then I don't know what it becomes.

And finally the last chord is a basic open D chord:

D A D (one octave higher) and F# but then I play the same chord with the F# being a G instead and I don't know what the chord becomes.

So all together:
CODE
E|-----|--------|--F#-G--|
B|--D--|--C#-D--|--D-----|
G|--B--|--A-----|--A-----|
D|--F#-|--E-----|--D-----|
A|--B--|--A-----|--------|
E|-----|--------|--------|


QUOTE
-what notes are you playing in the solo?


A B C# D E F#

So now that I have actually figured out all notes from the chords and scales they match! So does this mean they do work well with each other?

It took me a while to figure the notes out but the fact that I even did shows that I'm already getting better!

So now that we figured the notes out, how do I know the names of the chords I made (other than the ones I know) and what scale?

Thanks boss man! cool.gif

And on a lighter note:





Posted by: Chris S. Oct 26 2014, 01:01 PM

So to me it sounded kind of a sad song so I assumed minor, looked up the formula and tried to see from which root the pattern would fit but it didn't and that's because I figured it out to be major!

First I threw in the G from the one chord to give me 7 notes:

A B C# D E F# G

And starting from D the WWHWWWH fits so the scale would be D Major!

I was reading the internet and someone said that 99% of the time the key is in the chord you resolve on: in this case the last chord is some sort of D - is this usually the case since the last chord is some sort of D and the scale worked out to be D major?

EDIT:

The chord part I'm still having some trouble with:

D E F# G A B C#
I II III IV V VI VII

So that's the scale and intervals

I've been kind of looking at my triads the wrong way. After reading more about triads it goes by the distance and not whether or not they are natural or sharp/flat (which is what I thought determined it).

So looking at it now:

I = B the root
III = D which is a step and a half therefor a minor third
V = F# and is two steps therefor not flatted

I bIII V = minor therefor it's a B minor chord

Am I on the right track?

The A chord I'm confused with because it's I III and a flat 5th and I don't know what kind of triad that forms.

And when I add the extra note in you get A D E and D is 2 1/2 steps from A and E is only 1 step from D

Now I'm starting to get confused sad.gif

Posted by: Cosmin Lupu Oct 27 2014, 03:47 PM

Hey matey smile.gif Most likely, out of what I am deducing here, you are playing in the key of Dmajor but since you are using a B minor chord to begin with, you have an Aeolian progression on your hands here. Or a natural minor scale based progression. If you want to figure out the chords, here's a good process:

- what's the note played in the bass?
- what relationship do all the other notes in the chord have with this one? Which note is a third for the root note, which one is the 5th and so on? I gave you the lesson with the triads, so that you may be able to understand the way in which chords are being derived from a major scale, through the harmonizing process.

Give it a try and I will help along the way wink.gif So let's see what your assumptions are, based on what you have learned in the triads lesson - deal?

About the vibrato - by wider and rounded, I mean that vibrato needs to be executed smoothly and not rushed - it is pretty difficult to explain in words, because it has to be seen in order to be understood, that's why, I would like to introduce you to this lesson here - for the time being, watch Ben as he executes the vibrato and see the beauty in the execution and the expression - his lesson sums up what I meant smile.gif

http://www.guitarmasterclass.net/ls/Bens-Vibrato-Odyssey-5/

Yes, the notes work well with the chords - that's the exact idea wink.gif You have derived the chords from a major scale and the notes in the solo from the same major scale biggrin.gif

QUOTE (Chris S. @ Oct 25 2014, 03:36 AM) *
Thanks!

I understand that "wider" means I should be bending the string to get a higher pitch with the vibrato but what do you mean by "more rounded" ? Slower?

Didn't realize how bad my vibrato was until you started to help me out - and here I thought I've been doing it right all these years dry.gif tongue.gif



Well there are 3 chords and then I add an extra note to two of them:

CODE
E|-----|--------|--2--3--|
B|--3--|--2--3--|--3-----|
G|--4--|--2-----|--2-----|
D|--4--|--2-----|--0-----|
A|--2--|--0-----|--------|
E|-----|--------|--------|


So I know that the root of the first chord is a B note (so it must be some sort of B chord?) and the other notes would be F#, another B but an octave up and finally a D.

The second chord I know is an A chord because it's one of the few open chords I know:

A E A (one octave higher) and C# but then I hammer on the C# to a D and then I don't know what it becomes.

And finally the last chord is a basic open D chord:

D A D (one octave higher) and F# but then I play the same chord with the F# being a G instead and I don't know what the chord becomes.

So all together:
CODE
E|-----|--------|--F#-G--|
B|--D--|--C#-D--|--D-----|
G|--B--|--A-----|--A-----|
D|--F#-|--E-----|--D-----|
A|--B--|--A-----|--------|
E|-----|--------|--------|




A B C# D E F#

So now that I have actually figured out all notes from the chords and scales they match! So does this mean they do work well with each other?

It took me a while to figure the notes out but the fact that I even did shows that I'm already getting better!

So now that we figured the notes out, how do I know the names of the chords I made (other than the ones I know) and what scale?

Thanks boss man! cool.gif

And on a lighter note:




Hehe! I just read this now - you are on the right track mate - keep going and about the A D E with A as the root, will give you a Asus4 chord - D is not a flat 5th or sharp 4th but a perfect 4th and D is the 5th, so that gives us a 1 4 5 formula - Asus4

You are doing good - please let me know if things are clear with the Asus4, ok?

Posted by: Chris S. Oct 28 2014, 02:03 AM

I think I'm finally getting it!

This whole time I've been using the intervals for D Major for each chord when I'm supposed to be using the major scale of each chord root!

CODE
B Major

B  C# D# E F# G# A#

I am playing B D F# which would be I, flat III, V therefor B minor!


CODE
A Major

A  B  C# D  E  F# G#

I am playing A C# E which would be I, III, V therefor A major!


Is I IV V always a sus4?

A D E would be I, IV, V therefor Asus4

CODE
D Major

D  E  F# G  A  B  C#

I am playing D A F# which would be I, III, V therefor D major!

and

D A G which would be I, IV, V therefor Dsus4!


Did I do it right?! laugh.gif

Posted by: Cosmin Lupu Oct 28 2014, 08:54 AM

Bullseye!! Good going mate biggrin.gif

You got them figured out perfectly! wink.gif How's the triad lesson coming along?

Posted by: Chris S. Oct 28 2014, 07:36 PM

YES!!! This is how I feel after figuring it out:



tongue.gif

As far as the triad lesson goes, I feel like my timing has improved since the last take. Do you think I am ready to move on to the next lesson yet?

Take Three:
https://soundcloud.com/stortzmusic/major-triads-lesson-take-three

Also:

I've been trying to slow my vibrato down so its not so rushed and I came up with this while messing around:

https://soundcloud.com/stortzmusic/egyptian-idea

Keep rockin'

EDIT:

I've been reading into modes and some things are starting to click but I still have a long way to go.

So I know that each interval gets its own mode:

I = Ionian
II = Dorian
III = Phyrgian
IV = Lydian
V = Mixolydian
VI = Aeolian
V = Locrian

And since the root of the B minor chord is obviously B, and the interval for B in D major is VI - the VI mode is Aeolian

So I would be playing B Aeolian over the B Minor chord.

So I'm basically starting with D Major - and the first position of the scale relates to D Ionian.

Now when I play the second box position of D Major starting with E, those notes match up to the second interval which would be E Dorian.

And when I move to the third box position that pattern relates to F# Phyrgian and so on and so forth.

Am I on the right track? Because the biggest thing that confuses me is when do I use the modes? Like I'm playing a B minor chord so do I have to use the Aeolian mode over that chord and as soon as I switch to the A major chord do I then switch to the Mixolydian mode and then back to the Aeolian mode, etc?

Posted by: Cosmin Lupu Oct 29 2014, 03:37 PM

Hey mate! Hehe! That song is the backing track of hope and success! biggrin.gif

Great playing and tone here, in the triads take! biggrin.gif I loved it! It's clear that you made progress, but there's a shape around 0:08 which sounds a little funny to me - what happened there? smile.gif I would now, go for a video and then straight to the REC zone! What do you think? wink.gif

About the modes - you are on the right track and all your assumptions are correct! The idea with modes is that it's very misleading to look at them as shapes or positions. They should be regarded as flavors occuring due to the relationship between notes and the chords that they are being played over.

For instance - check out the theme in Simpsons:



Try to emulate the first three notes played by the vocal line smile.gif Tell me what you get - use the guitar to find them! Deal? I promise you that you will look at modes totally different than you would've before, if you will do this biggrin.gif

About the Egyptian idea - it is nice and it can be developed into a theme, but please take care with the pitches as sometimes, you are not vibrating into pitch - the vibrato has to be consistent and it should stay in pitch and feel very confident and full of intention. It's not easy to develop this sort of a skill, but with time and perseverence, it will get there.

Please let me know about the Simpsons theme biggrin.gif

Posted by: Chris S. Oct 29 2014, 04:50 PM

QUOTE
It's clear that you made progress, but there's a shape around 0:08 which sounds a little funny to me - what happened there?


The intonation of my guitar is pretty bad - I hadn't even noticed until now rolleyes.gif

I just had to put four new tires on my car so it may be a few weeks until I can afford to have a setup dry.gif

QUOTE
I would now, go for a video and then straight to the REC zone! What do you think?


http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=53293

QUOTE
Try to emulate the first three notes played by the vocal line


Are the first two notes C and E? My ear training is pretty poor, I've never listened to piece and tried to play it just by ear I have always went right to the internet to try and find tabs (something I would like to change!).

Posted by: Cosmin Lupu Oct 30 2014, 09:37 AM

Hehe! Graded ya! You got a 9 from me, because of the intonation issue - let's see what the other guys have to say, but hey, as I said in the REC zone, if we would compare the first take with this one, it's a HUGE improvement from every perspective, so congrats once again!

Ear training is one of the most important aspects in one's musical development smile.gif I will stress this out and throw things at you as much as possible, so yes, the first note is C but the second is not E - but it's pretty close wink.gif Will you give it another try? Use a tuner and let's see which notes are the second and the third, deal? biggrin.gif

Posted by: Chris S. Oct 30 2014, 08:44 PM

QUOTE (Cosmin Lupu @ Oct 30 2014, 08:37 AM) *
Hehe! Graded ya! You got a 9 from me, because of the intonation issue - let's see what the other guys have to say, but hey, as I said in the REC zone, if we would compare the first take with this one, it's a HUGE improvement from every perspective, so congrats once again!


