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
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!!!
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
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!
Hey mate if someone would listen to you speak about yourself and not have this track alongside to listen, they would think you are THAT horrible 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 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 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
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
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
Let's see the updates then and we'll take it from there - deal?
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?
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
P.S.S. You da man!
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
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 What do you think?
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
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!
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!
Hehe, self disciplining is always a good choice
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?
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
Now I have myself a really comfy stool!!!
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!
Hey mate 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
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 Let me know what your thoughts are, ok?
Thanks for the tips! My psychic powers see me practicing some vibrato lessons in the future, perhaps?
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!
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
Hey buddy, no worries about any bombardment
The 'REC fever' will disappear with time, don't worry 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?
Thanks Cosmin! I'm glad I've taken a few steps forward since my last take (it's a good feeling)
That triplet part is going to be the death of me, though
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
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.
Hey buddy!
Thank you for your kind thoughs and for the smile you just put on my face 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 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/
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
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?
Hey mate! Great to hear you are digging these lessons 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 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?
Alright, will do!
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!
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!
Hey mate! That is once again a very good choice 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 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
About the sword.. well, I am passionate Japanese classical swordsmanship practitioner - that is called Kenjutsu and that there was my actual first cut 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
So I've come to the conclusion that this one is going to take me a while
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
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
Hey buddy 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 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 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
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
Let's keep rocking!
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!
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!!
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?
Hey mate! I am very glad to hear that you are slowly opening up Just keep going and you'll get to discover amazing things about music and yourself as well
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 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 Please let me know if there's anything else I can help with in respect to this, ok?
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!
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
It seems a little bit easier when I use a pick that's cheating since the video lesson calls for finger picking
I'll keep you posted
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
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
Thanks man!
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?
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 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
- 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?
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.
I had to work mandatory overtime this weekend so I was only able to practice about 20 minutes on Friday and Saturday
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
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
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
Great approach, man! Like a pro! 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
Keep rocking - umm errh, chording and let me know how it goes, ok?
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
I've also been trying to work on my grooooooooveeee
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
Hey Chris!!
Definitely!! You made me nod my head 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 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
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
Have you read about harmonizing so far - I mean aside what the theoretical part of the lessons you are working on right now, mentioned?
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 (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.
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
Hey lil' buddy! It is indeed a PRS - those bird inlays are unmistakeable
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 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 Read through a bit and let me know what you think about the backing tracks
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!
Taking bars out of backing tracks at random times, YOU MONSTER!!!
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
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
Hehehe 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 Try it from time to time and you'll be amazed by how your abilities will grow
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 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
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 The idea here is to say the names of the notes out loud as you play them
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 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
What do you think?
Hey Chris!
Thanks again for your kind words, man 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
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 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!
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
Hey matey 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 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
http://www.guitarmasterclass.net/ls/Bens-Vibrato-Odyssey-5/
Yes, the notes work well with the chords - that's the exact idea You have derived the chords from a major scale and the notes in the solo from the same major scale
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!
Bullseye!! Good going mate
You got them figured out perfectly! How's the triad lesson coming along?
YES!!! This is how I feel after figuring it out:
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?
Hey mate! Hehe! That song is the backing track of hope and success!
Great playing and tone here, in the triads take! 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? I would now, go for a video and then straight to the REC zone! What do you think?
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 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
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
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 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 Will you give it another try? Use a tuner and let's see which notes are the second and the third, deal?
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 You need to get your vibrato in great shape, in order to become a refinde lead player
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?
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?
Yes please! I would be very interested in seeing a first recording, as soon as you will learn it
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? And what are the notes in the C lydian mode?
Hey Chris!
COrrect assumptions until you stated the formula 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
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? 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
Let's see what your thoughts are and we'll take it from there - I will send you more examples to train your ears
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!
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
https://soundcloud.com/stortzmusic/bens-vibrato-odyssey-5-first-attempt
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 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
Now, yes, I would say that this is the right way to understand modes, as a principle and not as a bunch of positions
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 After that, finding them on the neck, is a matter of exercise, but you need to understand WHAT you should exercise and WHY - correct?
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? ), 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 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 Do we have a deal?
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?
Hey mate! I am looking foward to hearing your new take and in the mean time 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
I love the challenge!
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?
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
Another question, if you compare the formulas for the Dorian, Aeolian and Phrygian modes - what notes do they have in common?
Hehe!
Try to play the C major chord on your guitar and tap the C note on the D string in the 10th position 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?
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
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!
As always - YOU DA MAN!!
Hey buddy! Thank you for the great energy and thoughts
The little piece sound nice and it would sound even nicer with a steady groove behind it 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?
About theory, hey - it's a great journey about discovering things and now next to my next question
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? Use simple words and trust your guts - you have great intuition! How can this conclusion be applied in the case of major modes?
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!
Hey matey,
I have listened to the vibrato lesson take and it sounds a bit better than the last one 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 You got the principles mate, it's just practicing that separates you from goal, so getto it like a champ
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
Now, how about the major modes - which scale is their skelleton? Think in the same manner as above
So I got a used Cort Action 4 bass to help add some depth to anything I write
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?
Precise!!
What other mode can you form by using the major pentatonic scale? There's one left and thus, you know'em all!
Hey mate!
As usual, your intuition payed off 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
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 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
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!
Hey Chris - it's a good idea, but I'd look at things in a different way
- 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 The more situations you put yourself in, the less likely you will become stuck in shapes What do you think, mate?
Thanks Cosmin!
I will definitely apply this to how I am practicing these scales
Nothing to it, man! Excellent I am looking forward to hearing your first thoughts and the next vibrato lesson take, as well
This vibrato lesson is really getting the best of me, it seems
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
Hey matey!
