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Posted by: Cosmin Lupu Dec 31 2012, 10:34 AM

Hello there mate!

This here is your place! Since we will tackle theory for the first tasks, I was curious if you could tell me a bit about your theoretical knowledge so far?

It means a lot, so that I can understand where we are at the present moment

Cosmin

Posted by: Spock Dec 31 2012, 10:41 AM

I'm a little embarrassed to say I have no knowledge of theory whatsoever, I have never been trained musically with the exception of a few guitar lessons from the local rock guitarist when I was a kid, and even then, my mother essentially paid him so I could sit in the room and watch him jam.

This may be a daunting task. I guess I would like to learn exercises that would help me become faster as well as how, in my mind, I can string patterns together to improvise. I guess the building block to that is theory?

Posted by: Cosmin Lupu Dec 31 2012, 12:16 PM

Always Imagine music, as a foreign language. You can't understand what you are saying if you don't know what the words actually mean, even if you can reproduce some with a good accent even True?

Now, let's begin with the major scale and a nice exercise

1) We have the major scale built up using this formula: w w h w w w h.

w = whole step
h = half step

2) Any natural major scale is built after this formula. Example:

C D E F G A B C

there's a w between C and D
there's a w between D and E
there's a h between E and F
there's a w between F and G
there's a w between G and A
there's a w between A and B
there's a h between B and C

Now, if you look at your guitar, you will notice that if you play the C note (3rd fret D string) the D note is one whole step up, on the same string. That means that the note right next to the C note is C# and the note next to C # is D. So, 2 frets up means one whole step and one fret up means a half step.

3) Now, we have concluded that E is the major third in the case of C major and if we lower the major 3rd with one half step, we get the minor third and automatically, we can create a minor chord - C minor in our case.

Here are the formulas:

1 3 5 - major chord formula. Example: C E G
1 b3 5 - minor chord formula. Example: C Eb G

4) If you know these now , please tell me how does the D major scale look like - what are the notes making it up. (Use the w w h w w w h formula, starting from D) and tell me the notes making up the D major and D minor chords

What do you think mate?

Cosmin

Posted by: Spock Dec 31 2012, 01:40 PM

I don't know this stuff Cosmin, I mean I know where it sounds good to go a full step in some places and a 1/2 step in others depending on what is being played, but I have never seen it written down like this so thank you so much for your time.

Let me marinate my brain on this for a bit and I will attempt to give you an answer.

Posted by: Spock Jan 1 2013, 11:52 AM

Good morning Cosmin. I am now pondering this, and I understand for the most part and will answer your question 4-D once I work it out in my head.

But, I do not understand what is meant by "we concluded that E is the major third in the case of C major"?

How did we conclude this? And, what exactly does major third mean? I know that in standard tuning the top open string is "E", is that what you are talking about?

Posted by: Cosmin Lupu Jan 1 2013, 06:33 PM

Hey mate! Well, in the C major scale we have C D E F G A B C, right? If we would give numbers to each letter, we would discover that each step of the scale or scale degree - each one of the notes above can have a number assigned. Form 1 to 8

Now in C major - 3 is E, right? And we know that 3 is a third and we also know that since the scale is major, we will have a major third included in its structure

If we regard the notes in respect to the C note in the C major scale:

C-D - second
C-E - major third
C-F - perfect fourth
C-G - perfect 5th
C-A - major sixth
C-B - major seventh
C-C - octave

These are the intervals Please tell me if it's clear now

Cosmin

Posted by: Spock Jan 2 2013, 03:10 PM

Okay, here goes:

Formula is: w w h w w w h

And if there is no E#/Fb or B#/Cb

Major D Scale: D (w) E (w) F# (h) G (w) A (w) B (w) C# (h) D

I am not sure how to figure the D minor chords though? Would those be the F and C? And if so why? I just picked those because they were the notes skipped in the progression.

Posted by: Cosmin Lupu Jan 2 2013, 03:41 PM

Hehe! Yes! We have a winner - it's the correct formula and the right notes! Very good work mate - now for the minor chords

As I stated a while ago in the longer post, the minor chord triad formula (triad = 3 sounds ) is 1 b3 5. b3 = Flat 3rd and it's nothing else but the major third in the major chord formula lowered with a half step. What would D minor look like in this case?

You said D (1) F (b3) - the normal 3rd was F# so it means we have lowered it with one half step and we get the F, as you have correctly assumed and there's the 5th left - which is the 5th in the D major scale?

Posted by: Spock Jan 2 2013, 05:26 PM

A is the 5th in the Major scale.

The Minor D triad would be: D F A

How does this effect the pattern w w h w w w h (?) Because now we are at (up to the A) w h w w

To complete the minor scale by going down a half step on the major 3rd, do we also go down a half step on the major 6th?

Or am I starting to have a mental breakdown?

I'm trying to make sense of this in my head without looking at the scale generator. I believe if I get it to make sense to me I'll be able to grasp it and use it practically. I've looked at scales millions of times and never understood them for anything except as you say, another language.

Posted by: Cosmin Lupu Jan 2 2013, 09:30 PM

Your assumption is correct again mate No sweat - I promise you will master these things in a pretty short while - in your head that is, for the hands, well, it'll take a while longer, but hey - that's the whole fun

Check it out the minor scale formula is 1 2 b3 4 5 b6 b7 8 - that means that if you want to obtain a minor scale out of a major one, you just apply this formula and you have it. In the case of D major to D minor :

D major - D E F# A B C# D (1 2 3 4 5 6 7 8)

D minor - D E F G A Bb C D (1 2 b3 4 5 b6 b7 8)

Now if you tell me what major scale has the exact same notes as the D minor scale BUT re-arranged so that they would fit the w w h w w w h formula, you are onto something big here

Cosmin

Posted by: Spock Jan 3 2013, 12:19 AM

Okay, so I am going to have to work this out like math equation somehow...

So we have:

D E F G A Bb C D
w h w w h w w


Just by looking at the formation of the pattern above, it appears the pattern moves forward, so seeing how the next note in the pattern which would restart it to w w h w w w h would be an "F", right?


F G A Bb C D E F
w w h w w w h

Posted by: Cosmin Lupu Jan 3 2013, 08:53 AM

Absolutely true! There's a catch here D minor is F major's relative minor scale - they share the same notes but they start from a different note. It's actually a mode of the major scale, called the Aeolian mode, but later on about this

Anyway - can you discover how you could say which is the relative minor in a major scale, based on the note on which is starts? Let's try and draw this conclusion in the following manner - let's take the G major scale and the E major scale - write them down and then, can you find their relative minor scales?

Please let me know if there are any questions I am really enjoying this

Cosmin

Posted by: Spock Jan 3 2013, 10:05 PM

Okay, following the (w w h w w w h) pattern I have to look at the notes on the fretboard to know what they are:

G Major Scale:

G A B C D E F# G
w w h w w w h


E Major Scale:

E F# G# A B C# D# E
w w h w w w h


Understand that F#=Gb, G#=Ab, C#=Db, D#=Eb

and Relative means "Considered in relation or in proportion to something else"

Both those Scales have the F#/Gb

So G Flat Minor would be the relative minor?

Gb Ab A B Db D E Gb (?)

Are there more? If yes, let me know so I can try to figure them out.



BWT - there is no way in hell my brain will allow me to consider this stuff while playing, I have drank waaaaay too much in my life to fire on all those cylinders.

Posted by: Cosmin Lupu Jan 4 2013, 09:41 AM

Up to the point above, your assumptions are very correct

Now, the relationship between the # and b are called enharmonic relationships - meaning that one sound shares two names, in respect to a certain context.

The relative minor of any major scale is found on the 6th scale degree - for instance: In F major = F G A Bb C D E F the 6th step is D so the D minor scale is the relative minor scale of the F major scale, as you have deduced in an earlier post

Now, which would be G major and E major's relative minor scales?

Don't worry, they will come natural after exercising

Cosmin

Posted by: Spock Jan 4 2013, 09:48 AM

Oh, well in that case then:

G Major Relative Minor: E

E Major Relative Minor: Db

Posted by: Cosmin Lupu Jan 4 2013, 09:50 AM

Correct, with one little observation - you already have D# in E major so you want to call it C# instead of Db right? Because you can't have
E F# G# A B Db D# E focus on this aspect and let's see the formulas for Amajor and B major, their relative minors and the major and minor chords - B major/ minor and A major/ minor!

Posted by: Spock Jan 4 2013, 10:20 AM

Okay, I'll get back with you in a bit on this.

That was my next question though, when do we decide whether to call a note sharp or flat? I just put Db because I think we started off calling them flats in the thread. Is it just to stick with how you wrote it first?

Posted by: Cosmin Lupu Jan 4 2013, 12:35 PM

Good question - usually you have to pay attention to respect the formula of a major scale or a minor scale - if you have a note that appears to be doubled - just like in the example above, you can modify the b or # so that you have no doubles - each note appears once Later on, some exceptions might appear

Posted by: Spock Jan 4 2013, 04:07 PM

Okay cool. I just got to work, so I'll get back on the last question in a bit.

I sure do appreciate all your help and input Cosmin!

