Monthly Group Assignments, Velvet Roger's MTP |
GMC Forum > Discussion Boards > VINTAGE GMC > Community Activities and Tutorials > MTP - The Mentored Training Program > Velvet Roger
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Feb 25 2009, 10:38 PM
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I will post in this thread the monthly group assignments. Try to keep this thread as clean as possible, and ask your questions etc. in your personal discussion threads
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This post has been edited by Velvet Roger: May 4 2009, 10:50 PM -------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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Feb 25 2009, 11:13 PM
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Group Assignment #1
In these group assignments, I would like to highlight a couple of crucial important topics which all guitarists should have sufficient knowledge of in order to move forward with their playing over time. These topics contain: - Scales - Fretboard knowledge - Chords - Harmonization - Etc. I am going to post a group assignment every Sunday normally. Lesson For this first group assignment I would you all to take a close look at my S.I. lesson on basic triad chord shapes. You can find that lesson here. The main purpose of this lesson is: - Understand how the basic major/minor triads are build - Memorizing the 3 chord shapes (C, A and E-shape of the basic major/minor triads) - Obtain more fretboard knowledge by practicing the exercises shown in the lesson It will also help you improve your timing/alternate picking. Please always practice this lesson together with a metronome (that should be your greatest friend during quite a long time! ). Deadline I would suggest that all of you try to understand as much as possible of the theory explanations mentioned in the lesson. Regarding the exercises, as everybody has a different entry level in this MTP group, I would be glad if you all could post a take of those exercises (or part of it) what you managed to achieve in a week's time. Therefore, could you please post a take (together with a metronome) of your this group assignment in your upload thread by next week Saturday (7 March 2009). Good luck!!!
-------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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Feb 28 2009, 12:05 PM
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Seen it and are going to start working on it today
-------------------- My Gear
Ibanez RG Jackson js30 warrior jackson rr24 Line 6 Spider III amp Line 6 pod xt live Washburn acoustic Youtube Account My bands Myspace  |
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Mar 6 2009, 07:17 PM
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QUOTE (CompleteNewbie @ Mar 6 2009, 06:46 PM)  Hi Roger, I have seen it, but the individual excersise is taking up some time. Eric That's perfectly fine, thanks for letting me know
-------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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Apr 5 2009, 04:35 AM
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Group Assignment #2
Introduction In the first group assignment we worked with 3 standard triad shapes (C, A and E shapes) on 3 strings. In this group exercise, I would like to continue further on this path, by getting you to practically use those triad shapes with some blues soloing. For now, I would like you all to focus on the minor triad shapes only from the first assignment. By doing this assignment, you will further develop fretboard knowledge, switching between chord shapes and instant improvisation. Backing track - progression Attached is a standard 12-bar blues boogie backing track for you to record your take on. The chord progression you will have to use for this blues boogie is: 4 bars E minor 2 bars A minor 2 bars E minor 1 bar B minor 1 bar A minor 2 bars E minor This will be repeated 3x in the backing. You can either choose to solo over the backing playing only the minor triad notes, playing some arpeggiated notes, play some double stops or strum some triads. Rules There are a couple of strict rules I would like you to stick to for the purpose of this lesson: Rule 1: You may only use the triad chords (in any of the 3 shapes) you learned during the first group assignment. Do not play any outside notes at all for now. Rule 2: Play the right triad at the right place: in other words, during the 1st 4 bars of the progression you have to use the E minor triad (in either the C, A or E shape). Rule 3: After each chord change in the progression, you have to change to the new minor triad but also you have to change the shape of the minor triad. In other words: If you have played the first 4 bars of the progression a E minor triad in the C shape, you will switch to two bars of the A minor triad in either the A or E shape (the C shape is not allowed here) and this continues until the end. Rule 4: This exercise is meant to be a pure improvisation with the above rules in mind. Therefore, I would like to ask you not to write something out completely, but just play along with the backing. This will probably mean that the playing will be relatively 'simple' but that is perfectly fine for this exercise!!!! Tips Keep in mind that in the previous exercise the 3 D minor triad shapes on all the 3 string combinations are shown only. In order to play the E minor triad shapes you have to shift those shapes 2 frets up. In order to play the A minor triad shapes you have to shift those shapes 7 frets up and to play the B minor triad shapes you have to shift those shapes 9 frets up. You may use all 3 string minor triads from the previous exercise, so either string 1,2,3 - 2,3,4 - 3,4,5 or 4,5,6 throughout the progression, either seperately or even combined with some string skipping if you like. In addition, you may also change shape within e.g. the 1st 4 bars of the progression (e.g. switch from E minor C shape to E minor A shape and back to E minor C shape - and after that you have to switch to A minor (E or A shape)). To start of with this, I would like to advise you to stick with e.g. only string 1,2,3 for now and variate as much as possible within the rules mentioned above on the backing track. Once again, don't worry if you think it sounds rather simple or dull what you record, as the purpose of this lesson is to gain more and more fretboard knowledge which you can apply instantly in the future. It's not about having to most advanced solo or so! Deadline I would like you all to post a take of this assignment in a week's time (Sunday 12 Apr 2009). Please also let me know whether you read this If you have any questions, or if something is unclear, please ask them in this thread (I can't upload an example at this moment as I am in Philly ).Good luck!!!
