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> Zen's December Mtp Thread, Weekly assignments and uploads here
Pedja Simovic
post Dec 12 2009, 03:57 PM
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Zen I would like to see how you are doing with REC lesson. I have decided to give you official 2nd assignment for that lesson as well. It should give you extra 6 days to work on it, record it and upload video on Youtube!

Your 2nd assignment is :

Triads in C major scale part 1

- Record video of Triads in C major scale part 1 lesson found HERE
- Use backing track provided in the thread when recording it.
- Try to apply left hand fingerings I applied but stick to right hand fingerings all the way.
- Upload video on Youtube and post it in this thread here.

Deadline for this assignment is 18th of December!


Let me know if you have any questions Zen!

Pedja
Attached File(s)
Attached File  main_120bpm.mp3 ( 1.1MB ) Number of downloads: 88
 


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zen
post Dec 13 2009, 02:17 AM
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Thanks Pedja, I'll record it today, if possible. Coz I've practiced it many times now. Hope i get it right in the recording. Since my pinky is not in the best shape after I tried to attempt a bend using it.. mellow.gif

The main agenda for the day is UFC 107 !!!! woooooooooooooooooooooooooooooooo laugh.gif laugh.gif laugh.gif

Edit:
Ok, i've recorded it..






This post has been edited by zen: Dec 13 2009, 05:56 AM


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Pedja Simovic
post Dec 14 2009, 05:35 PM
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Zen this is very good 1st draft, if I can put it that way. I am sure this will be enough for REC to get a passing grade. I think you need to focus on tuning your guitar 100% for this lesson, even slight off in tuning sticks out and sounds unpleasant. Also, try to work on your finger picking a bit more. I can hear bass note and highest note but middle note is almost unnoticeable, so try to fix that.
You still have time before deadline to submit at least another take so lets see how that goes!

Pedja


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zen
post Dec 16 2009, 08:47 AM
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Cool, no worries. I have always tuned the guitar by ear. I'll use the tuner this time to ensure it is tuned appropriately. Will also work on that middle note plucking. Hope the next take is upto the required standard smile.gif .. will try my best.


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zen
post Dec 18 2009, 12:04 PM
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Pedja, mixed news from this side... on the positive note, i hope the tuning is ok now. It was a terrible mistake and apologies for that. On the downside, I am not able to record the 'perfect' take for you. In the progression, i always end up making mistakes, some chords ring louder than the others and sometimes the plucking is not even. Practiced it quite a lot and when I tried to record... i just couldn't deliver the perfect take. sad.gif Let me know if you are not OK with this one either, and i will continue to practice the 'evenness' of the picking and upload more takes. Also i used the neck pickup, so it has a bassy tone.. I can experiment recording with the bridge pickup too.



There are quite a few lessons here that I am learning as I'm used to playing with distortion most of the time. The need for accurate tuning (on clean settings) and the mistakes are obviously highlighted easily in slow clean playing..... which for me is harder to play.. So this is a perfect leaning curve for me. Thanks for all your help and feedback.




This post has been edited by zen: Dec 18 2009, 12:14 PM


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Pedja Simovic
post Dec 18 2009, 12:24 PM
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QUOTE (zen @ Dec 18 2009, 12:04 PM) *
Pedja, mixed news from this side... on the positive note, i hope the tuning is ok now. It was a terrible mistake and apologies for that. On the downside, I am not able to record the 'perfect' take for you. In the progression, i always end up making mistakes, some chords ring louder than the others and sometimes the plucking is not even. Practiced it quite a lot and when I tried to record... i just couldn't deliver the perfect take. sad.gif Let me know if you are not OK with this one either, and i will continue to practice the 'evenness' of the picking and upload more takes. Also i used the neck pickup, so it has a bassy tone.. I can experiment recording with the bridge pickup too.



There are quite a few lessons here that I am learning as I'm used to playing with distortion most of the time. The need for accurate tuning (on clean settings) and the mistakes are obviously highlighted easily in slow clean playing..... which for me is harder to play.. So this is a perfect leaning curve for me. Thanks for all your help and feedback.





Zen this is great !
You need to work on string set 321 and bring dynamics louder, everything else is great. I would give you 8 or 9 for this on REC because of that, most likely 9 because you got chord shapes down and you are playing it all in time. This is just a small detail that will improve your overall finger picking sound. You can go ahead and submit this for REC program now and I will try to post your new assignment later today!