Posted by: Cosmin Lupu Jan 4 2013, 08:10 PM

Nothing to it man! It's a pleasure because it's interactive and I'm not the only one doing the talking - it's nice to receive feedback and see progress arising out of it

Posted by: Spock Jan 4 2013, 09:56 PM

Okay, I think this answers these questions:



A Major A B Bb D E Gb Ab A

A Relative Minor: Gb

Gb Relative Minor Scale: Gb Ab A B Db Eb F Gb



B Major B Db Eb E Gb Ab Bb B

B Relative Minor: Ab

Ab Relative Minor Scale: Ab Bb C Db Eb F G Ab

Posted by: Cosmin Lupu Jan 5 2013, 01:54 PM

Mate, read the sentence I wrote before the one you colored in red You did the exact opposite of what I stated Focus a bit and I am sure you will get the thing going If you have any question regarding my statement, please tell me

Posted by: Spock Jan 5 2013, 02:46 PM

Arrrrrrrgh matey!

A Major A B C# D E F# G# A w w h w w w h <--- I had a mistake in that line too

A Relative Minor: F#

Gb Relative Minor Scale: F# G# A B C# D E F# w h w w h w w



B Major B C# D# E F# G# A# B w w h w w w h

B Relative Minor: G#

G# Relative Minor Scale: G# A# B C# D# E F# G# w h w w h w w

I actually had it written using the sharps, then went back and put flats instead. I guess I am still confused as to when to settle on sharp or flat. I guess I was thinking they were interchangeable, but if you start writing it one way, then to stick with that throughout.

this morning I'm actually working on that beginner's Pentatonic licks by Muris Varajic, but once I get that beginner's solo committed to memory, hopefully by the end of today, I'll see if I can get my video set-up working so you can slaughter me with critiques on my sloppiness.

BTW Cosmin. You had asked about my PRS' being Custom 24s in that other thread. I am certain that is what I purchased, but it was 2007 when I got that last one, and now I want to sell it and get a Les Paul. Thing is, there are no markings on the guitar anywhere, only a serial number. I have contacted PRS customer service to see if they can give me the spec run-down, and have not heard back from them yet.

How well do you know PRS'? I posted up close pics of that silver one in the other thread, as well as on a PRS forum, and so far nobody has been able to answer, as it seems that PRS has a very bizarre and almost creepy way of labeling their products so it is next to impossible to know exactly what you're getting unless you keep all the paperwork when purchasing brand new.

Any ideas?

It's the last post in this thread...

http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=47311

Posted by: Cosmin Lupu Jan 5 2013, 04:44 PM

Don't worry man, it'll come in time and with practice Oh, please correct the Gb left there and make it an F#

About the PRS - I will ask a good friend of mine working for the official PRS dealer in Romania to check out that series and let you know on the result Stay tuned Now, have you ever heard about harmonizing a scale?

Posted by: Spock Jan 5 2013, 05:31 PM

A Major A B C# D E F# G# A w w h w w w h
A Relative Minor: F#
F# Relative Minor Scale: F# G# A B C# D E F# w h w w h w w

B Major B C# D# E F# G# A# B w w h w w w h
B Relative Minor: G#
G# Relative Minor Scale: G# A# B C# D# E F# G# w h w w h w w



No, I have never heard of harmonizing a scale?

Posted by: Cosmin Lupu Jan 6 2013, 08:23 AM

Hehe! Hey there mate!

Harmonizing a scale means replacing each step of the scale with a chord instead of playing a single note.

We would be using only notes belonging to the scale itself, so following this idea, we get the following formula (they are chords):

Major minor minor Major Major minor diminished Major (Diminished chord formula = 1 b3 b5)

For instance, in the case of C major the chords harmonizing the scale are: C major D minor E minor F major G major A minor B diminished C major

Let's see smile.gif what would the chords used to harmonize D major be?

Posted by: Spock Jan 6 2013, 08:41 PM

You mean there's more to guitar than bar cords? Kidding.

I'll look at this tomorrow as I have my kid home from school today, he's trying to help me too. We've had him taking piano since he was 4 years old and today he is in college on a music scholarship. He plays tuba in the marching band, but he is also a drummer and getting really good on the bass. I'm very proud of him.

Posted by: Cosmin Lupu Jan 6 2013, 10:51 PM

Oh!! So nice! Congrats on leading him on a musical journey See you tomorrow man!

Posted by: Cosmin Lupu Jan 7 2013, 10:37 AM

Mate, regarding your PRS Question, have you tried this? http://www.prsguitars.com/csc/year.html

Posted by: Spock Jan 9 2013, 06:12 PM

Hey Cosmin, I'm just now having a chance to look at this in depth.

Okay, so I need to commit to memory: MAJOR minor minor MAJOR MAJOR Diminished MAJOR

I don't understand the formula 1 b3 b5?

So chords harmonizing D Major are:
D MAJOR E minor F# minor G MAJOR A MAJOR B minor C# Diminished D MAJOR

1 b3 b5? D Major F minor B Major (?)





Concerning the PRS, I did see that, but I knew the year it was, so I wrote PRS and a representative answered back. I am having second thoughts on selling it now as I have been playing it often this past week.

Ends up it's a 2007 Standard 24, solid mahogany body, mahogany neck with a Regular carve, East Indian rosewood fretboard, Platinum Metallic finish with HFS treble and Vintage bass pickups.

Posted by: Cosmin Lupu Jan 10 2013, 10:33 AM

Hey mate!

DO not sell that PRS Unless I make enough money to buy it

Now - memorize that formula but please add the 'minor' after the two majors and before the diminished - you missed it

The rest is correct and regarding the diminished chords - 1 b3 b5 means root, minor third, flat fifth In the case of D major we would have C# diminished which is made out of C# E G and in the case of D diminished, we would have D F Ab (I used Ab instead of G#, because we have a b5)

Can you tell me which are the notes making up the E major scale and then harmonize the whole scale, telling me what notes make up each chord?

Cosmin

Posted by: Spock Jan 13 2013, 02:53 AM

Yikes, this stuff is breaking my mind. I'm still digesting everything up to this point. Just talking about it and looking at it daily is familiarizing me to everything, and I am learning, but I have not got this stuff memorized yet. I still have to go back and look over the posts and reference the guitar scales. I'll get back to you on this next riddle.

Posted by: Cosmin Lupu Jan 13 2013, 08:20 AM

Ahoy there! Take your time mate I want to forever scar these things into your soul!

Posted by: Spock Jan 13 2013, 02:35 PM

Hey Cosmin,

Just talked to my friend in Bucharest. He will be playing at papa la soni, on the 23rd of january. If you like blues, please go out there and see him and say hello. I told him you are teaching me, and he, as well, is teaching me too - on Skype.

I showed him this thread too and your work, he was very complimentary of you.

His name is Clay Windham.

Posted by: Cosmin Lupu Jan 13 2013, 05:15 PM

Heeey How cool is that? Thanks man! I'll go for certain! Thank you very much

Posted by: Spock Jan 14 2013, 01:08 PM

Hey Cosmin, Been working out this idea for the past week. It's still just a puppy and there's no bass or keyboard or anything. I suffered over the solo because I couldn't figure out a run that I thought worked, so I stuck with bends. Anyway, the sound your band comes up with is very much the way I like to write, and I wanted to get some creative input from you. I stayed pretty simple to give everyone a base to work over, especially lyrically.

https://soundcloud.com/lllspocklll/c-t-idea-in-progress8

BTW - I decided not to sell the silver PRS, I am in love with it again. I've been using it on this idea.

Posted by: Cosmin Lupu Jan 15 2013, 11:11 AM

Mate, honestly, but HONESTLY speaking - I love the solo, just as it is!! It sounds very original! What I'd add is a bit more dynamics, like the ones you have used in the parts where the guitar plays less - around min 01:00 but with more rhythmic variation

And vocals would do absolute justice! Yay! The PRS stays! I am glad to hear that!

Posted by: Spock Jan 15 2013, 01:45 PM

Thanx for your input! I understand about being more dynamic, I guess that is difficult for me when I am writing the parts by myself using only guitar, I think those sort of parts flow more easily when writing with a group of people in a practice environment. Hope to get together with the guys over the weekend and work on this idea and incorporate in those more dynamic ideas.

Posted by: Cosmin Lupu Jan 15 2013, 11:02 PM

Indeed, working with the band will provide fresh ideas all the time, but you can also do it at home with the drums or in your head - I usually come up with all the stuff after I already hear it in my head in a rudimentary form. Then I record and mold and modify until I get what I want. People usually become satisfied to quickly with a product I think you should push yourself a bit more before saying 'this is the best I can do'

Posted by: Spock Jan 16 2013, 09:58 PM

I'm having such a hard time with this. I just can't see the formula in my head.

I started typing out what you have shown me just so it would soak in, but then I'm drawing a blank?

Maybe I am not understanding the question. You asked me to show the notes of E Major which are: E F# G# A B C# D# E

Then Harmonize the whole scale. So to do that I apply: MAJOR-minor-minor-MAJOR-MAJOR-minor-Diminished-MAJOR

Which translates for E Major to: E MAJOR, F# minor, G# minor, A MAJOR, B MAJOR, C# minor, D# Diminished, E MAJOR

Then you asked me what notes make up each chord. So are you asking me the notes to each of these chords?

E Major Chord:

F# Minor Chord:

G# Minor Chord:

A Major Chord:

B Major Chord:

C# Minor Chord:

D# Diminished:

And I can show those, but the only way I know how to do that would be to search Google.

What part of the equation am I missing to understand how to figure this?