This post has been edited by Velvet Roger: Apr 5 2009, 04:36 AM -------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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Apr 13 2009, 10:37 PM
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QUOTE (Praetorian @ Apr 13 2009, 11:10 PM) Roger, I have been trying to tackle this group assignment...and it is a bit confusing. I have read through your SI lesson, and still am having a hard time understanding what notes we are supposed to be using. Is there anyway you could tab out the E minor, A minor and B minor triads in the C A and E shapes to help as a visual aid? Sure thing. I will tab them out in 10 min. on strings 1, 2 and 3 for you and I would also suggest to stick with those for now, otherwise things get more and more confusing for you  Here it is:  Let me know if you need any more help
This post has been edited by Velvet Roger: Apr 13 2009, 10:57 PM -------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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Apr 14 2009, 07:48 AM
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And by sunday 12 april you mean 19april
-------------------- My Gear
Ibanez RG Jackson js30 warrior jackson rr24 Line 6 Spider III amp Line 6 pod xt live Washburn acoustic Youtube Account My bands Myspace |
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Apr 14 2009, 08:17 AM
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QUOTE (superize @ Apr 14 2009, 08:48 AM) And by sunday 12 april you mean 19april No I meant the 12th, which was one week after I posted the assignment. But a week later is fine (as it is passed anyways ).In general I don't mind so much whether a certain date is put on the assignments, but I thought it would be preferred by all of you in order to work towards a certain date. -------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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Apr 19 2009, 12:02 AM
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Hey guys,
Attached is a quick example on how the assignment can be done. It's a quick improvisation using combination of chords/solo notes (of the chords), with quite a few shape shifts (it's perfectly fine to limit yourself to only shape-shifting during the chord changes). -------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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May 3 2009, 09:44 PM
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Group Assignment #3 - minor triads + 7th in a blues progression
Introduction We will continue on the path of the previous group assignments, using the basic triad shapes as you have learned them. However, to make things a bit more interesting, you are now allowed to add the 7th to the triad shapes which will make the soloing possibilities much broader. We will continue with a similar approach as with the 2nd group assignment, namely a blues progression for you to solo over using some strict rules. Again, I would like you all to focus on the minor triad shapes only, but now you can put also the 7th into play .By doing this assignment, you will further develop fretboard knowledge, switching between chord shapes and instant improvisation. Backing track - progression Attached is a 12-bar blues backing track for you to record your take on (this time it's a shorter version than the previous one). The chord progression for this track is: 4 bars A7 (I) 2 bars D7 (IV) 2 bars A7 (I) 1 bar F7 (bVI) 1 bar E7 (V) 2 bars A7 (I) So, how to approach this? Very important: approach it with the minor chord shapes you already know. As you are now allowed to also play the 7th, means that you are only missing one note of the pentatonic scale, but try to avoid thinking in patterns for this assignment. I would suggest for this assignment to focus on soloing, instead of strumming chords, you can do some arpeggiated notes, together with some double stops and you can of course now use some string bending from e.g. the 7th to the root note. How do I know where the 7th note is? The best thing to do, before starting to play over the backing is to go back to the orginal triad shapes, find the root note and then go 2 frets lower to know where the 7th note is. In addition you can find the 5th in the triad shapes and go up 3 frets to know where the 7th note is. Rules There are a couple of strict rules I would like you to stick to for the purpose of this lesson: Rule 1: You may only use the triad chords (in any of the 3 shapes) you learned during the first group assignment + the 7th note. Do not play any other outside notes at all for now (2nd, 4th or 6th). Rule 2: Play the right triad at the right place: in other words, during the 1st 4 bars of the progression you have to use the A minor triad + 7th (in either the C, A or E shape). Rule 3: After each chord change in the progression, you have to change to the new minor triad but also you have to change the shape of the minor triad. In other words: If you have played the first 4 bars of the progression a A minor triad in the C shape, you will switch to two bars of the D minor triad in either the A or E shape (the C shape is not allowed here) and this continues until the end. With regard to the 7th notes you add, I don't mind where they are located (either lower or higher up the fretboard) Tips You will see that in assignment 1 I have written down all the C, A and E shape positions for the Dm chord. In assignment 2 I have written down the C, A and E shape positions for the Am and Em chords, so you should be able to work with those and figure out the Fm chord yourself to get this assignment completed. You do not have to stick with the top 3 strings, but as you all did this in the previous assignment, it may be good to do it again this time, as you will start to recognize the actual intervals you are playing on the fretboard. Sooner or later you will notice that you can easily connect the three chord shapes by these 7th notes, which will enable you to variate much more using quite a minimalistic approach Deadline I would like you all to post a take of this assignment as soon as you can. I won't put a formal deadline on it, but it would be great if we could finalize this group assignment by the 20th of May or so. Please also let me know whether you read this If you have any questions, or if something is unclear, please ask them in this thread. In the next days I will upload a take of my own to give you all some guidance as well Good luck!!! EDIT: Recorded my take. This post has been edited by Velvet Roger: May 4 2009, 04:04 PM -------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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May 4 2009, 01:24 PM
