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[wrk]

I Got Rhythm Guitar 2 - Palm Muting

Once again, well done OC !! You obviously have a feeling for rhythm. If you say you practiced it for just 10min, then this lesson is way to easy for you .
I really have nothing to complain about this take ...

.. but just something to try . I have the impression you could use a bit more attack with your pick, i don't mean to pick harder, just a bit quicker on the moment when you pick the string. Do you know what i mean? Have a look at Joe's video, he does some wide moves with his pick. The way he plays it adds some punch to the sounds, but his right hand looks relaxed.

Another idea and it's fun to do as well. Try to record two takes of your guitar over each other on different tracks and pan them left and right (pan not 100%). It's a good training and will show you if you can play it really exact to each other ... and it sounds nice . Feel free to upload an audio take if you like


Short resume, task was to do one lesson from each group. You did both lessons of group A and i think you know now what to work on for this technic to play arpeggiated chords. You did the first lesson of the group B with ease, so if you want to have some fun, do the last lesson "Muted Arpeggios".


I Got Rhythm Guitar 5 - Muted Arpeggios

I hoped a bit you will come that far as i like this lesson a lot! Don't know if you know the video game "Burnout"(?). When i play this lesson i feel like collecting energy up to the moment when i can hit the boost button . The music is quite similar. It is by the way a really good and melodic workout for your picking. It's worth to learn this one !!

Study the GP file, you will notice it has 16 bars. You can split them in 4 sections of 4 bars (1-4, 5-8, ...). The first two bars of each section (1-2, 5-6, ...) is all the time the same. If you get this down you already have half of the lesson. It can be confusing, so really get the notes, shapes and different variations down first. So that you can be concentrated on your picking, muting, sound ...

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This post has been edited by wrk: Jan 19 2009, 08:32 AM

[OrganisedConfusi...]

I will look at attack. I know what you mean by it and it's a problem I have doing bends also sometimes they need a bit more attack. I'm going to try and do a take of I Got Rythm 5 as I really love it. It's the hardest rhythm lesson of the lot I think but I can give it a go as it may well show up my technique flaws. I will get it done by next MTP week for sure. Hopefully later today

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[wrk]

Resume: Session #2

Again one week passed by and here my short resume of what we have worked on.
We focused in session #2 on rhythm guitar technics like "arpeggiated chords" and "palm muting". I proposed you 4 lessons (2 of each group).

A : Arpeggiated Chords
You worked on both lessons of this group. These lessons were not a challenge for you and you uploaded some great takes.
We discovered some flaws in you right hand technic, on which you really will have to work to fix this. You change you picking direction in the middle of the same sequence. Somehow you prefer to use downstrokes only. I guess it gives you more security in situations like recording(?). These lessons/technic are usual played at slow speed, so you easily can get away with the technic you use, but you will reach your limits quite quickly. Take the time and play these or similar lessons (or your own chord progressions), choose a UP/DOWN stroke picking pattern and stick to this picking pattern up to the end. It have to become natural like breathing when you sleep. Otherwise in recording or live situations you will always fall back into your old habits.

I stress this point a bit, but actually it is a very good result we archived during this session !! To discover and be aware of habits like this, will open you a lot of doors to progress in the future. It worths more as to play one lesson nice and clean. So about this part of session #2 i am really happy for you and you should take it like this. Put this on highest priority on your practice routine and you will do a big step forward.

B : Muted Arpeggios
You worked on the first "palm muting" lesson. This one was easy, but you showed that you have a good feel for rhythm.
I still suggest you to do an audio take from this lesson on which you record your guitar two times and pan them left and right. It is a good training for you to play this even more accurate as it will show you quickly inconsistencies. Try it and as usual, feel free to upload takes from the previous sessions.

I would have liked to see a take of the "Muted Arpeggios" lesson, which was surely the most difficult of these four lessons. I discovered this lesson myself as well last week and have spend since then literally hours with it. Once you have the shapes down it will be a good picking workout for you, which can follow you for a long time. It is really melodic and adictive. When you put the backing track on loop you will do some workouts without even noticing. Little surprise for session #3 ..