This ain't so bad as you make it seem I listened and I would just like to point out the details here
- 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 Please let me know, ok?
That score sounds good, even though I haven't yet heard about the fretboard warrior Is he good with a sword?
Anyway, the swing feel, is something which is pretty hard to describe in words 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 Let me know if you can hear the feel, deal?
Heheheh
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
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?
Hah, sounds like a very nice application If it works for you and it pays off, hell mate, go for it
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 Can you record a bit out of this lesson, maybe? I'd be curious to see you at it 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!
Sure thing!
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.
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
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
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
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!
Great to hear you are in for this challenge matey! 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
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 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?
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
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
So before looking at anything I looked at the first part of the video - video #1.
So looking at the four chords being played:
Hey there Chris - as usual, all you assumptions are correct 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
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?
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 pretty cool and filled with possibilities Hope it makes sense - let me know what your thoughts are, ok mate?
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
Okay, C Major: C D E F G A B
Hehe!
Correct all the way - as usual 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 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 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?
Thanks Cosmin! You always make things super easy to understand
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!
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?
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
- 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? The idea is very good and I think you should definitely go for it
Let's see how it develops, ok?
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? 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 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
The note - scale associations are very correct! Keep it up Chris and you'll become a pretty darn good player, if you do 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?
I couldn't do it without you man!
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.
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!
Hey Chris!
Well, I am gladto know I helped you out man! 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 Can you dissect it a bit and notice how each note in video 10 has a correspondent in video 12?
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
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!
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 Otherwise everything is correct - you transposed things correctly!
We harmonized with the fourths there because that sounded good to us 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
How about the next drill - record the main melody (video 10) and then try to find another line, to harmonize it What do you think?
Doesn't look like I made the cut for the REC take - more motivation to make the next take even better!
Hey Chris - I want you to come up with a different harmony Your own, that is being creative is very fun and it will always boost your motivation up, so let's see what you will concoct
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 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 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 If you want to change something, use theory to see what options you might have - deal, again?
Greetings Cosmin!
Challenge accepted! I shall create my own harmony to video 10 and post the soundcloud file once I have it!
Hey Chris 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
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?
Thanks Cosmin! I'll shoot it over to the REC forum to see if the other guys think the same
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.
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!
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 You can always use E minor you know - E G B But it's not compulsory - try what you feel like trying and we'll see how it goes, ok?
Keep me updated as usual:)
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
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!
Hey buddy - there is NOTHING to be sorry about Once you get this one under your thumb, your abillities will grow and your articulation skills will be at a whole different level 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
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?
Hey Cosmin!
It's been a rough few days - nothing like working retail on Black Friday and this upcoming Cyber Monday
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!
Howdy Chris - of course it is I have a nice example for ya 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 Looking forward to hearing the collab take in its newest form!
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
Other than that just focusing really hard on getting that speed picking down by the 5th!
Godspeed mate - let me know how it goes and if you have any questions on the matter - I am here as always
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
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!
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.
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
Thanks mate!
Hey Chris
I will check out the take right after writing you here 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 Am I close?
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!
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?
Hey buddy I'm what you may call 'the grand optimist' I'll ALWAYS push people towards amazingness and success - it's what I do
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:
Very nice! You can never have enough fingerstyle
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
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
Whatcha think partner?
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
http://youtu.be/j7dRtN10VFk
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 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 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
I haven't heard a whole lot by AIC but from what I have heard I do enjoy them!
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!
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?!
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
Hey bro!
You passed! And your assumptions are correct 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 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 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 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 Hope you will enjoy this!
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.
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
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 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!
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 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 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 See how the vibrato is played in the original recording, as to when it will come in.
Deal?
Thanks Cosmin!
Not bad for a days work - but still a long way to go!
What shall I focus on theory wise, now?
Hey bro!
Well, I would go for some chord progressions - typical ones for each mode Have you dealt with chord progressions before? Do you understand them?
Well, I think that we can begin with reading the theoretical aspects written in here 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
http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=49797
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!
Hey Chris!
Mate, you nailed the quirky bend! Congrats - it's a very hard one for everyone 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?
Now, all you assumptions on the theoretical aspects are correct aside one single thing the v is an E minor 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?
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?
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
Hey matey!
All your assumptions are correct! These rules are set in stone 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
I can't recognize the lesson - which one is it, mate?
Hey doOd!
It's the Double Stop Melody on the home page by Mr. Chris Shofner
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.
Hey buddy
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
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 Looking forward to your thoughts and questions, as usual
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
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 Trust me!
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!
I shall delve into the material you have provided! I like the JRR Tolkien kind of vibe you gave it
Once I get my feet wet I will post my thoughts and questions!
Hehe! Please do mate! Well, thank you once again for your kind thoughts and you must know that I am a huge Tolkien fan 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 It took me about 15-20 minutes to read a page, but hey! It was definitely worth it
Looking forward to hearing your impressions and we'll take it form there!
Yo ho, Captain!
So my Guitar Theory for Dummies book has a whopping page and half on the Circle of Fifths with no diagrams (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 )
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!
Hey buddy Point three - I don't think I get exactly what you mean by this 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
- 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 let me know if you understood the technique, ok?
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!
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
Likewise! I look forward to working with you in the new year
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.
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
EDIT:
Happy New Cosmin! Hope this year is even better than the last
Hey Chrismeister!
Happy new year to you too, mate! All the best, luck, health and lots of music in 2015!
Seconds Well, your lesson is in the key of E major 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? You have 3 notes which don't have a place there C, D and F - correct?
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!"
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 I'm not gone yet, so let's take the time to revise what you have been up to so far - deal?
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