Thanks a lot Cosmin! I couldn't have done any of this without you, my friend. biggrin.gif

Shall I begin working on the vibrato lesson you showed me, or did you have something else in mind?

QUOTE
Ear training is one of the most important aspects in one's musical development smile.gif I will stress this out and throw things at you as much as possible, so yes, the first note is C but the second is not E - but it's pretty close wink.gif Will you give it another try? Use a tuner and let's see which notes are the second and the third, deal? biggrin.gif


C D# E?
'

Posted by: Cosmin Lupu Oct 31 2014, 01:27 PM

Hehe! Nothing to it Chris!

As I told you, you are a very hard working dude and I like working with you!

Now, please do proceed with the vibrato lesson indeed smile.gif You need to get your vibrato in great shape, in order to become a refinde lead player wink.gif

About the notes, I will tell you: C F# G - what do you notice in respect to the relationship between these notes? How do F# and G relate to C?

Posted by: Chris S. Oct 31 2014, 05:29 PM

I shall channel my inner BB King and become a vibrato virtuouso!

And for the notes:

From the key of C:

C F# G would be I, bV, V?


Posted by: Cosmin Lupu Nov 1 2014, 07:21 PM

Yes please! I would be very interested in seeing a first recording, as soon as you will learn it wink.gif

Good shot with the relationship between the notes, with one little observation: I would look at F# as it is the raised 4th rather then the flat 5th - now, tell me what is the formula of the Lydian mode? smile.gif And what are the notes in the C lydian mode?

Posted by: Chris S. Nov 2 2014, 01:31 AM

QUOTE (Cosmin Lupu @ Nov 1 2014, 06:21 PM) *
Yes please! I would be very interested in seeing a first recording, as soon as you will learn it wink.gif

Good shot with the relationship between the notes, with one little observation: I would look at F# as it is the raised 4th rather then the flat 5th - now, tell me what is the formula of the Lydian mode? smile.gif And what are the notes in the C lydian mode?

Would it be a raised 4th because you don't want two of the same intervals? (Raised IV, V instead of Vb, V)

Similar to how you wouldn't have Gb and G so you would call Gb F#?

And from what I have read Lydian is one of the major modes so the formula would be the same as a major scale and the key of C has all naturals so:

C D E F G A B = C Lydian?

Posted by: Cosmin Lupu Nov 2 2014, 10:18 AM

Hey Chris!

COrrect assumptions until you stated the formula smile.gif The correct formula for the Lydian mode is 1 2 3 #4 5 6 7 8 - applied to the key of C, we get -> C D E F# G A B C

The Lydian mode features a raised 4th in comparison to the major scale, whose formula is 1 2 3 4 5 6 7

So knowing these, you must also know that each mode has a characteristic scale degree - that is that one/two note(s) which give that particular mode, it's flavor so to say smile.gif

So far, I think you have already deduced that you are FAR better understanding the structure of a mode and it's particular sounds rather then learning positions on the neck - am I right? biggrin.gif So, to sum up the thing with the Simpsons theme - the C F# and G notes are particularly important in emphasizing the Lydian mode - C is the root, F# is the raised fourth - both of them are crucial in establishing the mode used and its key, while the fifth concludes the phrase smile.gif

Let's see what your thoughts are and we'll take it from there - I will send you more examples to train your ears biggrin.gif

Posted by: Chris S. Nov 2 2014, 12:42 PM

So basically instead of memorizing shapes and patterns of modes, I should memorize the tonal characteristics? (Example being that Lydian has a raised fourth)?

And to use them in songwriting I would just take the major scale and come up with a lick or something in say C Major - and if I wanted to hear how that sounds in Lydian I would just raise the fourth?

Is that a more practical way or does it focus more on what chords/rhythm is being used? Because I know that with the Hear Our Cries snippet I came up with was in D Major, but since I'm starting with a B chord instead of D it would have been more practical to call it B Aeolian.

It kinda seems like there are different uses for modes and how to apply them, that's really the most confusing aspect of them to me.

Thanks boss man! cool.gif

EDIT:

WOW! 6-ish years of doing vibrato completely wrong is a bad habit that is going to be hard to break!

This is my first attempt at the lesson unsure.gif

https://soundcloud.com/stortzmusic/bens-vibrato-odyssey-5-first-attempt

Posted by: Cosmin Lupu Nov 3 2014, 09:09 AM

As usual, your assumptions are correct - mate, you have a very clear way of understanding things already, so all you need to do here is go on and take your time wink.gif Don't let yourself be frustrated or stuff like that because of not knowing 'enough'. Rejoice on knowing that you have a good understanding power and use it smile.gif

Now, yes, I would say that this is the right way to understand modes, as a principle and not as a bunch of positions smile.gif

The principle revolves around the idea of understanding the relationship between chords and certain notes and the sound results that we get when we use them smile.gif After that, finding them on the neck, is a matter of exercise, but you need to understand WHAT you should exercise and WHY - correct? smile.gif

There are two ways in which you can look at modes - the relative and the parallel approach. I like the second one, because it reveals the true nature and characteristics of each mode. Out of a sheer occurence (is it? biggrin.gif), the way in which you looked at building a lick using the major scale and then altering the 4th to make it a raised fourth, is the parallel approach smile.gif Now, you must know that the chord or chord progression over which you are playing the idea makes a big difference - it must be a Lydian progression or a major chord, if it's just a chord, spanning over a larger number of bars.

Now, about the recording - please try to practice and record against the original recording done by Ben, now that you have the structure under your thumb. Why? Well, you need to address two important aspects:

- pitches - when you execute the vibrato, most notes don't reach the intended pitch
- timing - some phrases are not in good timing

Trying the approach described above, will allow you to listen in a comparative manner - both recordings side by side and see the spots in which your recording differes from Ben's, then isolate that specific part and work on it until it matches Ben's smile.gif Do we have a deal?

Posted by: Chris S. Nov 3 2014, 08:07 PM

Sounds good, Cosmin! I will apply your advice to the lesson and will post an update by the end of the week.

Is there anything else you would like me to work on as well? A new theory topic or something?

cool.gif

Posted by: Cosmin Lupu Nov 4 2014, 05:54 PM

Hey mate! I am looking foward to hearing your new take and in the mean time smile.gif Please try to analyze each mode as we did with the Lydian. Let's start with the Dorian, since we have already talked about the major scale which is the Ionian mode - tell me, which is the Dorian formula and which is the characteristic scale degree in your opinion and out of the theory you have read so far? I will tell more, but I like the way in which your intuition functions and I think it's very heathy to push it to new limits all the time biggrin.gif

Posted by: Chris S. Nov 4 2014, 06:43 PM

I love the challenge! cool.gif

So Lydian has a raised fourth and from what I read Dorian had a flat 3rd and Flat 7th.

So C Dorian would be:

C D Eb F G A Bb ?

One question that I have is while I reading about modes and the major scale I'm a little confused about about intervals.

I understand major and minor but what about perfect?

Like in C Dorian there is a perfect 4th and perfect 5th?




Posted by: Cosmin Lupu Nov 4 2014, 07:44 PM

Hey Chris - yes, in C Dorian you have a perfect 4th and a perfect 5th and the major 6th is the chracteristic scale degree - why not try to play the major 6th - the A note against a C minor chord - see how it sounds wink.gif

Another question, if you compare the formulas for the Dorian, Aeolian and Phrygian modes - what notes do they have in common? smile.gif

Posted by: Chris S. Nov 5 2014, 02:56 AM

QUOTE (Cosmin Lupu @ Nov 4 2014, 06:44 PM) *
Hey Chris - yes, in C Dorian you have a perfect 4th and a perfect 5th and the major 6th is the chracteristic scale degree - why not try to play the major 6th - the A note against a C minor chord - see how it sounds wink.gif

Another question, if you compare the formulas for the Dorian, Aeolian and Phrygian modes - what notes do they have in common? smile.gif

The A over the C minor, to my ears, has a sort of sinister sound to it (listened to it with MIDI though)?

So Dorian has a flat 3rd and flat 7th:

C D Eb F G A Bb

Aeolian has a flat 3rd, flat 6th and flat 7th:

C D Eb F G Ab Bb

Phrygian has a flat 2nd, flat 3rd, flat 6th and flat 7th:

C Db Eb F G Ab Bb


So looking at all of the notes - C Dorian, C Aeolian and C Phrygian all share C, Eb, F, G and Bb - what would be the importance of these shared notes?

This is fun! cool.gif

Posted by: Cosmin Lupu Nov 5 2014, 08:10 AM

Hehe!

Try to play the C major chord on your guitar and tap the C note on the D string in the 10th position wink.gif It will sound better, by all means!

Alright! Well you have discovered the common notes between these 3 modes, now, can you tell me what formula can you make by using them and knowing that C is the key? What scale does this formula belong to? smile.gif

Posted by: Chris S. Nov 5 2014, 01:13 PM

So my first thought was maybe they make up C Locrian but I was wrong.

Then I noticed that it was only 5 notes - so I thought that maybe it made up a pentatonic scale.

I figured since there were flats it would have to be minor and it turns out I was right!

C Eb F G Bb = C Minor Pentatonic!

Afterwards I learned that to find the minor pentatonic scale you just take the natural minor scale and drop the 2nd and 6th scale degrees cool.gif

EDIT:

So I've been listening to a lot of Eric Johnson and I was inspired by his playing and decided to create a little piece that sounded like him but with my own little twist/style to it:

https://soundcloud.com/stortzmusic/when-i-dream-of-you-idea

I know it's not the best and I will never be as great as Mr. Johnson but I feel like it shows how far my improvising has come in such a little amount of time - I was stuck in the first minor pentatonic box shape for 6 years until I met you!

Thanks to you my theory is getting better each day and I know that overtime my technique will get better and I'll be able to play the fast runs cleaner and make them longer and more complicated! Can't wait! cool.gif

As always - YOU DA MAN!! laugh.gif

Posted by: Cosmin Lupu Nov 6 2014, 04:35 PM

Hey buddy! Thank you for the great energy and thoughts smile.gif

The little piece sound nice and it would sound even nicer with a steady groove behind it wink.gif You know, as we talked about giving music a pulse, you can apply the same concept here as well, but with a nice drum line and maybe a bass line and then re-recording the guitar in order to match these, you could have a great sounding piece of a song - what do you say? biggrin.gif

About theory, hey - it's a great journey about discovering things and now next to my next question biggrin.gif

If you discovered the minor pentatonic scale behind all those modes - what is your conclusion in respect to adding and substracting notes and the role of the minor pentatonic scale in modal play? biggrin.gif Use simple words and trust your guts - you have great intuition! How can this conclusion be applied in the case of major modes? biggrin.gif

Posted by: Chris S. Nov 6 2014, 05:15 PM

Thanks Cosmin! I'm saving up to get a decent starter bass to add some depth to my music.