Posted by: Cosmin Lupu Jan 16 2013, 10:52 PM

Hey mate, you are 100% correct on all your assumptions And yes, my ultimate question was what notes ar making up those chords

If harmonizing meant using notes that belong only to the E major scale and you have the formulas for minor, major and diminished chords, apply the formulas for each chord you have and you'll discover the notes that make them up. As an example:

E major chord - it is a major chord thus it is built by using the root, major third and 5th -> 1 3 5 - we are in the E major scale, meaning that the notes making up the E major chord are E G# B

Now, your task is to figure out the rest of the chords

Cosmin

Posted by: Spock Jan 17 2013, 12:31 AM

Okay - so the formula is

Major: Root > Major 3rd > 5th or (1>3>5)
Minor: Root > Minor 3rd > 5th or (1>3b>5)
Diminished: Root > Minor 3rd > Minor 5th or (1>3b>5b)

(Remember 6th note is Relative minor in Scale)
(Remember 7th note is Diminished)

E Major Chord: E > G# > B

F# Minor Chord: F# > A > C#

G# Minor Chord: G# > B > D#

A Major Chord: A > C# > E

B Major Chord: B > D# > F#

C# Minor Chord: C# > E > G#

D# Diminished Chord: D# > F# > A

For the above, I'm just trying to encapsulate what I'm learning for easy reference.

Posted by: Cosmin Lupu Jan 17 2013, 10:15 AM

100% Correct!!!

Let's try the same drill for Db major scale Sorry for being a nag, but I want you to cement these in your system

Posted by: Spock Jan 17 2013, 09:50 PM

Okay, I'm seeing the pattern, but I haven't got it to where my mind will automatically jump to if the next note in the progression should be flat or not (or sharp or not).

The toughest part of this was transposing the sharps to flat and not getting confused.

If I did not get something wrong, just let me know which line has an error and let me see if I can figure it out.

Thanks!

BTW - don't worry about "nagging", this repetition is what will eventually work, and I wish I had done as a child.

Major: Root > Major 3rd > 5th or (1>3>5)
Minor: Root > Minor 3rd > 5th or (1>3b>5)
Diminished: Root > Minor 3rd > Minor 5th or (1>3b>5b)

(Remember 6th note is Relative minor in Scale)
(Remember 7th note is Diminished)

Db Major Chord: Db > F > A

Eb Minor Chord: Eb > Gb > Bb

F Minor Chord: F > Ab > C

Gb Major Chord: Gb > Bb > Db

Ab Major Chord: Ab > C > Eb

Bb Minor Chord: Bb > Db > F

C Diminished Chord: C > Eb > Gb

Posted by: Cosmin Lupu Jan 18 2013, 10:00 AM

This is great man! You got the hand of it it seems

Well, now, I think it's time to discuss about 7th chords - have you ever heard about those? It's actually your first step into the world of chords made out of 4 different notes instead of 3.

Let's imagine that we have the C major scale and we want to add the 7th for each chord that we obtain after we harmonize the scale.

I want you to tell me which is the 7th of each note making up the scale - remember that the 7th must belong to the C major scale as well

Posted by: Spock Jan 20 2013, 10:44 AM

Okay, I guess that means to simply add the 7th (or diminished) note of each root…

Major: Root > Major 3rd > 5th or (1>3>5)
Minor: Root > Minor 3rd > 5th or (1>3b>5)
Diminished: Root > Minor 3rd > Minor 5th or (1>3b>5b)

(Remember 6th note is Relative minor in Scale)
(Remember 7th note is Diminished)

C Major Chord: C > E > G > B

D Minor Chord: D > F > A > C

E Minor Chord: E > G > B > D

F Major Chord: F > A > C > E

G Major Chord: G > B > D > Gb <--- Gb/F# wrong here, I don't understand?

A Minor Chord: A > C > E > G

B Diminished Chord: B > D > F > A

I just guessed that the formula for the Diminished Chord would be 1 > 3b > 5b > 7b off the major scale?


There must be an error in this calculation Captain.

Posted by: Cosmin Lupu Jan 20 2013, 04:55 PM

Everything is correct - aside from the G dominant 7th as it is called - which has G B D A - that's 1 3 5 b7 as a formula and indeed the 1 b3 b5 b7 is the correct formula for the half diminished chord (m7b5) formed on the 7th scale degree.

Now, the harmonized major scale would have the following chord structure: M7 m7 m7 M7 7 m7 m7b5 M7

M7 - major 7th - 1 3 5 7
m7 - minor 7th - 1 b3 5 b7
7 - dominant 7th - 1 3 5 b7
m7b5 - half diminished - 1 b3 b5 b7

Knowing all these now, can you take care of the same drill for the E major scale?

Cosmin

Posted by: Spock Jan 21 2013, 07:54 PM

Everything is correct - aside from the G dominant 7th as it is called - which has G B D A - that's 1 3 5 b7 as a formula and indeed the 1 b3 b5 b7 is the correct formula for the half diminished chord (m7b5) formed on the 7th scale degree.

Now, the harmonized major scale would have the following chord structure: M7 m7 m7 M7 7 m7 m7b5 M7

M7 - major 7th - 1 3 5 7
m7 - minor 7th - 1 b3 5 b7
7 - dominant 7th - 1 3 5 b7
m7b5 - half diminished - 1 b3 b5 b7

Knowing all these now, can you take care of the same drill for the E major scale?


I'm not understanding a couple of things

The G Dominant 7th being G>B>D>A doesn't make sense to me, with the 1>3>5>b7 formula? G major scale would have G > B > D > F#, so if we go a half step down from F# that gives us an F. I'm confused on how we calculate G > B > D > A out of that?

Posted by: Cosmin Lupu Jan 21 2013, 11:28 PM

Hey mate - it's easy - you see you are dealing with the b7 not the major 7. In the case of G, the major 7 would've been F# but since we are in the key of C major, F# wouldn't fit, right? But F does and F is the flat 7th in respect to G - true?

Posted by: Spock Jan 24 2013, 09:42 PM

I'm sorry Cosmin, I'm trying to understand and have looked at it over and over, and I still am not getting how we get "A".

This is how my mental process is working...

When I was harmonizing the G note in the C Major scale, it is a major in the formula M>m>m>M>M>m>D, and the formula is 1 > 3 > 5 > b7

So this is the way I am calculating that...



I am not understanding when you said "since we are in the key of C major, F# wouldn't fit"?

Posted by: Cosmin Lupu Jan 25 2013, 09:51 AM

Mate, it's pretty much under your nose

It's also written in the little tab below the diagram - it says G and 'Major scale' - that means the G major scale, but we are harmonizing the C major scale Which contains F not F # so if we build the G chord using notes belonging to the C major scale we will have G B D (G major chord) and if we add the 7th, we will discover that it's a b7th due to the fact that we are in the key of C major.

That gives us F not F# is it clear now? I know it's a bit mind boggling, but they'll make sense once you get used to these ideas

Cosmin

Posted by: Spock Jan 25 2013, 03:56 PM

Okay, I do understand it - as it IS G > B > D > F !

I was bad confused because I was trying to figure out how you got an "A" in that in post #47

That must have been a typo? I do understand if the G > B > D > F

Now, I'll attempt the next question you've put to me.

BTW - just checked out your band Days of Confusion, awesome stuff! I thought you were only in VooDoo and from what I could tell from You-Tube it looked like you may have been the new guitarist for them. Both your bands are awesome, I just sent my son your "Meta" video - killer song, love the chorus!

Posted by: Cosmin Lupu Jan 25 2013, 09:57 PM

Hehe Thanks man - I am no longer in Voodoo. I quit because things were stalling and I felt like it was holding me in place. Right now I can focus on Days of Confusion without any other restraint

Anyway, I'm glad you got that pesky G dominant 7th chord Now, tell me, can you figure out the notes of A dominant 7th chord, for instance?

Cheers!

Cosmin

Posted by: Spock Feb 12 2013, 10:54 PM

Back. I'm in and out as I'm having to deal with some medical issues, so I'm trying to refresh my memory on everything.


Okay - so A Dominant 7th

A C# E G

I feel like I may not be entirely answering the question?


BTW - I was able to make that song idea have more dynamic as you suggested and I like it much better. And working another idea too. Also working on vocal melodies now, lyrics soon.





New idea in the works, this one is just fun to play.

Posted by: Cosmin Lupu Feb 13 2013, 09:07 AM

Hey mate, welcome back! I hope that you are ok! The answer is correct!!

I love the songs, but who will record the vocals? Really looking forward to hearing that

One thing which I noticed, is that you should widen your vibrato and make it more fluid sounding - have you ever worked on that as a goal in itself?

Posted by: Spock Feb 13 2013, 09:27 AM

Thanks Cosmin. No, I haven't really worked on vibrato that much other than just a whammy bar. I'm really just a very basic enthusiast that wishes I knew much more and could do much more with a guitar. I wish I had taken it much more seriously as I was younger.

I think I am going to do the vocals. I want to get a cheap condenser mic for my computer to get them into Logic though. Also, I'm going to have my son redo all the drum parts when he is home from college one weekend. He's MUCH better at programming drums than I am.

As far as medical, I actually have 2 bulging discs in my neck which send pain down my shoulder and left arm, and numbs my finger tips. I'm looking at surgery. When I put the guitar on the strap ads weight to that side and it hurts very bad after sitting straight up in a chair playing with it for a couple of hours. I refuse to let that get in my way though.