Which leads us to the additional part of each session #2.... WORKOUTS !!!
... obviously you are not a huge fan of workouts. Really not a big deal !! You have to feel on your own when it's time to put stuff like this on higher priority and even more important, you have to find out on your own how to motivate yourself for this. I like to compare workouts with running (now i become esoteric ), once you start to enjoy it and maybe have had the "meditative" experience it could have after a while, no effort to get motivated is needed anymore. Up to there it will be just sport, stressful and an unenjoyable thing to do for the sake of health. ("... Andy, stop with your stupid pictures !!" )

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This post has been edited by wrk: Jan 22 2009, 10:40 PM

[wrk]

SESSION #3

1 LESSON - Main Part

You told me you will be a bit busy this week, so i don't want to overload you with a lot of lessons you have to practice on your guitar. We will continue with rhythm guitar as one part A and some beloved theory as a second part B. On theory you can work where ever you are and for this i find this actually quite helpful if i don't have my guitar in my hands and just use simple paper to take notes and play around with chords, scales, intervals, etc.. For now it's about theory on it's own, not about applied theory on your guitar.

A : Rhythm:
We will stick to the "Muted Arpeggios" lesson from Joe Kataldo . I gave you already some suggestion in different post over the last week, but i write them down again so you have everything together.

Study the GP file, you will notice it has 16 bars (17 actually, but thats an easy deal). You can split them in 4 sections of 4 bars (1-4, 5-8, ...). The first two bars of each section (1-2, 5-6, ...) is all the time the same. If you get this down you already have half of the lesson. It can be confusing, so really get the notes, shapes and different variations down first. So that you can be concentrated on your picking, muting, sound, dynamic ..
Joe provided backings from 80 bpm to 90 bpm. You can and should use my drum loops from session #1 to practice at slower speed first.
I would like to see one video take (or more). If you come that far i would also like to hear a audio take with two tracks of your guitar paned to left and right (between 30-50%). Try to play it as synchronized as possible.

Joe's - I Got Rhythm Guitar 5 - Muted Arpeggios
Goal:

• play as tight as possible
• apply different amount of muting with your palm to keep the sound "alive" and create dynamic
• try to find a nice dry sound, a bit but not too much distortion, no delay, very little reverb (if any)
• and again, .. most important, keep the rhythm !

B : Theory:
Before to get started, i need first a short recap from you about your theory knowledge. Based on your return, i will try to point you to some resources and will ask you some questions or do a little quiz about some topic. Does this sound like an good idea for you?

Here i have a few questions for you to get an idea of your knowledge:

• do you know the difference between a major or minor scale? - what defines a scale as minor or major
• are you able to build major or minor scales in every key? - you have only the root note and you should complete the scale with flats b or sharps #
• are you familiar with intervals? - major, minor, perfect, augmented, diminished
• when thinking about intervals within a scale, do you think in whole/half tone steps or intervals base to the root note or both? (2-2-1-2-2-1 or r-2-3-4-5-6-7- )
• how far goes your knowledge of chords major, minor, diminished, extensions ( sus, 9, 11, 13, ..)
• if, how do you learn theory? - do you take notes?, do you know where to look for?, do you use any applications?, ...

As it's not easy to define "knowledge", i would like you to classify the answer of each questions a bit. For example like "instantly clear", "i need a few seconds, but i can figure it out", "i need paper or my guitar to find the solution", "i need my resources to find the answer", "i was reading about it, but have no idea", "never hear of it".

__________________________________________________________

2 Collaborations - additional part

I know you work on some collaborations at the moment. I would like to propose you some help to work on some takes if you are up for this(?). Maybe we can fix already some things in front before sending it for final judgement to the masters . Ivan's collaboration "Stop Time Blues" seems to be quite interesting for this. We discussed a few things like slides, bends, vibrato, in session #1. This could be a good opportunity to apply the same technics in your collab take.
I don't want to enter in you own creative world of composing or improvising, but if i could be of any help with suggestions, ideas or anything else then just let me know.