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zen
post Dec 18 2009, 12:55 PM
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Thanks Pedja, will continue to work on those higher strings.. smile.gif
I've submitted this for REC.
Cheers.


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Pedja Simovic
post Dec 20 2009, 05:49 PM
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Zen we continue now with 3rd and 4th assignment which are due by the end of month (since you already submitted lesson for REC).

3rd assignment :

Triads in C major scale part 2

- Record video of Triads in C major scale part 2 lesson found HERE
- Use backing track provided in the thread when recording it.
- Try to apply left hand fingerings I applied but stick to right hand fingerings all the way.
- Upload video on Youtube and post it in this thread here.


4th assignment :


Chord progressions & harmony analysis

- Analyze all chord progressions bellow
- For each example write out the proper labeling of each chord
- Write a description explaining why you think certain chord progression is in such key/mode.
- For extra work, record those chord progressions and improvise over them - upload recording in this thread.

Example 1

// C / B min / A min / B min / C / B min / A min / G //


Example 2

// D min / G min / C / A min / D min / Bb / C / A min //


Example 3

// F min7 / Eb / Bb7 / Bb7 / F min7 / C min Eb / Bb7 / Bb7 //


Example 4

// Eb maj7 / D min7 / G min7 / F7 / Eb maj7 / C min7 / Bb maj7 / F7 //


Example 5

// D maj7 / B min7 / E min7 / A7 / D maj7 / F# min7 / G maj7 / A7 //


Let me know if you have any questions!

Pedja

Attached File(s)
Attached File  120bpm_main.mp3 ( 1.1MB ) Number of downloads: 59
 


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zen
post Dec 22 2009, 09:18 AM
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Pedja, Here's my attempt at the 4th assignment,.. practicing the rest of the tasks...


Example 1

// C / B min / A min / B min / C / B min / A min / G //

//IV / III / II / III / IV / III / II / I //

kEY - G (two consequetive minors Amin & Bmin, make them on II & III scale degree, making the scale as G Maj)
Mode - C Lydian (starting chord is C; C is on IV scale degree in G Major, Hence mode is C Lydian)


Example 2

// D min / G min / C / A min / D min / Bb / C / A min //

// VI / II / V / III / VI / IV / V / III //

KEY - F (two consequetive minors Gmin and A min, make them on II & II scale degrees, also Bb & C on IV & V, making the scale as F Major)
Mode - F Aeolian (starting chord is Dmin; Dmin is on VI scale degree in F Major, hence mode is F Aeolian)


Example 3

// F min7 / Eb / Bb7 / Bb7 / F min7 / C min / Eb / Bb7 / Bb7 //

// II / I / V / V / II / VI / I / V / V //

KEY - Eb (dominant 7 chord is Bb7 which is on V scale degree, making the scale Eb major)
Mode - F Dorian (staring chord is Fmin7, which is on II scale degree in Eb major scale, hence mode is F dorian)


Example 4

// Eb maj7 / D min7 / G min7 / F7 / Eb maj7 / C min7 / Bb maj7 / F7 //

// IV / III / VI / V / IV / II / I / V //

Key - Bb ( dominant 7 chord is F7 which is on V scale degree, making this scale Bb Major)
MOde - Eb Lydian (staring chord is Ebmaj7, which is on IV scale degree in Bb major scale, hence mode is Eb Lydian)


Example 5

// D maj7 / B min7 / E min7 / A7 / D maj7 / F# min7 / G maj7 / A7 //

// I / VI / II / V / I / III / IV / V //

Key - D (dominant chord A7 is on V scale degree, making the scale D Major)
Mode - D Ionian (staring chord is Dmaj7 which is on I scale degree in the scale of D Major, hence mode is D Ionian)


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Pedja Simovic
post Dec 23 2009, 01:58 AM
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QUOTE (zen @ Dec 22 2009, 09:18 AM) *
Pedja, Here's my attempt at the 4th assignment,.. practicing the rest of the tasks...