I was thinking of developing the song by shortening what I wrote a little bit but just keep it guitar only, and then when you think it's over the drums kick in along with the other instruments and the song basically starts at that point (I saw Eric Johnson do this with Cliffs of Dover and I liked how he pulled it off).

As for the theory:

Since those 5 notes of the minor pentatonic scale are in the Dorian, Aeolian and Phrygian modes - the only thing that I can really think of is that if I learn the minor pentatonic scale across the whole fretboard I basically know these three modes.

Because if I have C minor pentatonic with notes C Eb F G Bb and I wanted to play C Aeolian - I would just take the C minor pentatonic box shapes and add in D and Ab across the fretboard.

Correct?

EDIT:

My second attempt at the vibrato lesson - I feel like I have made some minor improvements since the last take and was hoping for some feedback:

https://soundcloud.com/stortzmusic/bens-vibrato-odyssey-5-second-attempt

When you use vibrato do you always bend the string a certain number of steps, or to the next note in the scale?

For example I bend the C up to the D because that is the next note in the scale but then I only bend the E to an F. So instead of bending the string up two semitones I only bend it up one. Is this the right way to do it or should it always be a consistent?

Thanks!

Posted by: Cosmin Lupu Nov 7 2014, 10:46 AM

Hey matey,

I have listened to the vibrato lesson take and it sounds a bit better than the last one wink.gif Now, in the first bars, the pitches of the notes aren't really there yet and around 0:42 you had a little timing issue and from 0:48 onward, the pitches of the notes aren't there again.

Your assumption is correct - whatever you do, in this situation, you need to take care and stick to the scale in which you are working, so adapt to the context - if you need to go a halfstep, go for a half step, if you need to go for a whole step, do go for a wholestep smile.gif You got the principles mate, it's just practicing that separates you from goal, so getto it like a champ wink.gif

About the song - that's a great idea!! Go for it, of course - this can really bring in some nice dynamics in the song!

Theory wise, you are correct - you have discovered a rule that you can apply:

- add the necessary additional intervals to the minor pentatonic scale and you can obtain the aimed for minor modes:

- the 2nd and 6th for the Dorian
- the b2nd and b6th for the Phrygian
- the 2nd and b6th for the Aeolian
- use the minor blues scale for the Locrian - you have 1 b3 4 b5, remove the 5th, keep the b7th and add the b2nd and b6th - there ya go, you have the Locrian mode biggrin.gif

Now, how about the major modes - which scale is their skelleton? Think in the same manner as above biggrin.gif

Posted by: Chris S. Nov 7 2014, 08:00 PM

So I got a used Cort Action 4 bass to help add some depth to anything I write biggrin.gif

And I would use the Major Pentatonic and add notes?

C Maj Pentatonic is C D E G A

C Ionian would just be the C Major Scale

C Lydian I would just add F# and B to the major pentatonic box patterns

and so on?

Correct?

Posted by: Cosmin Lupu Nov 8 2014, 04:22 PM

Precise!!

What other mode can you form by using the major pentatonic scale? smile.gif There's one left and thus, you know'em all!

Posted by: Chris S. Nov 10 2014, 02:29 AM

QUOTE (Cosmin Lupu @ Nov 8 2014, 03:22 PM) *
Precise!!

What other mode can you form by using the major pentatonic scale? smile.gif There's one left and thus, you know'em all!

Sorry for the delay, Cosmin - one of the perks of working retail is the insane rush during the holiday season rolleyes.gif

All that we have left is Mixolydian, where we would add an F and Bb (intervals 4 and flatted 7)?

This seems like such a simpler way to learn the modes! I can just finish learning the shapes of the minor pentatonic scale and learn the major pentatonic scale - and once I am comfortable with those I can begin adding notes to form the desired modes!

It's fascinating how everything in music ties together - it's a beauty for sure.

On a side note, do you play bass? I mentioned before that I bought a bass, but after two days of playing it I decided to return it. I understand how important the role of the bass plays in a song but I just didn't have the desire to play it if that makes any sense? With guitar, I have this passion and desire to play everyday and become as good as possible.

I felt like the bass deserved a good home instead of just sitting in my room only to be noodled around with every once and a while.

And for the lesson! I have been playing along with Ben in the video and I feel like I've made some small improvements - it's when I play by myself and don't have Ben's playing as a reference that my mistakes start to show through.

I had to take the day off with the vibrato lesson because my fingers became really sore - I guess my callouses aren't used to this intense workout! I just didn't want to risk getting blisters and be out for a few days - I shall continue tomorrow though.

That is all, my friend!

Posted by: Cosmin Lupu Nov 10 2014, 08:19 AM

Hey mate!

As usual, your intuition payed off wink.gif Indeed, the big picture here is that the modes are built on a pentatonic skelleton - minor pentatonic with the additional notes for the minor modes and the major pentatonic with the added notes for the major modes.

Once you are comfy with the pentatonic scale all over the neck, you can start thinking about building licks and making them modal licks, by simply adding the necessary notes in the pentatonic context biggrin.gif

Hmm - mate, I don't like playing the bass guitar, but if you would have one later on, when writing and orchestration will become your main endeavor in resepct to music, you will see how amazing it is to record bass rather than to write it wink.gif So I think you should get one, but maybe later on - it's something that every musician who's serious about his stuff, should have and use as an auxilliary tool.

No worries about the lesson - take the time to let your fingers have a little break and as a side note - this lesson can very well be regarded as an ear training dill - focus on hearing the correct pitches at work, rather then thinking how much you should move the string wink.gif

Posted by: Chris S. Nov 10 2014, 04:27 PM

cool.gif

I'm going to focus on learning all of the shapes to the minor pentatonic scale and shift them around to different keys to get used to them.

Would learning one shape and improvising using only that shape be the best approach? And once I'm comfortable with that shape I can then move on to the next shape and so on?

Any advice?

Thanks!

Posted by: Cosmin Lupu Nov 11 2014, 08:01 AM

Hey Chris - it's a good idea, but I'd look at things in a different way smile.gif

- learn the notes in the pentatonic minor and major scales on each string, one string at a time
- when you play the notes, say their names, sing them and associate them to a position on the neck
- set a metronome to a tempo of 60 BPM
- choose a key - A minor for instance
- choose a note in the A minor pentatonic and play it on each beat 1 from each bar delimited by the metronome
- do this for all the notes in the A minor pentatonic

In this way you will be able to learn all the notes in any scale - now, in order to learn shapes but not to be stuck in them, try the following drill:

- select a string
- play the scale on that string only
- use the basic rhythmic subdivisions - 4ths, 8ths, 16ths, triplets, sextuplets
- use various techniques such as alternate picking or legato

After you have played enough options on that string, try two strings and then 3 and 4 and 5 and finally 6 smile.gif The more situations you put yourself in, the less likely you will become stuck in shapes wink.gif What do you think, mate?

Posted by: Chris S. Nov 12 2014, 04:23 AM

Thanks Cosmin!

I will definitely apply this to how I am practicing these scales biggrin.gif

Posted by: Cosmin Lupu Nov 12 2014, 08:21 AM

Nothing to it, man! Excellent cool.gif I am looking forward to hearing your first thoughts and the next vibrato lesson take, as well wink.gif

Posted by: Chris S. Nov 13 2014, 04:29 AM

This vibrato lesson is really getting the best of me, it seems dry.gif

I recorded another attempt but I'm not happy with it, I feel like I've taken one step forward and two steps back:

https://soundcloud.com/stortzmusic/bens-vibrato-odyssey-5-third-attempt

When I play along with the lesson recording I have no problem matching Ben's pitch and timing but whenever I tackle it alone it keeps falling apart.

Channeling my inner B.B. King is a lot harder than I thought tongue.gif

Posted by: Cosmin Lupu Nov 13 2014, 09:41 AM

Hey matey!

This ain't so bad as you make it seem biggrin.gif I listened and I would just like to point out the details here wink.gif

- around 0:23 you are giving the piece a bit of a swing feel - not that it's bad, but it wasn't your intention and that means you are not in control
- 0:31, 0:48 and 0:54 - in these spots you have some pitch issues

I think that focusingon fixing these spots and then making sure that you can implement them in the whole context, would be the next best step wink.gif Please let me know, ok?

Posted by: Chris S. Nov 13 2014, 04:39 PM

QUOTE (Cosmin Lupu @ Nov 13 2014, 08:41 AM) *
Hey matey!

This ain't so bad as you make it seem biggrin.gif I listened and I would just like to point out the details here wink.gif

- around 0:23 you are giving the piece a bit of a swing feel - not that it's bad, but it wasn't your intention and that means you are not in control
- 0:31, 0:48 and 0:54 - in these spots you have some pitch issues

I think that focusingon fixing these spots and then making sure that you can implement them in the whole context, would be the next best step wink.gif Please let me know, ok?

Thanks Cosmin, I guess I have a tendency to be real hard on myself huh.gif

The only question I have is what do you mean by "swing feel" ?

EDIT: To also help with memorizing the fretboard I downloaded Fretboard Warrior (I'm not sure if you have heard of it?) and I thought I would post my results each day or so to help keep track of my progress:

Day 1 - 10 minutes - 57 right / 9 wrong tongue.gif

Posted by: Cosmin Lupu Nov 14 2014, 11:04 AM

That score sounds good, even though I haven't yet heard about the fretboard warrior biggrin.gif Is he good with a sword? tongue.gif

Anyway, the swing feel, is something which is pretty hard to describe in words smile.gif Imagine that you don't play the note duration values just like they would perfectly fit the beat, but a little delayed, having a triplet feel. as an example, please listen to this lesson:

http://www.guitarmasterclass.net/ls/Funk-Rhythm-Swing-Feel/

It's a very, very exceptional form of grooving and I am a big fan smile.gif Let me know if you can hear the feel, deal? smile.gif

Posted by: Chris S. Nov 14 2014, 03:23 PM

Heheheh tongue.gif

It's free program you can download and it will highlight a note on the fretboard and play the sound of the note and you have to guess which note it is. Good for seeing where the notes are and also it helps a little with ear training cool.gif

And for the swing feel, so it's basically staying in tempo with the song but you pretty much just wing it to fall out of your typical note durations?