__________________________________________________________

3 Exercises - additional part

I think we will take a "creative break" from exercises and workout for now. You have enough informations from session #1 an #2. Whenever you want to get started with them go back there and if you need any help or further motivation, just let me know. Anyway, the rhythm lesson (A), can be seen as workout for your picking hand .

__________________________________________________________

Deadlines :

There is only one lesson i want you to work on. As usual, upload multiple takes if you like. I will try to give quickly feedback or suggestions, which you can try to apply in your next take. About the theory part, lets first evaluate your knowledge and we will see where we start and how far we can go.


Have fun OC, i am curious to hear some takes again ..

Andy

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[OrganisedConfusi...]

Thanks for this Andy. You really are a great mentor. I will find time to work on things but it'll be Sunday at the earliest But I will get it done. I will try and do the theory over the next few days

Thanks again

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[wrk]

I'm glad you like it and i hope you will be able to work on a few things sometimes, but don't feel stressed !!
All this should be fun and it is a lot of fun up to now

Take care ..

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[OrganisedConfusi...]

B : Theory:
Before to get started, i need first a short recap from you about your theory knowledge. Based on your return, i will try to point you to some resources and will ask you some questions or do a little quiz about some topic. Does this sound like an good idea for you?

Here i have a few questions for you to get an idea of your knowledge:

• do you know the difference between a major or minor scale? - what defines a scale as minor or major
• are you able to build major or minor scales in every key? - you have only the root note and you should complete the scale with flats b or sharps #
• are you familiar with intervals? - major, minor, perfect, augmented, diminished
• when thinking about intervals within a scale, do you think in whole/half tone steps or intervals base to the root note or both? (2-2-1-2-2-1 or r-2-3-4-5-6-7- )
• how far goes your knowledge of chords major, minor, diminished, extensions ( sus, 9, 11, 13, ..)
• if, how do you learn theory? - do you take notes?, do you know where to look for?, do you use any applications?, ...

As it's not easy to define "knowledge", i would like you to classify the answer of each questions a bit. For example like "instantly clear", "i need a few seconds, but i can figure it out", "i need paper or my guitar to find the solution", "i need my resources to find the answer", "i was reading about it, but have no idea", "never hear of it".

1. A major scale has 1, 2, 3, 4, 5, 6, 7 intervals and the minor has the same but with a flattened 3rd. So 1, 2, b3, 4, 5, 6, 7

2. I'm pretty sure I can yeah. So C Major is C D E F G A B and C Melodic Minor is C, D, Eb, F, G, A, B

And Eb Major is Eb, F, G, Ab, Bb, C, D and Eb Minor is Eb, F, Gb, Ab, Bb, C, D

3. I think so again

Say you start with a C note. Perfect Unison would be a C, Minor Second a C#, Major 2nd D, Minor 3rd D#, Major 3rd E, Perfect 4th F, Tritone (Augmented 4th/Diminished 5th/Devils Note ) F#, Perfect 5th would be a G, Minor 6th would be a G#, Major 6th an A, Minor 7th an A#, Major 7th a B and finally a perfect Octave would be back to a C an octave higher. Some of the notes can have different names so say a minor 7th of an A# could be seen as an augmented 6th.

4. I think of it as 2-2-1-2-2-1 but I don't really think of it as that as I see it as patterns on the fretboard but when doing theory I kind of think of them as both ways that you said.

5. Chords not very far. I know say you have a C Major chord (1 3 5 - C E G), C Minor Chord (1 b3 5 - C Eb G), C diminished chord (1 b3 b5 - C Eb Gb) and additions I know add 9, 11, 13 etc but not sus and those sort of ones. So C Major 7 is (1 3 5 7 - C E G and C Minor 7 is (1 b3 5 7 - C Eb G and C Major 9 is (1 3 5 9 - C E G D)

6. I'm a whopping Grade 1 Music Theory graduate lol So I learnt all I know from that. I'm doing grade 2 of the ABRSM scheme this year I don't really know theory that well to be honest

Infact I'm a bit of a scumbag loser if truth be known but there ya go

I need to get better. I hope this helps you get an idea for my theory

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[wrk]

Thanks for the quick reply . You already know a lot i can see. There are some small mistakes, but on those we will start work.