Posted by: Cosmin Lupu Feb 13 2013, 09:30 AM

Hey man, I suggest you to get your hands on a guitar stand - one of those that keeps the guitar in playing position so you won't keep it strapped or need to sit down holding it, at least until this situation gets fixed

Well now, what would you say if we worked on your vibrato technique a bit? it's a shame not to have those solos shining all the way

Posted by: Spock Feb 13 2013, 12:09 PM

Working on vibrato sounds good, but I would also love to learn some simple "go-to" patterns, does that make sense? I have 1, that I am embarrassed to play anymore, even when by myself. Something just doesn't translate from my head to the fretboard on the spot. But sure vibrato sounds good as well.

Funny, I had not even thought about a guitar stand - excellent idea!

Posted by: Cosmin Lupu Feb 13 2013, 11:04 PM

Hmmmm - what do you mean by simple 'go-to' patterns?

Regarding vibrato - I totally recommend this one as a starting point: http://www.guitarmasterclass.net/ls/Bens-Vibrato-Odyssey/

Cosmin

Posted by: Spock Mar 7 2013, 12:29 PM

Hey Cosmin,

I will start working on this now as I finally got the shot in my neck to relieve some pain, unfortunately, the pain still persists down my left arm, but at least I can strap the guitar over my shoulder.

Anyway - enough of the excuse, I have also run into what may be a horrifying realization, is it possible that I may have maxed my speed potential (at a very slow speed!!!). In one of my songs there is a quick lick that I did and never got it clean, however I got part of it clean, just enough to cut it and loop it thinking it should be no problem to get the finger memorization down and be able to nail it. Well, I have not been able to do it - and to make matters worse, I can't remember the exact notes I was hitting that morning.

The speed for the lick is 280 BPM (I think, the song speed is 140 BPM so I think it is twice as fast), and I have laid on the couch and played that little trill a million times, over and over and over thinking the next day I would pick it up and it would be there - but is has not come. At best playing it clean I'd guess I am up to around 200-220 BPM range, but it is soooo freaking easy, however my right hand will not sync up, and I've never had to work for so long on such small lick - although I've never tried to play that fast either.

Have you ever heard of someone hitting the wall and maxing out their potential? AAAAHHHHHHH!!!!

Posted by: Spock Mar 7 2013, 02:22 PM

WOW! Talk about synchronicity, this is exactly the perfect response to what I asked this morning in my last post.

Now, to overcome my mind.

Posted by: Cosmin Lupu Mar 7 2013, 04:07 PM

Glad I posted it and was able to help!

Posted by: Spock Apr 18 2013, 11:28 AM

It's standard tuning with the top E dropped to D.


So it's just strumming the the top 3 strings


Frets:

3 3 3 0 5 6 6 6666


1 1 1 3 1 Bar Cord(?) <--- I'm not sure what the last bar cord is called. It is the first fret > (a) string, third fret > (d & g strings). Strummed like the "6" position in the first measure.

Posted by: Cosmin Lupu Apr 19 2013, 08:57 PM

Hey mate - here ya go



I'm broken down from tiredness but I hope I managed to be coherent - let me know, k?

Cosmin

Posted by: Spock Apr 19 2013, 10:28 PM

AWESOME COSMIN!!! Thanks for this. I'm having a little problem with the video not wanting to play past the 3 minute mark, but will watch it when I get home. SUSHI TIME!!!!

I VERY much appreciate you doing this!!!

Posted by: Cosmin Lupu Apr 20 2013, 10:25 AM

Hey man! I love sushi! And I am glad if I could help - let me know if you have any questions after going through the vid thoroughly.

Posted by: Spock Apr 20 2013, 10:33 AM

Alright, I really like the sound of that pattern you were playing from the 7:30 to 8:30 mark. It is quite more difficult then what I was doing insomuch as the positioning of the hand and the jumping of strings.

I know it'll take a ton of practice for me to be able to move my hand that quickly from the neck position where the previous pattern is played, then to immediately start the tap cleanly, then to jumping strings. Great thing to practice and would benefit me greatly to be able to accomplish that.

I'm anxious to hear what that sounds like being played on top of that rhythm.

Thanks for the advice - Now I'll await your sound file containing the lyrics and vocal line!

Get some sleep!

Posted by: Cosmin Lupu Apr 20 2013, 10:55 AM

Hey man, glad you like it Here's the deal - try and record it against a metronome at slow speed and we'll see that it gets to the spot where YOU can record it over the groove. Let me know if you need a tab, or something k?

Honestly, I'm a bit scared, because it's the same, I mean my eye. I still have a sort of a haze in my left eye.. If things don't go well, I'll see a doc on Monday.

Posted by: Spock May 6 2013, 12:02 PM

alright hereyago. This is why I was not ready to post anything. There's no sugar coating absolute shit.

Anyway, this isn't the best I've played it, not the worse - just normal. Fact is, some play throughs I nail one part and not the other, and other play through the other parts and not the ones I think I have. sometimes I can get the bend and vibrato right on one section and totally screw up the next, the fact is, I find it impossible for me to play it perfectly all the way through, no matter how many times I play it. I have practiced each individual part many many times, and gotten them right, find no problem with them individually, but putting them all together, and my brain refuses to work. It's the way it is with me and guitar.

So even though this is ridiculously bad, it's pretty much the way it is with every run through. On the parts I got right this time, I will get wrong another, and on the parts I got wrong, I will get right on another play, but all right together at once - not ever gonna happen.

So may I present to you, Pentatonic Crap...

[attachment=31766:pentatonic_crap.mp3]

Posted by: Cosmin Lupu May 7 2013, 08:23 AM

Hey mate It's not THAT bad, so let's see how we can twist things to make it perfect

What I notice as an overall observation - the bends are slightly under the desired pitch - we want to change that right? There are a few steps that you need to take in order to solve this issue:

- memorize the piece so well, that you know what's coming next ALL THE TIME
- play the piece by focusing on anticipation - this is a bit tricky at first, but it involves the idea of you getting out of your shoes and listening to yourself WHILE playing. In order to do this, slow down the piece at let's say 75% and play against the backing, noticing your every move and always knowing what's coming next, till you reach the end.
- work your way up to 100% speed using this method. Needless to say, no phone/internet/wife/tv allowed It's you and the guitar and an empty mind - this is called Zanshin and in the Zen philosophy, it is the total awareness to yourself and to that which surrounds you. Become a constant observer and you will improve a lot in every aspect!
- record against the original track once you get this done, to be able to compare the spots in which you may not reach the desired pitch and then you can focus on them and correct them.

Seems hard? It's not. Look at it as a form of meditation

Cosmin

Posted by: Spock May 7 2013, 09:25 AM

Thanks Cosmin, I am very interested in the Zen of things, although I have never looked into it. Yes, my entire issue with anything on guitar, really boils down to not having it completely memorized and instead of, as you say, focusing on anticipation, what's happening is I am playing more of a game of catchup up, to where I am mentally saying "now go to here" while my hands are actually moving to the next position, if I had the song entirely memorized, these little mental micro debates wouldn't take place.

It's not a hard little solo, and I'm confident I'll have it soon.

It's not as bad this morning, yesterday I was very frustrated.

I call this version, Pentatonic Less Crappy...

[attachment=31773:Pentaton...s_Crappy.mp3]

Posted by: Cosmin Lupu May 8 2013, 07:44 AM

Hey again mate It is a bit better, but I think that your guitar is a bit out of tune. Somehow, I feel the bends should be there, but they are not all in pitch. The vibrato should be wider, as well - focus on these things please. And you know what? Why not send a slower version Focus on the important aspects but send a slower version - against a metronome click What do you say?

Posted by: Spock May 8 2013, 10:36 AM

It was a little out of tune. I'm not sure how to slow it down with a backing track that is audio. Is that feature offered in Guitar Pro? I have wanted that feature for a long time. I'm using Logic and to my knowledge, I can easily change the BPM but that does not actually slow down the backing track with it, but I will look into that today and repost as you suggested.

Posted by: Cosmin Lupu May 8 2013, 01:19 PM

Hey mate - it would be even greater if you could post the next take without the backing track - just with a click track which you can setup in logic. In that way, you will prove to yourself that you REALLY know the parts. Trust me It's gonna help loads!

Posted by: Spock May 8 2013, 01:26 PM

Will do

Posted by: Cosmin Lupu May 8 2013, 01:44 PM

Awesome I will make a little vid for ya, regarding this idea, ok? Got some thoughts and I am lazy when it comes down to typing

Posted by: Cosmin Lupu May 9 2013, 03:57 PM

Here we go:

Posted by: Spock May 10 2013, 08:56 AM

You bet man, I'll do it.

Not a set back at all, I am really new to solos somewhat. I've always considered myself more of a heavy rhythm player, but that is mainly because in my old bands, back in early 2000s, we didn't play many songs that had solos - there were a few but new metal was "IN" an leads at the time were almost looked at as cliche. I played a few, but nothing like what I'm attempting now.

Posted by: Cosmin Lupu May 11 2013, 06:54 AM

Well, no biggie mate - everything can be learned All you need is patience focus and determination

Hit me up when you got something!

Posted by: Spock Jul 30 2013, 04:49 AM

Hey Cosmin,

Just wanted to let you know I finally had surgery today to fix the pain I've had in my arms and shoulder, which were really aggravated when playing guitar. They replaced 2 discs in my neck, replaced with plastic, took out some bone spurs and fused it all together. AS SOON AS I WOKE UP I could tell the pain and numbness in my arm were gone, even when I let the pain medication wear totally off - this was very exciting to me!