Posted by: Cosmin Lupu Nov 15 2014, 06:12 PM

Hah, sounds like a very nice application smile.gif If it works for you and it pays off, hell mate, go for it biggrin.gif

About the swing feel, yeah, you could say something like that, but in order to see if you understood things, I would like tot see you at it smile.gif Can you record a bit out of this lesson, maybe? biggrin.gif I'd be curious to see you at it smile.gif It's rhythm based, so it won't mess around with the lead one - what do you think mate? It doesn't necessarily need to hit the maximum speed level, but it would be cool to hear a recording at a slower tempo, against one of the backing tracks, so that we may see if you nailed the swing feel!

Posted by: Chris S. Nov 15 2014, 06:17 PM

Sure thing! biggrin.gif

My rhythm playing needs a lot of work too, I feel.

I want to stray away from just the typical power chords or playing chords as arpeggios and I think this lesson will help further my arsenal!

I shall grab thy axe and prove thy worth to the gods of swing. cool.gif

EDIT 1: So this lesson is going to be tricky for me, not just because of the technique but because - well, there's no way to explain this without sounding like a sissy so I'm just going to get right to it tongue.gif

In order to barre the G B and E string you have to use your ring finger and bend it in a weird way, which for whatever reason completely freaks me out and made me all squeamish and nauseated unsure.gif

So I'm going to spend every moment that I'm away from my guitar bending my ring finger in the way to hopefully break through that mental barrier - this is really weird I've never had anything like this when playing guitar ohmy.gif

EDIT 2: On a not-so-strange note, I did guess 84 notes correctly and 1 note incorrectly in 10 minutes! Already seeing some improvements with that! cool.gif

Posted by: Cosmin Lupu Nov 15 2014, 07:16 PM

Great to hear you are in for this challenge matey! smile.gif I know exactly what you mean with that finger issue - it's not as difficult as it seems though, so just try to work on it slowly and make sure that your finger gets all of the three strings, ok? Isolate that specific part and work on it until it feels natural. If you can show me a video of how you do it, I will definitely come up with some support and pointers, if necessary wink.gif

Posted by: Chris S. Nov 15 2014, 07:51 PM

QUOTE (Cosmin Lupu @ Nov 15 2014, 06:16 PM) *
Great to hear you are in for this challenge matey! smile.gif I know exactly what you mean with that finger issue - it's not as difficult as it seems though, so just try to work on it slowly and make sure that your finger gets all of the three strings, ok? Isolate that specific part and work on it until it feels natural. If you can show me a video of how you do it, I will definitely come up with some support and pointers, if necessary wink.gif

Thanks Cosmin! Once I get past the squeamishness I shall post a video!

Also:

https://soundcloud.com/stortzmusic/bens-vibrato-odyssey-5-fourth-attempt

I think I've improved on what you have said except for the last two bends. Whenever I get to that my fingers have a little bit of sweat on them and since I use elixirs which are slick to begin with I tend to lose my grip of the string which either causes me to be off in pitch or the string to slip under my finger completely.

Any ideas?

Posted by: Cosmin Lupu Nov 16 2014, 08:54 AM

Hey Chris!

MUCH MUCH better!

I think that the only spots which need focus on the pitch, would be the ones around 0:50 and 0:54 - otherwise, everything is in place and maybe playing it a bit more before recording a video that will go into the REC zone, will make the take sound more and more natural.

I too use Elixir strings exclusively, since 2010 and I too have sweaty hands laugh.gif But I slowly became acquainted with the idea of controling my strings, so I rarely have sweat caused issue when bending. The more relaxed you wil become, the more control you will have - focus on the idea and it'll slowly build up in your playing, deal? smile.gif

Posted by: Chris S. Nov 16 2014, 08:23 PM

Thanks Cosmin! I'm glad I am finally getting better at my vibrato - I shall work more on the lesson and then record a video to see if it is good enough for REC cool.gif

I've been trying to analyze the theory in the Funk Swing lesson you gave me, to challenge myself and I have run into some questions already blink.gif

So before looking at anything I looked at the first part of the video - video #1.

So looking at the four chords being played:

CODE
E|-B---C#--A--A#--
B|-F#--F#--E--F---
G|-D---D---C--C#--
D|-G#--G#--F#-G---
A|-E---E---D--D#--
E|----------------


So looking at these chords I had absolutely no idea so I peeked back at the main lesson and the first two chords are an E9 and an E13.

Is the root an E because the first note is an E, or is there some other reason? I didn't guess E because I didn't know if it was an inversion of some other type of chord if that makes any sense?

I'm not familiar with either of those chords so I did some research on the 9 chords to start and I learned that a 9 chord is a dominant 7th chord with a 9th (not that I know what a dominant 7th is yet, I didn't get that far in my book yet tongue.gif )

The formula for a 9 chord is 1 3 5 b7 9

The key of E would be E F# G# A B C# D# E

So an dominant 7th E chord would be 1 3 5 b7 or E G# B and D

Where do you get the 9th from if the scale degrees only go up to 8?

And the other question that I have (I'm sorry I know this is turning out to be a lot) is that the scale that is listed for the lesson is E Minor Pentatonic which makes sense up until the last chord because then all the notes that would have been played would end up looking like this:

http://www.guitarmasterclass.net/scalegenerator

That doesn't look anything like a scale unsure.gif

Posted by: Cosmin Lupu Nov 17 2014, 09:11 AM

Hey there Chris - as usual, all you assumptions are correct smile.gif The next step that could be made after the triads lesson, would be building 4 note chords when harmonizing the major scale. The root is E indeed, no inversions there smile.gif

That can be achieved by adding 7ths to each chord, by taking into account the following aspects:

- each chord can have a 7th interval
- the 7th will be an M7 or b7 - aspect dictated by the fact that all the notes must belong to the scale

Can you apply this on the C major scale so that we may see you understood the idea? smile.gif

About the 9th - if you finish one octave from E to E and continue into the next, there are 3 interval types that take other names:

the 2nd = 9th
4th = 11th
6th = 13th

Then about the scale the chords that are being played in this lesson are scarcely stayed on, aside from the E9 and E13. The D9 and the D#9 are just used to pass through chromatically - so, the minor pentatonic could work well, but based on the other notes that make up the E dominant 9th and 13th - you could use a mix between the Mixolydian mode 1 2 3 4 5 6 b7 and the blues scale - minor pentatonic with a b5.

This gives you a hybrid scale looking like this: 1 2 b3 3 4 b5 5 6 b7 - a 9 note monster scale biggrin.gif pretty cool and filled with possibilities smile.gif Hope it makes sense - let me know what your thoughts are, ok mate?

Posted by: Chris S. Nov 18 2014, 02:53 AM

We have E9, E13, D9 and D#9 - so the D#9 is basically a chromatic passing tone or whatever you would call it?

I have seen it done with lead lines, where you would add a chromatic passing note/tone but I didn't know that you could do it with chords as well? Sweet smile.gif

Okay, C Major: C D E F G A B

QUOTE
the 7th will be an M7 or b7 - aspect dictated by the fact that all the notes must belong to the scale


This part confused me just a little - the M7 would be B and the b7th would be Bb - the B is part of the scale so you can't use the flat 7th?

Because a C9 would be C E G Bb and D since a 9th chord is 1 3 5 b7 9 (b7 instead of M7)?

That is why I am confused a little unsure.gif

P.S. I saw your post about making a new lesson - I can't wait! cool.gif

I'm still checking out some baritones so I can get in on the low tuning awesomeness tongue.gif

Posted by: Cosmin Lupu Nov 18 2014, 11:06 AM

Hehe!

Correct all the way - as usual wink.gif Chris, you are a very bright young man! I like that and let's take things to the following idea:

C7, C9 and C13 are not deduced out of the C major scale, because of that Bb wink.gif C7 = C E G Bb - this chord belongs to the F major scale.


F G A Bb C D E F - C is the 5th degree of the scale and the chord derived from it is C major, but if we want to make it a C7 we need to add its b7th which is Bb, this the chord formula above.

In the case of the C major scale, the C major chord will be a CM7, which has the C E G B formula - B is the M7 for C, thus the chord formula.

Let me know if it's clear wink.gif So, try the drill by thinking about 7th intervals that fit the C major scale triads you have used in the previous lesson and also fit the C major scale. Deal?

Posted by: Chris S. Nov 19 2014, 03:03 AM

Thanks Cosmin! You always make things super easy to understand biggrin.gif

So you can have a Major 7th and/or Dominant 7th - but in order to be major it must be in the major scale of the root!

I did what you said and figured the chords from the triad lesson [prepare yourself!]:

C Major Scale - C D E F G A B

CM7 - C E G B (falls under C Major)
C7 - C E G Bb (does not)

DM7 - D F# A C# (does not)
D7 - D F# A C (does not)

EM7 - E G# B D# (does not)
E7 - E G# B D (does not)

FM7 - F A C E (falls under C Major)
F7 - F A C Eb (does not)

GM7 - G B D F# (does not)
G7 - G B D F (falls under C Major)

AM7 - A C# E G# (does not)
A7 - A C# E G (does not)

BM7 - B D# F A (does not)
B7 - B D# F Ab (does not)

So:

CM7 , FM7 and G7 all fall under the C Major scale and can be used in the key of C, correct?

Also, quick question - is there some sort of shortcut to figure out what scale a group of notes fall under?

For example, you said that C E G Bb falls under F Major, but is there an easy way to find that out?

Because I tried to find what scales all Dominant 7ths fell under but I didn't know how to find a scale with only four notes without spending A LOT of time playing guess and check.

For example: D7 is D F# A C but I was only guessing scales and turning up empty as to where it fell under, I was hoping there is some sort of secret to it?

Thanks man! cool.gif

EDIT:

I saw your post for the Dynamite Collab, and although I'm not very good or creative I really want to try and participate:

https://soundcloud.com/stortzmusic/dynamite-idea

It's not the full length of the backing track and the playing isn't very tight I just wanted to get my idea recorded and try to develop it from there.

I know it's just your cliche pentatonic sounding solo but I was thinking of transitioning from that into the Locrian Mode and creating more of a simple melody, kind of like the melody of a theme song or something - kind of like the guitar from this piece of my childhood (guitar theme starts at 11 secs):



What do you think? unsure.gif

Posted by: Cosmin Lupu Nov 19 2014, 10:36 AM

Hey maaan!

Correct assumptions once again! Now, taking things one at a time:

- in order to make the chords that don't belong to the C major scale belong, you need to look at the chords that still have notes which are outside the scale and lower them (if they have a #, take it down one halfstep to make that note a natural one) - this will give you b3rds and b7ths - thus obtaining some m7 chords and a m7b5 chord (half diminished)
- in order to figure out which dominant chord belongs to which scale, you need to think who's 5th is the root note of that dominant chord and you found the major scale wink.gif
- the recorded idea is VERY good and it's great that you made it short and sweet! Now, the ONLY thing I'd work on would be the pulse, because you wanted to give it a shuffle/swing feel and it's not yet consistent - work on it to make it consistent throughout the whole take and things will ROCK! Who said you aren't creative? smile.gif The idea is very good and I think you should definitely go for it smile.gif

Let's see how it develops, ok?