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QUOTE (Velvet Roger @ May 3 2009, 10:44 PM) Group Assignment #3 - minor triads + 7th in a standard blues progression Introduction We will continue on the path of the previous group assignments, using the basic triad shapes as you have learned them. However, to make things a bit more interesting, you are now allowed to add the 7th to the triad shapes which will make the soloing possibilities much broader. We will continue with a similar approach as with the 2nd group assignment, namely a standard blues progression for you to solo over using some strict rules. Again, I would like you all to focus on the minor triad shapes only, but now you can put also the 7th into play .By doing this assignment, you will further develop fretboard knowledge, switching between chord shapes and instant improvisation. Backing track - progression Attached is a standard 12-bar blues backing track for you to record your take on (this time it's a shorter version than the previous one). The chord progression you will have to use for this blues is: 4 bars A minor 2 bars D minor 2 bars A minor 1 bar E minor 1 bar D minor 2 bars A minor So, how to approach this? Very important: approach it from the minor chord shapes you already know. As you are now allowed to also play the 7th, means that you are only missing one note of the pentatonic scale, but try to avoid thinking in patterns for this assignment. I would suggest for this assignment to focus on soloing, instead of strumming chords, you can do some arpeggiated notes, together with some double stops and you can of course now use some string bending from e.g. the 7th to the root note. How do I know where the 7th note is? The best thing to do, before starting to play over the backing is to go back to the orginal triad shapes, find the root note and then go 2 frets lower to know where the 7th note is. In addition you can find the 5th in the triad shapes and go up 3 frets to know where the 7th note is. Rules There are a couple of strict rules I would like you to stick to for the purpose of this lesson: Rule 1: You may only use the triad chords (in any of the 3 shapes) you learned during the first group assignment + the 7th note. Do not play any other outside notes at all for now (2nd, 4th or 6th). Rule 2: Play the right triad at the right place: in other words, during the 1st 4 bars of the progression you have to use the A minor triad + 7th (in either the C, A or E shape). Rule 3: After each chord change in the progression, you have to change to the new minor triad but also you have to change the shape of the minor triad. In other words: If you have played the first 4 bars of the progression a A minor triad in the C shape, you will switch to two bars of the D minor triad in either the A or E shape (the C shape is not allowed here) and this continues until the end. With regard to the 7th notes you add, I don't mind where they are located (either lower or higher up the fretboard) Tips You will see that in assignment 1 I have written down all the C, A and E shape positions for the Dm chord. In assignment 2 I have written down the C, A and E shape positions for the Am and Em chords, so you should be able to work with those to get this assignment completed. You do not have to stick with the top 3 strings, but as you all did this in the previous assignment, it may be good to do it again this time, as you will start to recognize the actual intervals you are playing on the fretboard. Sooner or later you will notice that you can easily connect the three chord shapes by these 7th notes, which will enable you to variate much more using quite a minimalistic approach Deadline I would like you all to post a take of this assignment as soon as you can. I won't put a formal deadline on it, but it would be great if we could finalize this group assignment by the 20th of May or so. Please also let me know whether you read this If you have any questions, or if something is unclear, please ask them in this thread. In the next days I will upload a take of my own to give you all some guidance as well Good luck!!! OK!!!! -------------------- My Gear
Ibanez RG Jackson js30 warrior jackson rr24 Line 6 Spider III amp Line 6 pod xt live Washburn acoustic Youtube Account My bands Myspace |
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May 4 2009, 01:45 PM
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I have amended the 3rd group assignment, so please re-read it if you already did
(thanks Pedja )
This post has been edited by Velvet Roger: May 4 2009, 04:01 PM -------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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May 4 2009, 03:59 PM
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Ok guys, here is a quick 2nd recording (I removed the 1st one, due to a mistake
 ) from me to give you an idea what you could do with the 3rd group assignment. As you can see, you can already with 4 notes do quite a bit smile.gifLet's examine it a bit closer:
Good luck! Roger -------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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May 4 2009, 04:05 PM
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QUOTE (Pedja Simovic @ May 4 2009, 05:04 PM) Roger - AWESOME ! Sounds better then the first one, I like it a lot man Thanks Pedja for pointing me on the F7 chord issue
This post has been edited by Velvet Roger: May 4 2009, 04:06 PM -------------------- "Don't practice until you get it right. Practice until you can't get it wrong." Guitars & Amps Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood) Eric Johnson Signature Strat (2-tone Sunburst, alder/maple) Ibanez RG770 (Black, basswood/rosewood) Peerless Journeyman (solid spruce/maple) Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic) London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele) Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo Effects & Other stuff POD Studio UX2 audio interface - Edirol MA-15D monitors EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano My Website My MySpace Page My YouTube Channel My Twitter Account My Band 'Gonzo!' |
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