I still have severe pain in my shoulders and neck, but that is post-op pain, which will fade. Anyway, I'm hoping this really helps my incentive to practice more. Been going through this mess for a long time.

Peace!

Posted by: Cosmin Lupu Jul 30 2013, 07:27 AM

Hey man! Welcome back (almost) into the painless living world! I sure hope that your recovery will be a quick one and that you will not suffer any of this sort of stuff in the future - you have played the guitar in all this time, right? I am asking because you have posted songs you recorded and ideas, am I correct?

Posted by: Spock Jul 30 2013, 07:55 AM

Yes I have played guitar all this time, but with the pain, and the strap makes it worse. I posted a little video for another member of this forum who was having back trouble, of a strap I purchased which did seem to make the guitar feel lighter as it had a heavy padding in the shoulder. Plus have been off and on pretty strong pain killers for the past 18 months, so many times there is a level of intoxication as the meds were pretty strong.

I never left, but I usually can only go for about an hour at a time playing or sitting down straight up. I still practiced with band and everything, but always, especially that night and the day after, I would pay dearly for it. Other than that, I've wondered if the nerve damage, being that my left hand stayed tingling numb had something to do with my coordination. I can feel the strings, and I notice improvement in my playing over this time, but just wondered if it was hindering me that way too.

Posted by: Cosmin Lupu Jul 31 2013, 07:44 AM

I'm terribly sorry you had to go through this, man These sort of things always remind me that I should never complain about anything - I am healthy and strong, both body and mind so, I should be thankful for it.

What did the doctor say regarding the tingling feeling and the coordination? I don't know what to say, because it sounds pretty medical

Posted by: Spock Jul 31 2013, 07:48 AM

Day 3 after surgery and experiencing the worse pain so far. Have not been able to sleep much less pick up a guitar. I had hoped to enjoy a full week of recording, writing and practicing while recovering, but as of yet, it's all I can do swallow liquids and find a comfortable position.

I know this is all worth it though - I've watched many you-tube success stories concerning this surgery and it was something I had to take care of, spurs, ruptured discs and compressions get worse over time.

Anyway - I'm just bitching and moaning as an outlet, at least I can read the forum which I always enjoy.

Oh just saw your response - he just said that was a typical symptom of disc degeneration. He felt my neck was the result of an injury, but I don't remember ever having a bad spine injury. I did use to enjoy banging my head to music, and I was in a car wreck about 20 years ago, but I don't remember anything that could have caused this.

I didn't ask about coordination, but that is a good question, I will be talking to him today.

Posted by: Cosmin Lupu Jul 31 2013, 08:15 AM

I am a heavy head banger when performing - both as a vocalist and a guitarist - should I take it easier? ..

Posted by: Spock Jul 31 2013, 08:33 AM

Honestly, maybe so Cosmin, I have never been a heavy head banger, but there have been mornings when I woke up with a crick in my neck, could hardly turn it from side to side, which I always attributed to a stretched muscle from maybe doing that.

If you have ever felt something like that the next morning, then that is the only sign I ever had a problem too. A deep bone ache right in the back joint where the back part of the spine connects to the neck part of the spine and slightly above. That little ball joint, where the curve starts at the neck is called you C7. So the damage to mine were closer to my head, I had the C4-C5 and C5-C6 fused together - which will give me much less up down and side to side motion, but at least the pain will be gone.

Many times, epidural spinal injections will do the trick and strengthen the damaged tissue, as it is a steroid, but they will only do 3 of those to a given spot before they say it is not effective. They only did 2 on me, plus I did physical therapy, traction last year.

I am looking forward to taking up yoga when all this is said and done, as I have seen some miraculous transformations happen utilizing that as a lifestyle.

Posted by: Cosmin Lupu Aug 1 2013, 11:30 AM

I am relying on the fact that I am a pretty active person and I exercise power lifting/ body weight 4 times a week and 6 times a week sword training - that should make my body fit for such stuff - in my opinion of course. Now, have you been an active individual?

Posted by: Spock Aug 1 2013, 12:42 PM

Well - I have a desk job, but up until 4 to 5 months ago I worked out at the gym 5 days a week, had to quit when I lost strength in my right arm which was all neurological. I have gone for periods where I am not as healthy as I should have been.

But yea, the doctor said that what I had appeared to be an injury, so I'm just assuming what could have caused the injury as I can't think of any one particular thing.

Posted by: Cosmin Lupu Aug 2 2013, 09:04 AM

Hmmm - indeed, there are some things which are not always controllable unfortunately, regardless of how healthy we are trying to keep ourselves.

I wish you a steady and fast recovery and I am looking forward to see your progress so, keep me updated, as usual

Posted by: Spock Apr 21 2014, 11:38 AM

Hello Cosmin - I'm back!

I'm going to spend today going over everything in this thread up to this point and refamiliarize myself with the instruction.

Right now I'm working on two things.

1) Melodic Solo in GM by Carols Carrillo (Level 2): http://www.guitarmasterclass.net/solo-guitar/melodic-solo-in-gm/
Just started this today so I don't have it memorized yet.

2) Solo to Wasted Years by Iron Maiden: http://www.youtube.com/watch?v=vqxMRvwQ6sA
Been practicing this off and on for a month or so - can play it slow but not up to speed - still sloppy and unpresentable.

I want to play fast, but need to play slow to help drill these patterns and scales - plus to not be sloppy. I don't have any good synchronization with my right hand, I'm finding that is my most difficult aspect - that and just remembering where to go next on anything. Vibrato bends are tough too, I find it much easier to bed a string down and use vibrato than bend it up - that's why I've become so accustomed to a tremolo.

Posted by: Spock Apr 22 2014, 01:49 AM

The Level 2 lesson is easy enough - just have to get the song in my memory banks.

I was going through page 1 today of this thread trying to put it together again. Some parts I understand, other's I don't, for instance your post #8, and my post #9. I'm trying to figure out how I came to that conclusion. I guess it made sense at the time.

Posted by: Cosmin Lupu Apr 22 2014, 05:25 PM

Hey mate To begin full force, I would like you to record audio versions of these two lessons at 75% tempo and make sure you are playing them correctly - it's the tedious slow stuff that will build your chops. And of course, send them to me along with a few ideas on why you like these lesson and what you would like to keep for your later use out of them

In respect to posts 8 and 9, we were having a discussion on what notes make up the D major scale - you assumed the right notes and then we discussed the notes of the D minor chord, based on what alterations we can bring to the notes in the D major chord - lowering the third of course

Let me know if it's coming back and if you would like to restart the discussion on the topic

Posted by: Spock Apr 22 2014, 06:40 PM

I will do. I just made it all the way through that Level 2 this morning. So I haven't got it memorized yet. To be honest, there is not much about that one that I do like, but I figured it was easy enough and the vibrato was something I needed to concentrate on. The speed isn't the issue with that one - right now it's just remembering it.


The solo to Wasted Years I have always loved - I love the bluesy melodicness of it, the speed and tastefulness - to me it's classic Adrian Smith. I can probably do it at 75% speed now but I won't have a backing tracking as I'm just using the you-tube video to learn it.

But yes - I will polish them up and get them up here.

Edit: I just found a back track to Wasted Years to play along to.

Posted by: Cosmin Lupu Apr 23 2014, 07:07 AM

Goodie! Use the backing with a software called 'The amazing slowdowner' It's a great method of slowing tracks down without altering their quality You can then use it to record over, after you slow it down - let me know if you can find the software and if you have any questions in respect to using it.

Now, on the other hand - please make a list with lessons that have these two characteristics:

- they are within your playing capabilities
- you like them very much

I need you to pick 5 lessons Deal?

Posted by: Spock Apr 23 2014, 09:47 AM

Oh man - that's awesome! I was just going to say that I loaded it in Logic last night and can not keep up with the speed of it yet. Right now there are two parts to that solo really giving me fits, other than my overall sloppiness. 1) is the blues bend that is real quick on 3 strings. I can do it, just not that fast, and the other is just after the fast part that plays 7 times through, the transition to that run that goes up the strings. It's like I can't do that run unless I stop completely and think of that run as it's own entity (which it is) but anyway - that will come with playing it slow and having patience. I played that solo for about an hour last night, so I'm hoping that this morning it's a bit smoother. I'll look into that software now - that could be the key to learning all my favorite solos.

Another cover solo I'm a little better at is Red Barchetta by Rush. Still sloppy but at least I can play it at speed.

I just woke up so I'll be back in my guitar lab after a bought of coffee.

As far as the 5, I will look. To be honest, I have "trouble" with any lesson, regardless of how easy it is. The problem is more in my head than with my fingers for the most part. It's the remembering what's next that gives me the most trouble - but that comes with memorizing the melody/solo. Usually I just jump right in. I'll find the 5, but I would say I am a Level 3 player - but you may say Level 2 because I am sloppy and some rudimentary things that you guys really judge hard on, I do not have - have just always faked it. It's fine for a bar of drunks with loud volume, but for a recital, it wouldn't win me any praise.

Posted by: Spock Apr 23 2014, 11:58 AM

On that slow down software - what sucks is I purchased it and downloaded - then looked for it on my computer and did not find it - then realized I had purchased the version for iPad and iPhone, so I had to purchase the version for desktop - just after that. I've never used the iPad for guitar.

Posted by: Spock Apr 24 2014, 12:35 AM

That software is AWESOME!!!!!