Posted by: Chris S. Nov 19 2014, 07:36 PM

QUOTE
- in order to figure out which dominant chord belongs to which scale, you need to think who's 5th is the root note of that dominant chord and you found the major scale


Thanks Cosmin! This made it so much easier!

C7 = F Major
D7 = G Major
E7 = A Major
F7 = Bb Major
G7 = C Major
A7 = D Major
B7 = E Major

cool.gif

I had trouble figuring out the B7 but I realized I made a mistake in my last post. B7 = B D# F# A and not B D# F Ab.

QUOTE
Who said you aren't creative?


My toughest critic who happens to live inside my head (worst part is he doesn't even pay rent!) tongue.gif
I will keep it short and sweet, and try to focus on the timing and making the take as clean and tight as possible!



I was going to put this right into the REC forum but I wasn't happy with the take and I knew I wouldn't pass. I don't know what the deal is, but whenever I hit the record button on my phone to record the video I get super nervous sad.gif

My hands shake and my heart starts beating really fast and Mr. Mess-up starts paying me a visit through my playing mad.gif

Listening to my last audio take and this one I realized the following:

1.) In my last audio take I played the B string, 10th fret, A note and would bend the vibrato to try to match the pitch to a B note but Ben only bends the string to an A#/Bb so I focused on that in this video.

2.) In the audio I take I play the last two bends wrong, when I played the D note I immediately went into vibrato but Ben holds the D for a slight amount of time so I did the same and tried correcting that for the video.

3.) In the video, in between the two A note bends/vibratos, being really nervous I didn't return the B note back down to an A note - I was slightly sharp when I picked the note again. So I basically bent up to a B, down to Bb instead of A, picked the Bb and bent back up to B.

I don't like this whole camera shy thing, it's really getting in the way unsure.gif

EDIT:

On a side note I came up with this:

https://soundcloud.com/stortzmusic/city-lights-idea

I tried to incorporate what you have taught me so far. I tried to establish a groove, challenge my creativity and write something in a style I haven't done before, make my vibrato wider, break outside of the first pentatonic box shape and use chromatic passing tones, as well as using what theory I know to determine the key and what scale to use cool.gif

For some reason the strings and synth drums won't fade out with the rest of the tracks - I'm looking into how to fix this dry.gif

Posted by: Cosmin Lupu Nov 20 2014, 03:24 PM

Hah!

First things first - your recording of your idea - great man! It's nice and catchy and it could make a theme for a song anyday! You are starting to play with conviction - do you have any idea how much that means? biggrin.gif There are som slight moments of hesitation in the recording, so if you could play it until you become very, very natural with it and record it again, it could sound even nicer!

About the camera shyness - it's something normal, man smile.gif It's the nervousness that comes in when you know you need to show something. Don't think like that - just start the camera and play - playuntil you forget it's there and stop when you think you have played the best take and then, see what you got - deal? This one ain't bad, but at the end, the pitches are a bit shaky when you start playing on the B string - that's the part I'd focus on smile.gif

The note - scale associations are very correct! Keep it up Chris and you'll become a pretty darn good player, if you do smile.gif All it takes is work and determination - you have the rest! Let's see another recording of the vibrato lesson with the approach I suggested, deal?

Posted by: Chris S. Nov 20 2014, 08:43 PM

I couldn't do it without you man! laugh.gif
So many things are starting to click as far as the theory goes, I can't believe how much has actually sunk in these past two months! Writing a little piece is one thing, but understanding that piece and more importantly being happy with it is an amazing feeling. cool.gif

I took your advice and just kept on recording until the nervousness died down a bit and I was happy with the REC take:

http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=53407

EDIT:

Do you think for theory aspect of things we can take a little time to focus on harmonizing? I was looking around youtube and I came across one of Ben's songs:



I really like the harmony that starts at 2:05 and would like to understand this concept better, what do you think my friend?

ALSO:

1.) Is there anywhere I can buy the Days of Confusion album?
2.) Do you guys have t-shirts and if so HOW DO I GET ONE?!

You guys rock! cool.gif

Posted by: Cosmin Lupu Nov 21 2014, 04:07 PM

Hey Chris!

Well, I am gladto know I helped you out man! smile.gif We can only go forward from here, so know that basically, any line you wish to harmonize can be harmonized, as long as you respect an important principle:

- think of harmonization as two separate voices moving horizontally and being harmonized vertically - if you have a melodic line, you can use thirds or 5ths to harmonize it for instance.

And to help you out with the thirds, in the first instance, here's the first example coming to mind:

http://www.guitarmasterclass.net/ls/Days-Of-Confusion-Meta/ - videos 10 and 12 feature the initial melodic line and then the harmonized line using thirds smile.gif Can you dissect it a bit and notice how each note in video 10 has a correspondent in video 12?


Posted by: Chris S. Nov 22 2014, 03:47 AM

Okay so this is kind of embarrassing but...

Without looking at the main video text (because I didn't want to catch any of the scales or anything, I wanted to figure it out myself) I went ahead to videos 10 and 12, took the tab and translated it into note values, and then what scale and then what type of harmonies...

And then I realized that the lesson was IN DROP C and NOT E standard dry.gif tongue.gif

So the note values I got (while assuming it was in standard) were Bb C D E F G A which would be Bb Major and most of the notes in the second video were harmonized in thirds but there were a few notes that were harmonized in fourths, correct?

To fix the problem, I looked at the notes which were all played on what would be the G B and E strings - but in drop C that would be F A D which are each a whole step lower and thus I dropped all the note values I got by a whole step and got:

Ab Bb C D Eb F G which would be Ab Major right?

So all of the harmonies are in thirds, except for G/C and Bb/Eb which would be a fourth correct?

The two questions I developed from this was:

1.) Musically, what was the choice to throw in the 4ths instead of just staying to all 3rds?

2.) I noticed that the scale listed was C Aeolian, but if the scale is Ab Major, and the Aeolian mode is the 6th mode of the major scale wouldn't it be F Aeolian?

Thanks dude! biggrin.gif




Posted by: Cosmin Lupu Nov 22 2014, 10:12 PM

Hey matey!

All correct assumptions here, with one sole exception - Ab major is Ab Bb C Db Eb F G Ab so you missed a Db biggrin.gif Otherwise everything is correct - you transposed things correctly!

We harmonized with the fourths there because that sounded good to us tongue.gif No actual reason to it - see when harmonizing, you don't need to stick to straight usage of a single interval type, just make sure you pick notes from the scale and think of finding a line that harmonizes the one you already have. Chances are you will change it after recording it and if you would like to try some other versions which involve changing a note or two - you can always try variations smile.gif

How about the next drill - record the main melody (video 10) and then try to find another line, to harmonize it biggrin.gif What do you think?



QUOTE (Chris S. @ Nov 22 2014, 02:47 AM) *
Okay so this is kind of embarrassing but...

Without looking at the main video text (because I didn't want to catch any of the scales or anything, I wanted to figure it out myself) I went ahead to videos 10 and 12, took the tab and translated it into note values, and then what scale and then what type of harmonies...

And then I realized that the lesson was IN DROP C and NOT E standard dry.gif tongue.gif

So the note values I got (while assuming it was in standard) were Bb C D E F G A which would be Bb Major and most of the notes in the second video were harmonized in thirds but there were a few notes that were harmonized in fourths, correct?

To fix the problem, I looked at the notes which were all played on what would be the G B and E strings - but in drop C that would be F A D which are each a whole step lower and thus I dropped all the note values I got by a whole step and got:

Ab Bb C D Eb F G which would be Ab Major right?

So all of the harmonies are in thirds, except for G/C and Bb/Eb which would be a fourth correct?

The two questions I developed from this was:

1.) Musically, what was the choice to throw in the 4ths instead of just staying to all 3rds?

2.) I noticed that the scale listed was C Aeolian, but if the scale is Ab Major, and the Aeolian mode is the 6th mode of the major scale wouldn't it be F Aeolian?

Thanks dude! biggrin.gif


Posted by: Chris S. Nov 23 2014, 05:58 AM

Doesn't look like I made the cut for the REC take - more motivation to make the next take even better!

QUOTE
How about the next drill - record the main melody (video 10) and then try to find another line, to harmonize it :Dbiggrin.gif What do you think?


Do you mean create my own harmony over it, or use the same harmony that you used in video 12, just not using the same guitar tab?

ALSO:

I'm trying to challenge my creativity. After the City Lights idea, I thought I would try to go for something more emotional. I created a piano backing track and I'm going to make a little solo over it and try to blend the Minor scale with the Minor Pentatonic scale (to slowly start working my way out of just using the minor pentatonic scale).

I did run into a question though. The chord progression is Am | EM | Dsus4 | Dm - and the problem is the Dsus4

Without the Dsus4 the notes are A B C D E F G# which would be A minor

But when I add in the Dsus4 you get A B C D E F G G# which is an extra note.

My question is, would the scale still remain A minor? If so how would you technically describe the scale then? A minor with an added G or something a long those lines?

Thanks! Once I have something recorded I'll post it biggrin.gif

Posted by: Cosmin Lupu Nov 23 2014, 09:18 AM

Hey Chris - I want you to come up with a different harmony smile.gif Your own, that is wink.gif being creative is very fun and it will always boost your motivation up, so let's see what you will concoct biggrin.gif

Well, I think that since it's Ben's lesson, his suggestions are priceless, so implement them in your playing and I am sure you will be able to come up with an even better take - deal?

About your question - the Aminor scale doesn't have a G# in its structure - it's A B C D E F G A

Your progression looks pretty strange - Am Emajor Dsus4 Dmin (I assume that EM is an Emajor chord right?)

You have two choices here - either transform the Am into an Amajor or keep the chords like this but make them span over a longer number of bars each smile.gif In that way you will have time to deploy phrases so that they would make some sense.

Am has nothing to do with Emajor mainly and that's a bit of a problem - of course, what I wrote above is more in terms of a standard theoretical approach, but music isn't about theory tongue.gif If you find ANYTHING that sounds interesting over the progression as it is, record it and we'll see how we can take it from there. Use your ears and play what sounds good - ignore theory and use it to figure out what you did, after doing it biggrin.gif If you want to change something, use theory to see what options you might have - deal, again? biggrin.gif

Posted by: Chris S. Nov 23 2014, 08:29 PM

Greetings Cosmin!