I guess when you wrote this down you didn't use any recourses for verification, right? Which is good ! For the next tasks i suggest you to continue like this.

The goal is not that you send me back the answers 100% correct and triple checked with online tools, Andrew's Theory board or something else. Of course if something is unclear, i will try to point you to some resources or you know on your own where to find some answers.

I suggest you do to use a little notebook and formulate the topic in your own words and build up your own theory book. It helps to memories these things and you can always have it with you and use it when you have a few useless minutes to spend (in transport, waiting for someone, ...)


1 Major & natural Minor scales (aeolian)

You are right about the major scale(ionian) 1, 2, 3, 4, 5, 6, 7. You are right as well that a minor scale need to have a flattened 3rd (b3), but the formula you gave above will cause some problems!

Question 1: Do you know what these numbers (1, 2, 3, 4, 5, 6, 7) exactly represent?

Look at the intervals from the root note to each note of the scale and count the half tone steps:

C-Major: C D E F G A B = 1, 2, 3, 4, 5, 6, 7

1 : C - C = half tone steps?
2 : C - D = ?
3 : C - E = ?
4 : C - F = ?
5 : C - G = ?
6 : C - A = ?
7 : C - B = ?

The corresponding natural minor scale (aeolian) is build from the 6. degree of this scale. Means A is root note, using the same notes as the major scale. You know that (?).

A-Minor: A B C D E F G = ?, ?, ?, ?, ?, ?, ?

? : A - A = half tone steps?
? : A - B = ?
? : A - C = ?
? : A - D = ?
? : A - E = ?
? : A - F = ?
? : A - G = ?


- fill the ? on the right side (count half tone steps)
- compare the half tone steps between major and natural minor (aeolian)
- fill the ? on the left side to build the scale formula for natural minor (aeolian)

Question 2: Do you see the difference between the formular you gave above for the minor scale and the formular you just created?

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This post has been edited by wrk: Jan 23 2009, 09:31 AM

[OrganisedConfusi...]

1 Major & natural Minor scales (aeolian)

You are right about the major scale(ionian) 1, 2, 3, 4, 5, 6, 7. You are right as well that a minor scale need to have a flattened 3rd (b3), but the formula you gave above will cause some problems!

Question 1: Do you know what these numbers (1, 2, 3, 4, 5, 6, 7) exactly represent?

Look at the intervals from the root note to each note of the scale and count the half tone steps:

C-Major: C D E F G A B = 1, 2, 3, 4, 5, 6, 7

1 : C - C = half tone steps?
2 : C - D = 2 (or if you mean how many between a C and D = 2)
3 : C - E = 2 (or if you mean how many between a C and E = 4)
4 : C - F = 1 (or if you mean how many between a C and F = 5)
5 : C - G = 2 (or if you mean how many between a C and G = 7)
6 : C - A = 2 (or if you mean how many between a C and A = 9)
7 : C - B = 2 (or if you mean how many between a C and B = 11)
Then it is a 1 interval back to C

The corresponding natural minor scale (aeolian) is build from the 6. degree of this scale. Means A is root note, using the same notes as the major scale. You know that (?).

A-Minor: A B C D E F G = ?, ?, ?, ?, ?, ?, ?

6 : A - A = half tone steps?
7 : A - B = 2 (or if you mean how many between a A and B = 2)
1 : A - C = 1 (or if you mean how many between a A and C = 3)
2 : A - D = 2 (or if you mean how many between a A and D = 5)
3 : A - E = 2 (or if you mean how many between a A and E = 7)
4 : A - F = 1 (or if you mean how many between a A and F = 8)
5 : A - G = 2 (or if you mean how many between a A and G = 10)
Then 2 back to A

- fill the ? on the right side (count half tone steps)
- compare the half tone steps between major and natural minor (aeolian)
- fill the ? on the left side to build the scale formula for natural minor (aeolian)

Question 2: Do you see the difference between the formular you gave above for the minor scale and the formular you just created?