I have started with the Wasted Years solo on it, and 75% at this phase is almost too slow, it's like so slow I can't get a feel for the rhythm, so I boosted it up to 85% which helps me out a little bit. At 85% I am still sloppy on the transition but better, and at the very end I feel like I need to add a lot more notes - but maybe I don't have it picked out right. Going to check on that in a moment.

Regardless, I definitely can tell I am weak on the entire thing and can see how this tool is going to be crucial in development for speed and accuracy. I can already tell it has helped me on that bluesy bend section.

The fast section just after that, I feel like I have to pick each note, yet I know Adrian does not do that, and usually I don't see others playing picking every note there either, but for me it's like my left hand won't work that section unless my right hand is picking, almost like keeping time. Still at 85% that is about as fast as I can get with that part, so I guess I'll slow it down until I can do it with my toes in my sleep.

Anyway, thanks for turning me onto that, I didn't know such software existed which would do that and it's very exciting. This is a goal solo for me, and I really believe I will have it before too long.

Well - watching this again there are quite a few things I am doing wrong. I started out with this video but I guess once I got what I thought was the gist of it, started doing it my own way - so this explains a lot and hope it makes nailing it smoother.

Starts at 3:15

Posted by: Cosmin Lupu Apr 24 2014, 08:08 AM

Hehehe! I am so happy you like it It has helped me nail 11 Pantera songs for my tribute band and countless other music pieces, ranging from classical to metal and so on.

Now, out of what I can notice, you have two things to battle with:

- attention and anticipation - break everything into small parts that are easy to remember - when you play slow, make sure that your mind is fully focused and committed to what you are doing, so that you may be able to anticipate each and every move.

This is done easily with chord positions - when you have a chord progression, play the first chord and as soon as it is played focus on the position of the next one and when you shift you will be able to shift easily and directly with all fingers at once

- practicing slowly with full focus. If you play slow, you are doing it to help your brain pump the necessary 'iron' needed when it will have to play fast, so allow it to learn slowly, steadily and with full focus.

Don't rush into things - you need to follow these steps, whenever you are learning something:

- understand the theoretical concepts - know what and why you are playing!
- learn the lesson structure - things will flow naturally once you know what's next when playing any piece
- learn each part and reproduce it slowly with the metronome - you will learn the lesson and become accustomed with the timing and feel
- put all the parts together and practice them against the slowest available backing track - respecting timing and phrasing will provide essential advantages when you will face the details of any piece!
- work your way up tempo with the available backing tracks

Posted by: Spock Apr 24 2014, 11:51 AM

spent this morning really learning the notes to that solo. Then played it over and over for 30 minutes at 75% speed. I was doing it wrong in a couple of places, and though speed at 75% is not an issue, my timing is very much an issue. At full speed you just kind of wing it and if you screw up, it's over so quick because it's off to something else - doing it at 75% is really making me have to nail the timing or else I'll hang for a second waiting to go to the next note - yet it's also difficult because I'm not necessarily hearing an audible cue or metronome type click for certain parts I'm having difficulty with.

Anyway - still on it, and this is my mission du-jour. As soon as I feel comfortable with what I have at 75% I'll post it here but I'm sure it will be after the weekend. I'm looking forward to a guitar practicing weekend outside my normal routine.

Posted by: Spock Apr 24 2014, 08:55 PM

Chatting with my son today. He sent me an audio file of an intro idea to a song which sounded pretty awesome in an insane kind of way.

I told him, I could play that - because he is a drummer, but writes this stuff in Logic. But he was explaining the guitar part to me in chat - and of course, this is why I wish this stuff would sink into my thick skull...

...it's written for C standard tuning

...the guitar part wouldn't be that hard, It's just outlining a C9 chord with a G at the top. Have you gotten to 9th chords in your theory stuff?

...a C9 chord would be just a regular C triad, C-E-G, with the added 7th and 9th, B and D.

...It would probably make more sense if I could show you on piano.

...But if you wanted to learn the part on the E standard guitar, the equivalent notes would be E-G#-B-D#-F# with another B on top for the highest note.

Man I wish this stuff came naturally or I had stuck with it more as a kid. Anyway, I sort of understand it.

Then he sent me this to do it regular tuning...



I'm happy he is into music, my parents weren't very musical but my mother did have me into piano lessons as a child. I quit one day because there was a hornets nest at the front door and I was afraid to walk up to it - then too embarrassed to tell my parents I was afraid of the hornets nest. Oh well.

Posted by: Spock Apr 25 2014, 10:29 AM

5 Lessons is very hard to choose from. There are so many aspects I need to work on. I really like the riff lessons, especially yours with the baritone but I sold my baritone, and would rely on a foot pedal to achieve drop C tuning.

But more than riffing, I am interested in soloing, learning patterns and scales, finger coordination and synchronization. So in picking these, I am not choosing favorites, but just seeing there are aspects of these solos that I would really like to learn.

If I had to sum up what I wanted to be able to do, it would be play the pentatonic scale Zakk Wylde style - that would be my ultimate ambition at this point.

There were a few lessons in the style of Zakk and they're all killer - I was about to pick one but I thought for me, it utilized too much wah pedal, and I just want to concentrate of fingers right now.


Little Finger Work-out
http://www.guitarmasterclass.net/solo-guitar/little-finger-work-out/

Beginner Solo in D
http://www.guitarmasterclass.net/solo-guitar/beginner-solo-in-d/

Pentatonic Solo Lesson
http://www.guitarmasterclass.net/solo-guitar/pentatonic-solo/

RHCP meet Zach Wylde
http://www.guitarmasterclass.net/rhythm-guitar/RHCP-meet-zakk-wylde/

Killer Pentatonics 2 - Zakk Wylde style
http://www.guitarmasterclass.net/ls/Killer-Pentatonics-II-Zakk-Wylde-Style/

Melodic Soloing Jeff Beck style
http://www.guitarmasterclass.net/ls/Melodic-Soloing-Jeff-Beck-Style/


and the list goes on. But there is enough here to last me a very long time - since except for weekends I have limited time on guitar, about 2 hours a day, 1 before work and 1 after.

Posted by: Cosmin Lupu Apr 25 2014, 03:24 PM

Hey mate so you already know how it sounds? If so, first thing is to play it in regular tuning, but keep the positions Or he wants you to transpose the piece with the same notes in standard tuning?

Once you understood triads, the rest of the chord types are nothing else but various other intervals stacked on top of those triads. Your assumption with the C9 chord proved you understand the idea, but is it a Cwith an added 9th or a C7 with an added 9th? As you wrote it, it would be C E G Bb D If you want it to be C E G B D it should be CM7add9

My suggestion is to finish the two lessons you are working on - your first mission of bringing them up to 75% speed correctly played. After that we should tackle one of the first out of the 5 - The beginner solo in D

Let me know about the piece your son has sent you! It can be a great exercise!

Posted by: Spock Apr 25 2014, 11:44 PM

Indeed man - I have got all day tomorrow to practice, no friends coming over, going nowhere - I have needed this for a long time.

Posted by: Cosmin Lupu Apr 26 2014, 08:38 AM

Enjoy your time then And let me know what you got with your son's song suggestion

Posted by: Spock Apr 26 2014, 03:57 PM

DISCLAIMER!!!

I wanted to get something up so you wouldn't think I was just bullshitting you.

This is at 80% - which is still too slow for me to get the feel for it, and you will hear me struggling with the tempo - needing to go faster, yet, I can't play it perfect at 100% yet either. And to be honest, even watching Adrian, it's more of a feel thing then a tempo thing - I'm not counting how many times I am doing a part, just do it until it feels right to change - but doing it slow, I find myself really worried about when to change.

Anyway - here it is at 80 - with some flat bends.

[attachment=36877:Me_80.mp3]

Posted by: Spock Apr 26 2014, 06:26 PM

Right now - even though it's still slop, I'm going to go at 85% speed, that is what feels the most natural and I can hear the change progressions in the backing tracks without anticipating mentally. To me 75% is almost as hard as 100%.

I appreciate you pushing me though. I am glad I'm not giving up and settling.

Posted by: Cosmin Lupu Apr 27 2014, 01:42 PM

Hey mate! It's not bad! But I would suggest a different approach here

You need to understand note durations and especially their duration against a landmark - the metronome or backing track elements. In that way, you will be able to play a piece no matter how slow - it's indeed true that some pieces lose groove from a certain tempo downwards, but the more you try this the more you will be able to lock into a groove regardless of the tempo. Sometimes, speed comes faster, simply because you understood the duration of a note or a group of notes and the brain immediately performs... simply because it understands

That's why you need to:

- memorize
- understand
- replicate slow
- increase speed while holding on to timing, tightness, interpretation

This is how I see it

How are the other things coming along?

Posted by: Spock Apr 28 2014, 11:49 AM

I haven't really worked on anything else yet. I'm putting 90% of my playing to this solo - victimizing everyone within earshot of me. I took a few minutes to work on a new idea with a friend over the weekend, and just play some things I already knew for about an hour - other than that, it has been this solo, slow medium and fast. I find that when I first start practicing it after a break I am much better than after I've played it for a few times through, regardless, I keep at it - because I know eventually my fingers will just do the right thing and this goal will be achieved.

Posted by: Spock Apr 28 2014, 01:22 PM

I know this isn't what you're asking for, and I am practicing at slow speed - it's because of that that I am much better at 100% than I was even 3 days ago.

Of course, I'm not there yet but I'm practicing at intervals of 75%, 80%, 85%, 90% & 100% speed. Also, last Friday I think, I had some wrongs notes.