Challenge accepted! I shall create my own harmony to video 10 and post the soundcloud file once I have it! biggrin.gif

QUOTE
Well, I think that since it's Ben's lesson, his suggestions are priceless, so implement them in your playing and I am sure you will be able to come up with an even better take - deal?


I am starting to get a little discouraged at this one, but then I just remember how I had a lot of trouble with the other lessons as well but after I kept working on it I eventually got it - all it takes is time and practice.

I didn't post this to the REC forum, I wasn't sure if this one was better than the last so I thought a fresh set of eyes/ears could let me know:



Sorry about the goof ups with the past few posts with the errors in my minor scales. One of the reasons I'm trying to do songs in minor is to get the practice using the formula (WHWWHWW) correctly.

How did you know that Am doesn't work with E Major? What is the theory behind that so I can use this in the future?

Thanks mate!

Posted by: Cosmin Lupu Nov 24 2014, 11:08 AM

Hey Chris smile.gif This one sounds like it has a lot more intention behind it!

To be honest, I think it's very close to Ben's rendition and aside the fact that you don't use your middle finger on the F note in the first three different parts, I think that the vibrato is good and consistent. Maybe the last two notes which are vibrated, could be sustained a bit heftier, but that's pretty much it, in what concerns me and my thoughts wink.gif

Well, you have learned how to harmonize a major scale - E major will appear in three situations in a scale in which it can be obtained from the 1st step, in one in which it comes from the 4th and on one in which comes from the 5th.

E major scale - E is the root
B major scale - E is the 4th
A major scale - E is the 5th

There's no Am chord that can be obtained in neither of these scales - do you agree?

Posted by: Chris S. Nov 24 2014, 12:47 PM

Thanks Cosmin! I'll shoot it over to the REC forum to see if the other guys think the same biggrin.gif

I feel dumb for not seeing that! E Major is E G# B and is not in A Minor which is A B C D E F G so it wouldn't be compatible.

I shall rework the chord progression!

Thanks for being patient with me. cool.gif

EDIT:

I started learning video 10 from the Days of Confusion lesson. I like how a lot of the notes change on the "&" of the beat instead of on the metronome click - it's definitely going to challenge both my timing and my ability to keep count in my head! Once I get a grasp of it I will post a soundcloud file and if the playing is good I will then add the harmony!

Posted by: Cosmin Lupu Nov 25 2014, 01:21 PM

Hey buddy!

No need to feel dumb - you are one of the most intuitive people here! I am curious to see what sort of a progression you will come up with and also, I'd like to see the approach on that harmonization drill biggrin.gif You can always use E minor you know - E G B wink.gif But it's not compulsory - try what you feel like trying and we'll see how it goes, ok?

Keep me updated as usual:)

QUOTE (Chris S. @ Nov 24 2014, 11:47 AM) *
Thanks Cosmin! I'll shoot it over to the REC forum to see if the other guys think the same biggrin.gif

I feel dumb for not seeing that! E Major is E G# B and is not in A Minor which is A B C D E F G so it wouldn't be compatible.

I shall rework the chord progression!

Thanks for being patient with me. cool.gif

EDIT:

I started learning video 10 from the Days of Confusion lesson. I like how a lot of the notes change on the "&" of the beat instead of on the metronome click - it's definitely going to challenge both my timing and my ability to keep count in my head! Once I get a grasp of it I will post a soundcloud file and if the playing is good I will then add the harmony!


Posted by: Chris S. Nov 25 2014, 06:57 PM

Greetings again, friend!

I'd like to start off by apologizing for taking so long with this vibrato lesson - I'm really trying to be able to match the pitches by ear and it's taking quite a while - definitely a much bigger weakness than I had thought it to be sad.gif

And switching the Emaj to Em was my original fix so now I have: Amin Emin Dsus4 and Dmin which all fit perfectly under the A Minor scale. The piano part is fixed, I will add in some drums and then try to get a rough idea recorded over it and then post it first thing!

I also agree with your suggestions for my newest take of the Dynamite Collab, I feel like it is a bit more of a mish-mosh of notes and not enough expression. I think I'm going to take the sweep out possibly and something that can really highlight a nice bend or vibrato - but we'll see.

Thanks mate! cool.gif

Posted by: Cosmin Lupu Nov 27 2014, 08:48 AM

Hey buddy - there is NOTHING to be sorry about smile.gif Once you get this one under your thumb, your abillities will grow and your articulation skills will be at a whole different level wink.gif No rush, no impatience and no pressure here - I'd rather you take your time and come up with a polished and well played take, rather then moving like the proverbial duck through the pond wink.gif

The progression looks fine now - looking forward to hear your ideas over it and about the collab, I noticed you have already posted something - I'll go have a listen and see what suggestions may arise!

How's the harmonizing idea coming along? smile.gif

Posted by: Chris S. Nov 30 2014, 03:53 AM

Hey Cosmin!

It's been a rough few days - nothing like working retail on Black Friday and this upcoming Cyber Monday dry.gif

I have taken a small break from the vibrato lesson - my middle finger gets really sore after a while I think my callous still hasn't thickened enough yet.

So in the mean time I have been practicing my take of the Dynamite Collab - I really want to nail the speed picking passage at the end!

And for the harmony lesson - I took the tablature and transposed it down a whole step (since I am in standard tuning - and am working on the harmonization).

Is playing an octave higher considered harmonizing? I'm thinking no since it's the same note but I just though I would ask.

Keep being cool! cool.gif

Posted by: Cosmin Lupu Nov 30 2014, 09:02 AM

Howdy Chris - of course it is biggrin.gif I have a nice example for ya smile.gif Look at these three guys - this is one of my favorite bands and as you will notice, in this video their roles are as follows:

Ian - the lead singer in the left is singing the main lines
Drew - the guitarist in the middle sings the octave of the main lines
Hos - the guitarist on the right sings the other harmonizing lines



Take it easy on yourself and get the mind clear after these busy days - I'm sure everything will fall into place and you will be able to get back to practicing after this wink.gif Looking forward to hearing the collab take in its newest form!

Posted by: Chris S. Dec 1 2014, 04:09 AM

Wow! Never heard of these guys but they rock! I will definitely have to check out some more tunes by them.

And super congratulations on the fundraiser on December 10th! That's really awesome and I wish you the best of the luck with it, keep me posted I'll be looking forward to hearing about it biggrin.gif

Other than that just focusing really hard on getting that speed picking down by the 5th!

cool.gif

Posted by: Cosmin Lupu Dec 2 2014, 10:05 AM

Godspeed mate - let me know how it goes and if you have any questions on the matter - I am here as always wink.gif

The idea here is to see what you can do with the time you have - if you feel like you can't nail it in this short amount, make it simpler, by transfroming that part into another sort of phrase - it'll serve you right, for certain. But as I said, that is entirely up to you smile.gif

About the fundraiser - thank you, Chris! It's a very important moment for me and I am working hard to get it done the right way!

Posted by: Chris S. Dec 4 2014, 02:16 AM

Hey dude,

So I'm a little disappointed - after practicing my butt off trying to nail the speed picking passage for the Dynamite Collab it's still not perfect - I think the tempo is a bit too much for me at this point in time.

I'm going to rework the ending to make it a little simpler by the deadline.

Posted by: Cosmin Lupu Dec 4 2014, 08:48 AM

QUOTE (Chris S. @ Dec 4 2014, 01:16 AM) *
Hey dude,

So I'm a little disappointed - after practicing my butt off trying to nail the speed picking passage for the Dynamite Collab it's still not perfect - I think the tempo is a bit too much for me at this point in time.

I'm going to rework the ending to make it a little simpler by the deadline.


A wise choice, my friend - don't be disappointed smile.gif This is the moment in time at which you are NOW. Keep practicing, believe in what you are doing and you will be able to play better and better by the day. Trust me on this one wink.gif

How are the other tasks going so far?

Posted by: Chris S. Dec 4 2014, 06:24 PM

Hey Cosmin!

I posted my final take to the Dynamte Collab thread - hopefully it's good enough to use.

With work killing me right now - I've been trying to manage my practice time as efficiently as possible. My focus was the Dynamite Collab and now that this will be over soon I can spend that time on the Vibrato lesson and the harmony lesson.

With the vibrato lesson, though - the callous on my middle finger keeps slicing off after about an hour of practice. So I'm left with a small hole and it becomes to painful to keep practicing until it heals over.

Is this normal? It's getting to be rather annoying - practicing the lesson for a day or two and then having to take a few days off for my finger to heal mad.gif

Thanks mate!

Posted by: Cosmin Lupu Dec 5 2014, 09:05 AM

Hey Chris smile.gif

I will check out the take right after writing you here wink.gif Well, since you mentioned that you work environment is pretty busy especially around this time of year, you should not stress out too bad. Accept what's actually happening and use the time you have without frustration. Trust me, you will have far better results.

About the caluses - watch out to use the calus and not let it be grabbed by the string underneath it, so that the string will gradually rip it off - sometimes, we tend to play and not pay attention to this aspect and suddenly, the calus is torn off by the string.

I don't know if this is the case, but this is what usually happens smile.gif Am I close? laugh.gif

Posted by: Chris S. Dec 6 2014, 06:25 AM

Thanks for always putting things in a better perspective.

This holiday season is rough - but once it's over I get to dedicate boatloads of time again into my practice!

cool.gif

My finger seems to be healed up again and since I submitted my take for the Collab I'm going to push to improve my vibrato and get this lesson under my belt once and for all!

Thanks Cosmin

P.S. Any new updates on the fundraiser?

Posted by: Cosmin Lupu Dec 6 2014, 04:45 PM

Hey buddy smile.gif I'm what you may call 'the grand optimist' biggrin.gif I'll ALWAYS push people towards amazingness and success - it's what I do smile.gif

I'm looking forward to see your video and in the mean time, the fundraiser preparations are going great - got two more artists involved - a famous DJ and an acoustic guitar prodigy - my friend, Bogdan Nicolaevici - check him out here:




Posted by: Chris S. Dec 9 2014, 09:46 PM

Very nice! You can never have enough fingerstyle biggrin.gif

So these past few days have been me pretty much trying to play catch up with the Vibrato lesson - it's amazing how fast you can lose your hard work when your away from it for a short amount of time blink.gif

This is where I am at now:



And with the harmony lesson:

 harmony_lesson.gp5 ( 5.1K ) : 64


I notice that certain notes sound better with others. Sometimes using the 4th of a scale to harmonize sounds really awful but when you use the 3rd or something else it sounds much better biggrin.gif

Whatcha think partner? cool.gif

EDIT: So I did another take of the Vibrato Lesson I felt like it was 10X better than the one I had posted. I'm feeling pretty confident in it so I shot it over to the REC Forum - but we both know how that turned out the last two times rolleyes.gif tongue.gif

http://youtu.be/j7dRtN10VFk

Posted by: Cosmin Lupu Dec 11 2014, 11:34 AM

Hey Chris!