Firstly I didn't use any sources I just used what I know anyway as otherwise I wouldn't learn anything That's why I probably made mistakes. I know the intervals well I think because I did a theory quiz on it myself on this website.

I know that but annoyingly I can't remember my other modes. I just remember Ionian and Aeolian So Aeolian starts on the 6th note of the scale which is an A in the key of C.

See above quote for answers. Or do you do it for A Aeolian so 1, 2, b3, 4, 5, b6, b7. In which case you have a b6 and b7 where mine only had a b3 above?

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This post has been edited by OrganisedConfusion: Jan 23 2009, 11:40 AM

[wrk]

First off all we are not by now in the term of modes. We speak about basic major scale and natural minor. I added the mode names ionian and aeolian as it's the same and we will come to this very quickly.

My Question 1 was, if you understand what these number exactly represents and you seem to mix two things here. I'll try to explain it step by step.

Major Scale (ionian) Formula is : 1, 2, 3, 4, 5, 6, 7
First view and thinking is, you give each note a number, which is not completely wrong. BUT ! It represents as well the interval to the root note.

C = 1
D = 2
E = 3
F = 4
G = 5
A = 6
B = 7

1 : C - C = 0 *HT
2 : C - D = 2 *HT
3 : C - E = 4 *HT
4 : C - F = 5 *HT
5 : C - G = 7 *HT
6 : C - A = 9 *HT
7 : C - B = 11 *HT

*HT = half tone steps

When you do the same for the natural minor scale (aeolian), you thought that the number sticks all the time to note. Root note is now A, means 1. It is the 6. note (6. degree) in the C-Major scale, but the 1. note (root note) in natural minor:

A = 1
B = 2
C = 3
D = 4
E = 5
F = 6
G = 7

1 : A - A = 0 HT
2 : A - B = 2 HT
3 : A - C = 3 HT
4 : A - D = 5 HT
5 : A - E = 7 HT
6 : A - F = 8 HT
7 : A - G = 10 HT

If you put the numbers in relation to the half tone steps. You see a difference:

In Major:
3 : C - E = 4 HT
In Natural Minor (wrong):
3 : A - C = 3 HT

--> 3 can not be both, sometimes 4 HT or 3 HT. I think you understood this already and did this correct for the 3rd by adding a b

In Natural Minor(correct):
b3 : A - C = 3 HT

We have the same problem with the 6 and 7 between the major and natural minor scale.
--> 6 can not be both, sometimes 9 HT or 8 HT.
--> 7 can not be both, sometimes 11 HT or 10 HT.
So you have to give these numbers a weight as well to end up with the correct formula:

1 : A - A = 0 HT
2 : A - B = 2 HT
b3 : A - C = 3 HT
4 : A - D = 5 HT
5 : A - E = 7 HT
b6 : A - F = 8 HT
b7 : A - G = 10 HT

You created the correct formula for natural Minor(aeolian): A B C D E F G = 1, 2, b3, 4, 5, b6, b7


Do you follow me, any questions?

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This post has been edited by wrk: Jan 23 2009, 12:54 PM

[OrganisedConfusi...]

First off all we are not by now in the term of modes. We speak about basic major scale and natural minor. I added the mode names ionian and aeolian as it's the same and we will come to this very quickly.

My Question 1 was, if you understand what these number exactly represents and you seem to mix two things here. I'll try to explain it step by step.

Major Scale (ionian) Formula is : 1, 2, 3, 4, 5, 6, 7
First view and thinking is, you give each note a number, which is not completely wrong. BUT ! It represents as well the interval to the root note.