Here's the slop at 100% speed - but even this is by far better than it was 3 days. If it were louder with a little more gain it could pass in a drunken bar, but I will not be satisfied until I can nail it 100% in my sleep.

 WY100.mp3 ( 716.75K ) : 94

Posted by: Cosmin Lupu Apr 29 2014, 08:37 AM

Hey mate

It's slop indeed - don't rush head in thinking that SOMEHOW you will trick your fingers into playing fast, accurate, tight and expressive overnight Please have patience and give yourself time to build up all of the above, even if it takes a month!

Do we have a deal?

Posted by: Spock Apr 29 2014, 09:38 AM

Oh yea - I'm not gonna be satisfied until I have it with confidence, but I am happy with how far it's come in less than a week. I've already been practicing at slow speed for 30 minutes this morning and it's 4:37 a.m. Gotta hop on the treadmill for an hour and then back to the guitar for an hour before I go to work.

Posted by: Spock Apr 29 2014, 12:02 PM

Time to relearn the patterns. I put the cart before the horse.

This morning I decided to write the notes down on paper. I was still playing it wrong. So now I'm starting from scratch on the 2nd half of that solo. The good news is, the new pattern seems easier for my fingers to fall on, the bad news is, I'm having to play it at around 25% speed just to get my finger memorization to overcome the patterns I just engrained into them for the past 4 days.

Posted by: Spock Apr 30 2014, 12:08 AM

Just figured out something very interesting in practicing this solo tonight. I have 3 guitars right now (SE on the way though), a U.S. PRS Standard 24, a U.S. PRS Custom 22 and the Jackson I just purchased.

I love the feel of all 3 guitars. I have found that my fingers work better for certain parts of that solo on different guitars. For instance, I've been practicing this solo on the Jackson and that bluesy bend part is a bit of stretch to keep comfortable and clean. When I have to go from the bend on the B on the 15th fret and drop to the E on the 12th fret, there is some residual noise because of my fingers scraping other string - however, this does not happen on either of the PRS's. Yet, the Standard 24 it feels as if the fret space is thinner up on frets 17 - 21, so in that fast part, my fingers actually sort of rub together more, or I have to pinch them together to get there - but the spacing is perfect for those frets on the Jackson, all in all though, the Custom 22 feels best all around playing this song.

Anyway, as you just read I am back to square 1 playing this solo as slow as possible, but the patterns seem easier playing the correct notes, so I hope to be at 75% in no time. I was down to 1 or 2% before work just memorizing the new patterns, but they are coming quickly this evening.

Just thought that was interesting, the assumed difference in the playability of the necks. The Jackson is fun, because the neck is so wide and thin, but I guess I've just used a PRS for so long that is the feel I'm accustomed to.

BTW, this is the exact guitar I just got, it's in the mail as of today - they sent me a link to these pictures this morning after it passed inspection.

I'll get back to you as soon as I have a recording worth sharing.

Peace!

Posted by: Cosmin Lupu Apr 30 2014, 01:17 PM

Sweet Lord... this guitar is BEA U TI FUL!! Wow..wow...wow

Anyway - it's normal man - I always feel differences from one guitar to the other but, as you said, I got very accustomed to the PRS feel, as an overall instrument and it feels strange when I sometimes pick up the JEM

I am looking forward to see the new recordings good Sir! Remember - no rush, keep it clean, in good timing, tight and articulated, deal?

Posted by: Spock Apr 30 2014, 01:40 PM

Yes sir Captain, those are my goals.

Posted by: Spock May 1 2014, 11:48 AM

Morning Captain.

I still suck at it, but getting better! Went ahead and picked out the entire song this morning so I can play it all the way through. I have the solo at 75% - 85% but not with the conviction I want or you're wanting to hear, and my 100% speed slop is better too.

It's that intent and conviction on each string I want, that just isn't there yet. I can play each part over and over and get it, but stringing all the parts together - gonna take more time.

Posted by: Cosmin Lupu May 1 2014, 09:13 PM

No problemmo man

Please do take your time and don't knock your head against a wall because you can't reach 100% speed in 5 days. I am willing to bet money on the fact that if you play PERFECTLY at 75% you will have a LOT more chances to play great at 100% in a shorter period of time Are you willing to try the idea? I mean focus ONLY on playing as articulated, tight, rhythmic and clean as possible at 75% and not minding the 100% for a while?

Posted by: Spock May 1 2014, 09:46 PM

Yes, that is what I do. My wife is the one I am concerned about beating my head. I play that same part slow, morning and night, while being a vegetable in front of the tv. Sometimes I will wing it fast, and even gone up to 110%, just to see if 100% felt like a relief - which it did, for about a second.

This perfection stuff is all new to me, I have never in my life played anything perfect, even my own songs. My philosophy was, it's not in the mistake, it's in the recovery because a screwup is inevitable.

But yes, i'm sticking with it, playing slowly and trying to articulate each note more, and understanding the feel of each of the patterns.

Posted by: Cosmin Lupu May 2 2014, 02:04 PM

You mentioned a very important aspect here Sitting in front of the TV while practicing is not a good idea at all.

When you practice, you have to give your 100% focused attention to what you are practicing - having internet, TV or other sources of distraction can lead to practicing without having your whole senses on the matter.

When you practice, you have to pay attention to a lot of things - guitar, fingers, body, strain, fretting pressure, right hand stamina, pick grip, shoulder stress, backing track/ metronome, intonation and so on. If you give your brain a major source of distraction such as the tv, you will only be distracted from being able to observe the above mentioned and some others as well

Please give this some thought and build a healthy practicing regimen habit - deal?

Posted by: Spock May 2 2014, 02:42 PM

HAHA - I knew you would zero in on that. I didn't mean to say that I practice in front of the TV all the time, I practice 90% of the time back where my setup is, and sometimes on the back porch, but, I also feel that when I am ready to just allow my mind to sit and not do anything, like right before bed, sometimes I will still keep the guitar with me and lightly do it - drilling the patterns.

Something interesting I noticed last night was, and have noticed this before, I was on the back porch practicing and my sister came over, while I was listening to her I noticed my fingers would not stumble up, but when I went back to concentrating, the stumbling resumed - there is almost a feeling of disconnectedness that allows the muscle memory to take over and the analyzation to be put aside. I wonder how much of my issues do stem from thinking too much.

Posted by: Cosmin Lupu May 3 2014, 12:11 PM

Very good observation

You know, practicing in every field is meant to allow us to instinctively react to outside stimulus. Take animals as an example:

When an animal is endangered, it will instantaneously react and fight back fiercely for his life. A human, will back off in fear most of the time, think things over, overthink, become paralyzed.

It's a good sign that when you knew what you had to do, you reacted instantaneously and unconsciously and most of all, effectively

This is usually a result of focused practice, that leads to reaction and reflex honed with hours of focused work. But when you told me about the TV, I was just going: Ah!! How does he want to improve without focus! Guess I was too quick a judge

Posted by: Spock May 4 2014, 02:31 PM

I'll start putting up recordings this week and moving forward on this thing - I think I'm ready. I really want to find a Zakk Wylde solo next and victimize everyone within earshot of me for a month or so.

These are just styles I would hope to mimic in my own playing, I would love to develop the attack of Zack, the melody of Adrian Smith and the eclectics of Alex Lifeson. I guess as far as solo playing, those are the guys that resonate with me most.

Posted by: Cosmin Lupu May 4 2014, 03:28 PM

Ah, well, there's a bunch of Zakk Wylde inspired lessons here that you can try mate! Let's finish the ones you are working on already and we can get to those as well

Posted by: Spock May 4 2014, 04:45 PM

Just going back and reading about the list. I just picked those, but I need something to keep my interest piqued - so, I figure I may as well go ahead and start on the Zakk Wylde one. It will be long, tedious, nerve racking (not for you, but you may read me bitching about it) - but, I'll get it.

Posted by: Cosmin Lupu May 4 2014, 08:40 PM

So, by that I understand that you want to tackle a Zakk Wylde oriented lesson as well, in the list? I would go for this one:

http://www.guitarmasterclass.net/ls/Chicken-Picking-Madness-Basics/

Learning his chicken pickin style with this one should help a lot into digging into the complicated fast runs he uses.

Posted by: Spock May 4 2014, 09:16 PM

Yea - that's a great one, that one will shut me up for a while, trying to get my right hand to work that out. I have never been a finger picker so this is something new.

Posted by: Cosmin Lupu May 5 2014, 04:33 PM

Alright man Glad to know you like it already

Now, take your time and practice focused and slow at first I felt compelled to tell you that, of course

Posted by: Spock May 6 2014, 01:49 PM

After trying to record for the 2nd morning, and still wondering why I felt the need to speed up, slow down, hold notes, etc. in certain places, it finally dawned on me to take the official song with all the guitars, and play along with that at slower speed (instead of the backing track with no guitars) - so i can hear exactly what is being played in the same time frames and how they are played. I did that just before I had to get ready for work this morning, but this will help me tremendously and I don't know why i didn't think of doing this earlier. Funny that listening to Adrian play it at slower speed, he actually speeds up parts as well - to be honest, it's sort of a sloppy solo, which I'm okay with - I think in drum machines that is called "humanization", or guitar it's called soul. So it's not really a note per tempo thing, but it fits together nicely at 100% speed. Still, it was easy to see what was so confusing to me - trying to play each note on a beat and stumbling around.