Mate, if you ask me, there are almost imperceptibly slight pitch issues - but they are so small, that they only need more playing to be perfected. There's nothing wrong with the take smile.gif I would give it a 9 with the ammendment that you should work hard on perfecting your articulation.

I'm at the laptop right now, so no GP installed, but I'll go to the studio PC and listen to the harmonizing and tell you my thoughts - indeed, the fourths are not always the happiest choice biggrin.gif But when you use them wisely, man... they can create haunting melodies!

You know Alice in Chains? They have amazing harmonized vocal lines, using fourths a lot - check this out:



Let's see what the guys say about the take smile.gif

Posted by: Chris S. Dec 11 2014, 11:09 PM

I haven't heard a whole lot by AIC but from what I have heard I do enjoy them! biggrin.gif

If I pass the REC Video I was thinking that I can move on to something else but still keep the vibrato lesson in practice regimen - this way we can shift the focus to something new but you'll know that I am still working on my vibrato so that when I get hit with a lesson that has some vibrato in it - I SHALL BE READY! laugh.gif

Just to make sure about the harmony lesson (not sure if you checked out the GP file yet) - when you determine the third, fourth, fifth or whatever, it goes by what scale you are currently using correct?

For example in C Aeolian the notes are:

C D Eb F G Ab Bb

So if the note was C, the third would be Eb and the fourth would be F and so on, correct?

Thanks Cosmin!

PS how did the fundraiser go?!

Posted by: Chris S. Dec 13 2014, 02:03 PM

Also:

A bit of a side question but what would make someone say that the scale if a song is in Ionian instead of Major?

Since they are the same thing - is it just personal preference?

Thanks biggrin.gif

Posted by: Cosmin Lupu Dec 13 2014, 08:52 PM

Hey bro!

You passed! And your assumptions are correct smile.gif I have also listened to the GP file and I liked the variation - please record a video so that we can see how it also sounds on the guitar!

I would recommend you to try this one for size: http://www.guitarmasterclass.net/ls/The-Voice-Of-Your-Guitar/ it'll put all the stuff you practiced into Ben's lesson into a more elaborate melodic and control oriented context wink.gif What do you think?

About the Ionian - you can call it Ionian or Natural Major Scale, it's your choice - everyone will know what it is - everyone knowing music theory that is wink.gif About the fundraiser... it came out WAY BEYOND any expectation I had.. Almost 600 people attended and we raised about 3500 EUR that's almost 5000 dollars smile.gif The concert came out amazing and you can watch it here, if you'd like:



The first band didn't get recorded unfortunately and two of the final songs are missing - we did 3 songs in the All Stars concept - mixing members from all bands to make up separate little 'spot on' bands to play covers of famous tunes tongue.gif Hope you will enjoy this!

Posted by: Chris S. Dec 13 2014, 11:25 PM

I shall make a recording of the harmony!

A lesson from The Man himself! I'm pretty excited for this one - it's pretty lengthy and I think it will definitely help me with coming up with some nice melodies and breaking out of the "bag o' licks" concept I've been stuck in.

biggrin.gif

And I'm super happy that it went well my friend! You deserve it - I inspire to do something amazing like that one day through music smile.gif

I hope you continue to touch the lives of many more people - I know I'm one of them!

EDIT:

So for the harmony lesson:

https://soundcloud.com/stortzmusic/meta-harmony-homework

I didn't mean to ruin your creation tongue.gif I'm just not really familiar with how to use harmonies or how to record them, for that matter. It's a little different from the Guitar Pro file - I just wanted to experiment a little to see some different possibilities (that's why it sounds all over the place).

And for the main lesson:

https://soundcloud.com/stortzmusic/the-voice-of-the-guitar-lesson-tone-test

So that is where I am at so far. There is no backing track in this one, I want to get a feel for it naturally just by listening to the original lesson and then work on the timing once I have learned the piece (unless this is a bad idea?)

What do you think of the tone?

Thanks mate!

Posted by: Cosmin Lupu Dec 14 2014, 01:16 PM

Hey mate!

Glad to hear I can provide inspiration, mate! The harmonizing is correct, theoretically, but it sounds a bit out of dirrection because of the intervals used tongue.gif It's a good exercise as you said, but it lacks musical direction - the main line starts somewhere and goes somewhere, but the harmonization doesn't follow but at certain moments wink.gif The important idea is that you have understood the concept.

About the 'Voice' lesson - please pay more attention to the following aspects:

- the tone needs a bit more gain
- the phrasing is a bit different - I am talking about that little bend that needs to be a bit more defined - around 0:02 - 0:03
- the vibrato comes in too early - you need to let the notes breathe smile.gif See how the vibrato is played in the original recording, as to when it will come in.

Deal? wink.gif

Posted by: Chris S. Dec 14 2014, 03:08 PM

Thanks Cosmin!

Not bad for a days work - but still a long way to go!

What shall I focus on theory wise, now?

biggrin.gif

Posted by: Cosmin Lupu Dec 15 2014, 03:51 PM

Hey bro!

Well, I would go for some chord progressions - typical ones for each mode smile.gif Have you dealt with chord progressions before? Do you understand them?


Posted by: Chris S. Dec 15 2014, 04:32 PM

QUOTE (Cosmin Lupu @ Dec 15 2014, 02:51 PM) *
Hey bro!

Well, I would go for some chord progressions - typical ones for each mode smile.gif Have you dealt with chord progressions before? Do you understand them?

I've created random chord progressions and tried to figure out what scale can be used over them but that is about it tongue.gif

Posted by: Cosmin Lupu Dec 16 2014, 11:40 AM

Well, I think that we can begin with reading the theoretical aspects written in here smile.gif Let me know what your questions are after going through the theory, ok? I'd be glad to discuss the ideas with you, as usual and then see to some tasks biggrin.gif

http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=49797

Posted by: Chris S. Dec 16 2014, 07:28 PM

QUOTE (Cosmin Lupu @ Dec 16 2014, 10:40 AM) *
Well, I think that we can begin with reading the theoretical aspects written in here smile.gif Let me know what your questions are after going through the theory, ok? I'd be glad to discuss the ideas with you, as usual and then see to some tasks biggrin.gif

http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=49797

Hey Cosmin!

The theory aspect of things is always my favorite!

So far I've gone through the first three types of progression:

1. I IV V
2. I vi IV V
3. I IV V Blues Progression

The first two are pretty easy, you just take the specified intervals of the scale - and the I IV V Blues just uses 7 chords. So if the intervals were C F G you would use C7 F7 G7.

I guess my biggest questions so far, since I haven't read ahead to the other three progressions, would be do these formulas only apply to a Major Scale/Mode?

Like if I had an A Minor Scale = A B C D E F G

would the I IV V still be A D E? I'm guessing not because if you form the chord scale for A Minor, I is A Minor, IV is D Minor and V is G Minor so it would like: i iv v instead of I IV V

Since they are minor instead of major does this change anything or would just be considered a i iv v minor progression (or something a long those lines)?

Thanks cool.gif

EDIT:

And this is where I am at with video 2 of the lesson:

https://soundcloud.com/stortzmusic/voice-video-2-take-1

Posted by: Chris S. Dec 18 2014, 08:48 AM

Hey Cosmin,

Do you think at the rate that I am going I'd be able to at least give some beginner lessons in like 2 or 3 years? I'm trying to find some ways to make some extra money and I was thinking of private lessons.

I've been doing a lot of setups, nut making and electronics work to one day be able to do some basic luthiery on the side as well.

I dunno though, only time will tell I guess?

Thanks!

Posted by: Cosmin Lupu Dec 18 2014, 10:16 AM

Hey Chris!

Mate, you nailed the quirky bend! Congrats - it's a very hard one for everyone biggrin.gif I just want a bit more definition in the execution and a wider vibrato that comes in a little bit later then you employ it now. Also, the final bend needs to happen a bit quicker and watch out on the pitch - deal? biggrin.gif

Now, all you assumptions on the theoretical aspects are correct aside one single thing the v is an E minor biggrin.gif not a Gminor - let me know if it makes sense and as a task - please applythe formulas in 3 major scales and their minor relatives, of your choice! Deal?

QUOTE (Chris S. @ Dec 16 2014, 06:28 PM) *
Hey Cosmin!

The theory aspect of things is always my favorite!

So far I've gone through the first three types of progression:

1. I IV V
2. I vi IV V
3. I IV V Blues Progression

The first two are pretty easy, you just take the specified intervals of the scale - and the I IV V Blues just uses 7 chords. So if the intervals were C F G you would use C7 F7 G7.

I guess my biggest questions so far, since I haven't read ahead to the other three progressions, would be do these formulas only apply to a Major Scale/Mode?

Like if I had an A Minor Scale = A B C D E F G

would the I IV V still be A D E? I'm guessing not because if you form the chord scale for A Minor, I is A Minor, IV is D Minor and V is G Minor so it would like: i iv v instead of I IV V

Since they are minor instead of major does this change anything or would just be considered a i iv v minor progression (or something a long those lines)?

Thanks cool.gif

EDIT:

And this is where I am at with video 2 of the lesson:

https://soundcloud.com/stortzmusic/voice-video-2-take-1



QUOTE (Chris S. @ Dec 18 2014, 07:48 AM) *
Hey Cosmin,

Do you think at the rate that I am going I'd be able to at least give some beginner lessons in like 2 or 3 years? I'm trying to find some ways to make some extra money and I was thinking of private lessons.

I've been doing a lot of setups, nut making and electronics work to one day be able to do some basic luthiery on the side as well.

I dunno though, only time will tell I guess?

Thanks!


Why not? smile.gif You will only go faster, from now on - with understanding things at least - you have a very coordinate mind and I like that - tell me man, do you have any mathematic based schooling? And about luthiery - well, if you have a calling for this, indeed, time and hands on practicing will be the ones to tell wink.gif

Posted by: Chris S. Dec 18 2014, 09:36 PM

I graduated second in my class in high school - math was my strongest subject. I was good at it but I didn't enjoy it, if that makes any sense?

That's why I haven't taken the college route yet - I don't want to go for something because I'm good at it, I want to go for something that I will enjoy doing for the rest of my life. I'm trying to find that middle ground of how I can do something relating to music but can also be used for other things as well - like recording or something.

For the lesson: I will work on the vibrato and bend and post an update!