C = 1
D = 2
E = 3
F = 4
G = 5
A = 6
B = 7

1 : C - C = 0 *HT
2 : C - D = 2 *HT
3 : C - E = 4 *HT
4 : C - F = 5 *HT
5 : C - G = 7 *HT
6 : C - A = 9 *HT
7 : C - B = 11 *HT

*HT = half tone steps

When you do the same for the natural minor scale (aeolian), you thought that the number sticks all the time to note. Root note is now A, means 1. It is the 6. note (6. degree) in the C-Major scale, but the 1. note (root note) in natural minor:

A = 1
B = 2
C = 3
D = 4
E = 5
F = 6
G = 7

1 : A - A = 0 HT
2 : A - B = 2 HT
3 : A - C = 3 HT
4 : A - D = 5 HT
5 : A - E = 7 HT
6 : A - F = 8 HT
7 : A - G = 10 HT

If you put the numbers in relation to the half tone steps. You see a difference:

In Major:
3 : C - E = 4 HT
In Natural Minor (wrong):
3 : A - C = 3 HT

--> 3 can not be both, sometimes 4 HT or 3 HT. I think you understood this already and did this correct for the 3rd by adding a b

In Natural Minor(correct):
b3 : A - C = 3 HT

We have the same problem with the 6 and 7 between the major and natural minor scale.
--> 6 can not be both, sometimes 9 HT or 8 HT.
--> 7 can not be both, sometimes 11 HT or 10 HT.
So you have to give these numbers a weight as well to end up with the correct formula:

1 : A - A = 0 HT
2 : A - B = 2 HT
b3 : A - C = 3 HT
4 : A - D = 5 HT
5 : A - E = 7 HT
b6 : A - F = 8 HT
b7 : A - G = 10 HT

You created the correct formula for natural Minor(aeolian): A B C D E F G = 1, 2, b3, 4, 5, b6, b7


Do you follow me, any questions?

Yeah that makes sense. So they can't be two different values so you have to alter the A Minor scale to give the same intervals as the C Major therefore you need to flatten the 3rd, 6th and 7th when you play in A Minor.

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[wrk]

Yeah that makes sense. So they can't be two different values so you have to alter the A Minor scale to give the same intervals as the C Major therefore you need to flatten the 3rd, 6th and 7th when you play in A Minor.

.. we are not playing by now.

You already have had the notes for A natural minor.
What i try to explain is that you understand how these formulas are created!

In your first answer you gave 1 2 b3 4 5 6 7 as a formula for A natural minor. I you apply this formula on notes, starting with A as root note you will end up with a different scale.

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[OrganisedConfusi...]

.. we are not playing by now.

You already have had the notes for A natural minor.
What i try to explain is that you understand how these formulas are created!

In your first answer you gave 1 2 b3 4 5 6 7 as a formula for A natural minor. I you apply this formula on notes, starting with A as root note you will end up with a different scale.

Yeah I know how to do it now. The intervals of 3 6 and 7 for major and minor have different semi tone gaps and this can't be the case so you need to flatten 3, 6 and 7 intervals to make them equal to each other. It means those 3 notes are one semi tone lower than what you'd play during major scale.

I got it wrong earlier I know but I understand exactly how you got that now

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[wrk]

Great !! If you get this you are close to see everything in relation to each other

Now we put some names to these numbers/intervals and halftone steps (HT) we have discovered so far:

0 HT = 1 - Perfect Unison
2 HT - 2 - Major second
3 HT - b3 - Minor third
4 HT - 3 - Major third
5 HT - 4 - Perfect fourth
7 HT - 5 - Perfect fifth
8 HT - b6 - Minor sixth
9 HT - 6 - Major sixth
10 HT - b7 - Minor seventh
11 HT - 7 - Major seventh
12 HT - 8 - Perfect octave

Note : This list in incomplete, but we will complete it step by step.


Now you next task:

1. Build the major(ionian) scales using the formula : 1, 2, 3, 4, 5, 6, 7 with the following notes as root notes (in the key of):

C

G

F

(others will follow .. )

2. build from each major(ionian) scale you created the corresponding natural minor(aeolian) scale using the formular 1, 2, b3, 4, 5, b6, b7


Don't get confused with b's and #'s you have to add to some notes. There are independent to b's of the formular !!
I suggest you to really count the half tone steps for each note based to the root note to get familiar with thinking in intervals.

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[OrganisedConfusi...]