Posted by: Cosmin Lupu May 7 2014, 01:36 PM

Hehe Mate, try to emulate the best version of that solo at slow speed and then gradually raise it once you are comfortable with EVERY detail, ok? It's the most surefooted way to do it!

Posted by: Spock May 8 2014, 11:40 AM

DISCLAIMER ALERT!!!


Okay so I picked the solo out with the tutorial video, which upon listening to along with the actual solo there is a place after the fast part that does not fit, so I picked out the way Maiden ends that - but my fingers are still automatically going to what I initially picked out from the tutorial video, so, you'll hear that glaringly - again, the discrepancy doesn't sound near as "in your face" at 100% as it does at 75%. A few bends I wish I sounded more accurate on in this take as well - but I don't think I'll ever play it exactly accurate all the way through.

But, here it was at 75% this morning...

[attachment=37054:wy75.mp3]

No - I am not satisfied, it just means I will have to keep playing along with the record to play it like Adrian does. This has turned into a mission for me.

Posted by: Spock May 9 2014, 01:30 AM

Another thing I am boringly working on is just going backwards from the top string to the bottom, pinky finger first, one fret at a time stepping backward. I can't believe I have never drilled this in my playing.

Posted by: Spock May 9 2014, 02:10 AM

Gosh, my severe bad! The dude, in the instructional video was right all along, and somehow I allowed my natural movement to over ride his precise instruction, mentally.

Anyway, this is what I deal with on guitar Captain - "my head". I guess I'm too impatient, I've always settled for close and pulling off the main notes - never precise. But, I want this!

Posted by: Cosmin Lupu May 9 2014, 10:41 AM

You see, you know what you are dealing with - now, the question is - who will be stronger? The accurate and precise YOU or the 'Ah, it works anyway' YOU. Guess who has the power to decide... YOU do

Now, philosophizing or not - please DO take the time to restart your brain and practice slowly and accurately, ok? All you need is patience and willpower - both can be practiced and achieved What do you say?

Posted by: Spock May 9 2014, 01:03 PM

That is the plan. Plus, just linking these patterns opens up other avenues to explore with my own projects. I like going for stuff over my head, there is a major sense of accomplishment once achieved. I saw in another thread where one of the instructors posted a lot of instructional videos on different modes. I found myself glued to them at work yesterday. Just to learn those shapes and to know what mode they are would be great, regardless of if I can't play them as fast as they were recorded.

Posted by: Cosmin Lupu May 9 2014, 06:07 PM

Mate - forget shapes Using modes is all about learning the distinct sounds of each mode in turn and learning what notes should be played over what chord for what effect We'll talk about those later, but first stick to what you started! K?

Posted by: Spock May 14 2014, 09:39 AM

I'm getting better at it. I took 4 days off playing, being out of town for a few and having to recover on Sunday - but yesterday morning I was able to play the solo better than I have up to this point - I think the little break actually helped.

Posted by: Spock May 14 2014, 01:27 PM

I went ahead and recorded the entire song this morning. My rhythm guitars sound like crap but it was 5:30 a.m. and I didn't have time to mess with my tone before work - but this is the solo as of this morning (YES, I am still playing it slow) and my timing is not 100% on the intro part that goes throughout the song - that part is like a marathon for me - but considering where I was on this a month ago - not even knowing the entire song or the solo, I'm pretty happy with where I am today on it - yet, still not there yet. I do think better guitar tone would make this take sound much better though. I used the Jackson and my Silver PRS for rhythms, and the Jackson for the solo and intro parts.

Be gentle.

[attachment=37146:Wasted_Y...00_Speed.mp3]

Yea the rhythm guitars they sound out of tune - but they're not, I think I must have had an effect like a chorus or something but I'm at work now and can't check, will figure that out this evening. Regardless - this is just my progress not happy with tone at all.

Posted by: Cosmin Lupu May 15 2014, 09:37 AM

Hey man - yeah indeed, they sound a bit shaky, but all in all the rhythm part and themes are in pretty good shape as far as execution goes. The solo, well, that one needs more focus as it sounds rigid and forced at this point. More slow practice will do the trick, of course - I know you just love that

On the other hand, what did you use to record the guitar tones, amp or software?

Posted by: Spock May 15 2014, 09:57 AM

I ran direct from my Marshall, but in front of that is the PODHD 500X. I have a bank of settings, 8 pedals - 4 change the channels/reverb/master volume/ the lead channel is OD2 which also kicks in a slight delay through the FX loop and the other 4 are FX, an overdrive, a Chorus, a Flanger and phaser.

I know I utilized the Chorus at some point, so I'm thinking in my last second decision to put another guitar track down on rhythms, I played it with my lead channel and chorus engaged.

Not having time to redo it anything else before work, I just bounced the take and left. It would not be a hard fix and I may do that right now, so I can boost the guitars a little, and least then as I get better with the solo, I will have a song take to lay the solo down too.

But this morning I just feel like messing around with a couple of cover songs, just play to play. If I rerecord the rhythms I'll throw them back on here - I kept the guitars low in the mix when I noticed it - it wasn't near as apparent playing along with the backing tracks

P.S. I am okay with slow practice - I just like seeing where I am at speed wise, i rarely play this play this at 100% speed right now, but I am leaps and bounds better at it than when I started - because of slow practice.

Posted by: Spock May 15 2014, 12:44 PM

Okay this take is much better.

I'm not sure what was going on with the guitar tone in the one yesterday?

Anyway - for this version I used my PRS Standard 24 panned Left and the new PRS SE Spalted top Panned Right and brought them both up higher in the mix. So this is just straight Marshall (direct), no EQ or anything RAW A.M. recording. No FX on rhythm guitars - just straight Marshall on OD1 - orange. The intro and solo (Jackson) are OD2 - Red with slight delay, and chorus.

[attachment=37158:Wasted_Y...w_at_100.mp3]

I will say that recording side by side, I did like the U.S. PRS better than the SE, the tone seemed to be tighter - but that could have something to do with the strings too. The SE still has 9 gauge on it, so when I make the open G's and D's the strings felt as if they wanted to slip off the bottom of the fretboad. Also, the top end chunk isn't as ball crushing - but that could be because the PRS Standard has Zakk Wylde EMGs in it. I'm going to get the SE set up for 10s and see if that changes anything, if not I may decided to put the U.S. PRS pups in it.

Posted by: Cosmin Lupu May 16 2014, 02:52 PM

Hey mate Well, usually when I record guitars I leave them as raw as possible and add everything else afterwards, so this approach should be beneficial for you too, I guess. There's one thing I don't like - the tone seems a bit fuzzy in the bottom end - it lacks definition - if you will listen, it is very clear on the verse part.

Otherwise, as before, slow practice will also get you through the solo as well

Posted by: Spock May 16 2014, 03:15 PM

Indeed man - that's that PRS SE, it's muddier coming through. Hoping the 10 strings will help, but I'm sure I'm going to have to replace the stock pickups.

I especially noticed it when trying to ring out the open cords in the chorus, and then 3 particular chords during the verse - but, I wasn't going for an award - I'm actually very pleased with how it turned out considering how much time I spent on it before work.

If I wanted to, I could noodle around and emulate their tone, but I really don't feel like messing with it - that's not my goal.

Posted by: Spock May 16 2014, 11:46 PM

Of course it could be my input settings too - I am self taught on all these recording interfaces and don't know the full gamut of what to do correctly.

Posted by: Cosmin Lupu May 17 2014, 02:54 PM

Heh, well, I totally feel you man I am also a bit illiterate in respect to parameters and stuff like that But i use my ears usually!

I think that isolating the solo and working to get that one up to speed with great expression would be a good target for this piece right now Also, the new thick strings will probably make a lot more justice to the situation as well

Posted by: Spock May 17 2014, 08:25 PM

That is my goal man - Lord knows I've played this solo a trillion times by now, I'm starting to wonder if I can not move my right arm any faster. But I noticed my greatest leap forward was after taking a few days off from it.

I anticipate you will be hearing MANY more muddy recordings from me. My recording setup is for practice and idea catching, not for production. I'll work on an original idea for production (to the best of my limited ability) - but not for picking out someone else's stuff or practicing and posting a recording of that. For that - it's plug and play.

I will say though, that when I played it in my car, it sounded pretty dang good.

I've torn down my entire practice area, my desk was being held together with duck tape (it's been moved so many times), so I don't have my recording area hooked up as of yesterday, but the new desk should be delivered within a week or so, and I'm anxious and excited about my new layout scheme for my practice area.

Posted by: Cosmin Lupu May 18 2014, 11:29 AM

As long as you yourself notice progress, I can't be anything else but happy

Just take yer time and things will come to you, if you are perseverent and focused, trust me!

I will be here to guide with what I can in order to help you walk your path, but the walking - only you can move your feet If you get the drift!

Posted by: Spock May 22 2014, 08:04 PM

We can all appreciate this...

Posted by: Cosmin Lupu May 24 2014, 07:52 AM

I sure did! Thanks for posting this man! It's a very interesting approach on playing Pantera - although I play Cowboys from hell on a PRS C24 usually and my band mate plays in on a Les Paul

Posted by: Spock May 24 2014, 10:33 AM

Very cool.

I was talking more about his advice on playing fast is to play slow. Honestly I had never heard of that Pantera song, I've never gotten into them. I dig Dimebag's playing but the guys voice kills that band for me.

It was also interesting to hear that Connolly didn't start playing until he was 23 years old.

Posted by: Cosmin Lupu May 24 2014, 12:42 PM

Wow! Seriously?? It's a cult song