And for the theory task: I wasn't sure how to determine a relative minor but after reading up on it - it's very simple!
The relative minor is the 6th degree of a Major Scale and the relative major is the 3rd scale degree of a Minor scale.

So:

C Major:

I IV V = C F G
I vi IV V = C Am F G
I IV V Blues = C7 F7 G7

Relative Minor = A Minor:

i iv v = Am Dm Em
i vi iv v = Am Fm Dm Em
i iv v Blues = Am7 Dm7 Em7 ??

G Major:

I IV V = G C D
I vi IV V = G Em C D
I IV V Blues = G7 C7 D7

Relative Minor = E Minor:

i iv v = Em Am Bm
i VI iv v = Em G Am Bm
i iv v Blues = Em7 Am7 Bm7

D Major:

I IV V = D G A
I vi IV V = D Bm G A
I IV V Blues = D7 G7 A7

Relative Minor = B Minor:

i iv v = Bm Em F#m
i VI iv v = Bm G Em F#m
i iv v Blues = Bm7 Em7 F#m7

Did I do these correct? So after doing these I'm guessing these formulas are set in stone correct?

Like the i iv v applied to a minor scale will always give you three minor chords or I vi IV V applied to a major scale will always give you a minor 6th?

I wasn't sure of this at the time so I figured each one individually.

EDIT:

I had some free time after practicing so I thought I would give this one a quick whirl - can you guess what lesson it is? tongue.gif biggrin.gif

https://soundcloud.com/stortzmusic/guess-the-lesson

Quite a bit of mistakes but overall not too shabby for a days work I don't think

Posted by: Cosmin Lupu Dec 19 2014, 06:06 PM

Hey matey!

All your assumptions are correct! These rules are set in stone wink.gif Tell me, have you ever worked with the circle of 5ths? This circle could easily tell you ANY progression in ANY key - just one of the many things it can tell you - when you will elarn how to use it right. I think it would be about time to talk about it - but first tell me what you know about it and I will share what I know biggrin.gif

I can't recognize the lesson - which one is it, mate?

Posted by: Chris S. Dec 19 2014, 11:40 PM

Hey doOd!

It's the Double Stop Melody on the home page by Mr. Chris Shofner smile.gif

Definitely out of my comfort zone - despite the mistakes I made I think I picked up on it pretty quick for only an hour or two.

And for the Circle of Fifths - I've seen this video on the Circle of Fourths:

https://m.youtube.com/watch?v=ezzuTObED2o

I watched it before we started working together and it blew my mind - but now with a basic understanding of some things I think that revisiting it a second time will prove to make more sense this time around.



Posted by: Cosmin Lupu Dec 20 2014, 09:52 AM

Hey buddy biggrin.gif

I think the video is very well done and to add to it, I will link you to a series of topics I wrote on the idea of using the circle in real situations smile.gif

Please read through them:

http://www.guitarmasterclass.net/guitar_forum/index.php?s=&showtopic=39243&view=findpost&p=615043
http://www.guitarmasterclass.net/guitar_forum/index.php?s=&showtopic=39243&view=findpost&p=615683
http://www.guitarmasterclass.net/guitar_forum/index.php?s=&showtopic=39243&view=findpost&p=617146
http://www.guitarmasterclass.net/guitar_forum/index.php?s=&showtopic=39243&view=findpost&p=618347

..and let's see about some tasks, after that wink.gif Looking forward to your thoughts and questions, as usual biggrin.gif

About the recording - it is rigid indeed, but if you say you learnt it as quickly as you did, it's good for the stage. Please focus on timing, groove and form, in order to make it sound as natural as possible, if you shall decide you want to proceed with it until you make it sound as close to perfection as possible smile.gif

Let's make a deal together - finishing a lesson is of utmost importance - by that, I mean making that lesson sound as close to perfection as possible. Starting to work on 1000 lessons at once, will diminish your progress. I know it's tempting smile.gif Trust me!

Posted by: Chris S. Dec 21 2014, 04:35 AM

Thanks Comsin!

I agree - like I said I had some extra time so I thought I'd give it a shot, I was mostly focused on the theory behind it more than the playing (always looking to add new ideas to the arsenal).

Definitely not my focus - before you were kind enough to start helping me I was guilty of trying to learn a bunch of lessons at once and it didn't work out well at all! tongue.gif

I shall delve into the material you have provided! I like the JRR Tolkien kind of vibe you gave it cool.gif

Once I get my feet wet I will post my thoughts and questions!

Posted by: Cosmin Lupu Dec 21 2014, 09:08 AM

Hehe! Please do mate! Well, thank you once again for your kind thoughts and you must know that I am a huge Tolkien fan tongue.gif I even read Silmarillion - one of his book depicting the history of Middle Earth from its very beginnings in the old english he used to write it laugh.gif It took me about 15-20 minutes to read a page, but hey! It was definitely worth it biggrin.gif

Looking forward to hearing your impressions and we'll take it form there! wink.gif

Posted by: Chris S. Dec 23 2014, 12:51 AM

Yo ho, Captain!

So my Guitar Theory for Dummies book has a whopping page and half on the Circle of Fifths with no diagrams rolleyes.gif (So I didn't even bother).

I read your posts - and although I caught on to some of it, I was lost with other aspects.

So I took to the interwebz to find a video (I tend to learn better that way) and came across these:



&



And after reading your posts and watching these videos this is what I know, thus far, about the circle:

1.) I can draw the circle (gotta start somewhere tongue.gif )
2.) I can pick one of the roots from the circle and determine how many sharps, what they are, and write out the scale.
3.) The tritone of the selected note is directly across from that note.

So not really a whole lot. After I write down the scale and intervals I can then go from there to determine what the I IV V progression would be or whatever (not sure if you can determine this by just directly looking at the circle).

I'm sure I have missed some other key factors that I can derive from the circle?

Thanks! cool.gif

Posted by: Cosmin Lupu Dec 23 2014, 07:13 PM

Hey buddy smile.gif Point three - I don't think I get exactly what you mean by this smile.gif Can you please develop the idea?

Also, you can figure out ANY progression in ANY key, simply by looking at the circle and following these steps:

- decide the key
- notice where the steps of the key are (if we think of the C major scale - we have C D E F G A cool.gif
- decide on a progression formula - let's say ii V I - that being Dm Gmaj C maj
- notice where these notes are on the circle
- let's assume we want the ii V I in E major
- rotate the circle in your mind so that the I becomes E
- respect the same geometry that the notes had in the situation of the C major scale and you will discover the ii and V in the case of the E major scale

The conclusion is that this method works with ANY progrssion smile.gif let me know if you understood the technique, ok?

Posted by: Chris S. Dec 25 2014, 04:34 AM

Hey mate!

Just wanted to step away from the craziness for a moment and wish you a very Merry Christmas/Happy Holiday!

Hope all is going well!

biggrin.gif

Posted by: Cosmin Lupu Dec 26 2014, 01:21 PM

Back at you Chris!

I hope that you will enjoy this year's last days and refill your energy for the one who's waiting around the corner!

It's been a pleasure to work with you so far! Thank you for the kind thoughts!

Cosmin

Posted by: Chris S. Dec 26 2014, 05:43 PM

Likewise! I look forward to working with you in the new year biggrin.gif

And for the tritone part that I was talking about - the note that is directly across from it/on the opposite side of the circle is the tritone.

For example - where G is on the circle, on the opposite side is Db or C#

This became more apparent to me in the Xmas Collab when Darius pointed out I used the tritone over a G chord which made everything sound off.

Posted by: Cosmin Lupu Dec 27 2014, 09:20 AM

QUOTE (Chris S. @ Dec 26 2014, 04:43 PM) *
Likewise! I look forward to working with you in the new year biggrin.gif

And for the tritone part that I was talking about - the note that is directly across from it/on the opposite side of the circle is the tritone.

For example - where G is on the circle, on the opposite side is Db or C#

This became more apparent to me in the Xmas Collab when Darius pointed out I used the tritone over a G chord which made everything sound off.


Ah! Now I get it - I was so tired, I read triad instead of tritone and I was really wondering what you meant by that smile.gif

The raised 4th brings in the Lydian sound, but you should definitely deploy it over either a major chord that spans over a larger number of bars, or over a Lydian based chord progression. If I remember correctly, the first part in the 'The voice of your guitar' is based on a Lydian progression smile.gif Can you analyze it and tell me why? biggrin.gif

Posted by: Chris S. Dec 31 2014, 06:18 AM

Hey Cosmin!

So I've been mostly working on the xmas collab - I always enjoy a good challenge to my creativity!

And for the Lydian progression - hmm, I'm not sure?

This is what I have worked out so far:

A add 9 = A B C# D
B add 11 = B D F# E
G#Maj = G# C D#
E Maj = E G# B
C# MajAdd11 = C# F F# G#

So all of the notes are A B C C# D E F F# G# which is 9 notes, 2 more than a standard scale so I'm guessing some are just transitional notes or something? Although it's always a good possibility that I goofed somewhere a long the way tongue.gif

EDIT:

Happy New Cosmin! Hope this year is even better than the last laugh.gif

Posted by: Cosmin Lupu Jan 3 2015, 10:05 PM

Hey Chrismeister!

Happy new year to you too, mate! All the best, luck, health and lots of music in 2015!

Seconds biggrin.gif Well, your lesson is in the key of E major smile.gif So, the notes that you will be dealing with are E F# G# A B C# D# - knowing this and knowing that the lesson is in A lydian which is the 4th mode of the E major scale, can you deduce the chords without the mistakes? biggrin.gif You have 3 notes which don't have a place there wink.gif C, D and F - correct? biggrin.gif

Posted by: Chris S. Jan 10 2015, 04:56 PM

Hey Cosmin!

Sorry for my absence - my girlfriend'a dad has been in the hospital (ICU) since Saturday - so my time outside of work has been there to comfort her. He's finally taking a turn for the better though!

I saw your post/message about leaving:

I completely understand! I will miss working with you for sure. You managed to turn my hobby into a passion and for that I could never thank you enough.

To take the time out of your day to do what you do here shows what a cool person you are! You have a huge heart and I hope you can continue to bring a smile to faces of all those who you meet.

Whenever I use vibrato you will always be in my mind telling me to "make it wider, young padawan!"


Posted by: Cosmin Lupu Jan 11 2015, 10:02 AM

Hey mate,

I hope your GFs dad is ok - I'm in a sort of similar situation here, but until now it does seem to mend, so I get what's going on.

Thank you for your kind thoughts, mate smile.gif I'm not gone yet, so let's take the time to revise what you have been up to so far - deal? biggrin.gif

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