Now you next task:

1. Build the major(ionian) scales using the formula : 1, 2, 3, 4, 5, 6, 7 with the following notes as root notes (in the key of):

C

G

F

(others will follow .. )

2. build from each major(ionian) scale you created the corresponding natural minor(aeolian) scale using the formular 1, 2, b3, 4, 5, b6, b7

I hope I do this right. So you asked for the Ionian scale in C, G and F

Using 2 2 1 2 2 2 1
So C is C D E F G A B C
G is G A B C D E F# G
F is F G A Bb C D E F

For C the minor scale is A B C D E F G A

For G the minor scale is E F# G A B C D E

For F the minor scale is D E F G A Bb C D

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[wrk]

I hope I do this right. So you asked for the Ionian scale in C, G and F

Using 2 2 1 2 2 2 1
So C is C D E F G A B C
G is G A B C D E F# G
F is F G A Bb C D E F

For C the minor scale is A B C D E F G A

For G the minor scale is E F# G A B C D E

For F the minor scale is D E F G A Bb C D

Correct !
I suggest you to get away a bit of thinking in 2 2 1 2 2 2 1 or 2 1 2 2 1 2 2 steps. It is easier and you are able to find the right notes like this, but what is this really telling you?

Thinking in intervals based to the root note and applying formulas like 1 2 3 4 5 6 7 or 1 2 b3 4 5 b6 b7 is telling you much more about the scale and later scales in relation to chords.

For example: Any minor scale needs at least a minor 3rd interval, means b3, means as well 3 halftone steps, but not every minor scale have 2 1, .. steps. You understand the difference?

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[OrganisedConfusi...]

I'm sorry I've posted nothing yet. I'm going to try and post a take of something tomorrow. I've just been stupidly busy

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[wrk]

No Problem OC, hope you have had a nice birthday weekend
If time is rare in some weeks, we don't need to stick with a weekly update .. it's not a high altitude training camp

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[wrk]

Ok OC, you PM'ed me today that you are back on track after a busy week without guitar and ready to continue. Thats a great news and i would love to use the time we officially have together for this first "test period"

Normally today i would have publish session 4, but as we are just the both of us here, i see no need to stick to a weekly rhythm and rush or skip anything. We will by now just continue with the tasks of session 3.

Here a short recap at which point we are:

1 Main Part:
A : Rhythm - Joe's "Muted Arpeggios" lesson is our focus now. I gave you a lot of information how to approach this lesson. Maybe read back everything and ask if you need any further help. As soon you show me one take, we can work on details, which can become really interesting. I will then give you a new solo lesson as well on which we will work parallel.

B : Theory - We have started a discussion about the Major (Ionian) scale and the natural Minor (aeolian) Scale. I have tried to explain you the meaning of scale formulas using interval descriptions. I suggest you to read again the previous posts in which i tried to guide you step by step to archive an understanding of these formulas. Let me know when you are ready to continue and i will give you a small task to test your knowledge and on this we can continue our discussion / explanation.

2 Additional Part:
I proposed you to work with you on one collaboration take. You told me via PM that you wanted to skip some running collaborations for now. Let me know if you need any help, otherwise we cancel this assignment.

3 Workouts :
We stopped workouts for session 3, but again .. when ever you feel ready for this, go back to sessions 1-2 and start to work on them and show me how you progress. I can not stress enough how important and rewarding any kind of exercises are for to push you technic to the next level.
One hint i would like to give you to make the legato exercises a bit more tasty for you . Go HERE and watch Emir's comment on Smells take. Emir explains at 3:40 a technic to use only the left hand(no picking) to practice a difficult lick or arpeggio. This is exactly what i planed to reach with this legato exercises. We started with 2 strings, but the goal is to go up to 4-5 strings. Beside strengthening your fingers it will be a really useful tool for you whenever you want to approach a difficult lick.


I'm happy you found your guitar back and hope you will have fun to continue where we stopped

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This post has been edited by wrk: Jan 30 2009, 12:14 AM

[OrganisedConfusi...]

Yeah sorry Andy. I feel bad and like I've let you down but it's been a mad week. I'm free to play guitar for a lot of the weekend so I will get this up over the weekend and hopefully theory info tomorrow sometime. I will make sure this week 4 is a great week for our MTP

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