Example 1

// C / B min / A min / B min / C / B min / A min / G //

//IV / III / II / III / IV / III / II / I //

kEY - G (two consequetive minors Amin & Bmin, make them on II & III scale degree, making the scale as G Maj)
Mode - C Lydian (starting chord is C; C is on IV scale degree in G Major, Hence mode is C Lydian)


Example 2

// D min / G min / C / A min / D min / Bb / C / A min //

// VI / II / V / III / VI / IV / V / III //

KEY - F (two consequetive minors Gmin and A min, make them on II & II scale degrees, also Bb & C on IV & V, making the scale as F Major)
Mode - F Aeolian (starting chord is Dmin; Dmin is on VI scale degree in F Major, hence mode is F Aeolian)


Example 3

// F min7 / Eb / Bb7 / Bb7 / F min7 / C min / Eb / Bb7 / Bb7 //

// II / I / V / V / II / VI / I / V / V //

KEY - Eb (dominant 7 chord is Bb7 which is on V scale degree, making the scale Eb major)
Mode - F Dorian (staring chord is Fmin7, which is on II scale degree in Eb major scale, hence mode is F dorian)


Example 4

// Eb maj7 / D min7 / G min7 / F7 / Eb maj7 / C min7 / Bb maj7 / F7 //

// IV / III / VI / V / IV / II / I / V //

Key - Bb ( dominant 7 chord is F7 which is on V scale degree, making this scale Bb Major)
MOde - Eb Lydian (staring chord is Ebmaj7, which is on IV scale degree in Bb major scale, hence mode is Eb Lydian)


Example 5

// D maj7 / B min7 / E min7 / A7 / D maj7 / F# min7 / G maj7 / A7 //

// I / VI / II / V / I / III / IV / V //

Key - D (dominant chord A7 is on V scale degree, making the scale D Major)
Mode - D Ionian (staring chord is Dmaj7 which is on I scale degree in the scale of D Major, hence mode is D Ionian)


Zen let me congratulate you for getting 9 out of 10 for your REC. That was very good!!!
Now onto current assignment. I put wrong answer in bold in your post above, check it and correct it.
You got all the original scales and 4 out of 5 modes correct but you did not write proper harmony analysis. If C is Lydian, and if it is a mode by itself, why would we treat it as IV!? Shouldn't it be I!?? Yes it should and it is I maj or just I.
Also pay attention to details when writing scale degrees. For example I maj7 II min 7 etc Use it wherever appropriate, just by using symbols I II III IV etc doesn't do much for us.
Ok, I want you to correct those and you are all set with this assignment!


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zen
post Dec 23 2009, 09:42 AM
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Pedja, I'm confused now. I probably didn't grasp the concept well. Let me share what i have understood so far in a nutshell:

Modes exist within scales. It depends on which scale degree note of the scale we start playing and come back to it. So in C Major scale, modes are C ionian, D dorian, E phrygian and so on. Now how do scale degrees get impacted when we start playing modes?

C Ionian:
I - II - III - IV - V - VI - VII - VIII
Cmaj,Dmin,Emin,Fmaj,Gmaj,Amin,Bdim,Cmaj

D dorian
Imin - II min -III - IV - V min- VI - VII - VIII min (???? is this how? i guess i was still stuck with I,IV,V on major and II,III,VI on minors)
Dmin,Emin,Fmaj,Gmaj,Amin,Bdim,Cmaj,Dmin

( I was sucessfully able to move the chords around but I struggled to apply the maj or minors on degrees and also confused with the applicaiton of "b" in bVII etc.. not sure about that. )


Let me pick 2 examples from above:

Example 2

// D min / G min / C / A min / D min / Bb / C / A min //

// VI / II / V / III / VI / IV / V / III // (this is what i wrote previously which is wrong)

// I min/ IV min/ VII maj/ V min/ I min/ VI maj/ VII maj/ V min// (is this correct?)

KEY - F (two consequetive minors Gmin and A min, make them on II & II scale degrees, also Bb & C on IV & V, making the scale as F Major)
Mode - D Aeolian (starting chord is Dmin; Dmin is on VI scale degree in F Major, hence mode is D Aeolian)


Example 3

// F min7 / Eb / Bb7 / Bb7 / F min7 / C min / Eb / Bb7 / Bb7 //

// II / I / V / V / II / VI / I / V / V // (this is what i wrote previously which is wrong)

// I min7/ VII maj/ IV 7/ IV 7/ I min 7/ V min/ VII maj/ IV 7/ IV 7 // (is this correct?)

KEY - Eb (dominant 7 chord is Bb7 which is on V scale degree, making the scale Eb major)
Mode - F Dorian (staring chord is Fmin7, which is on II scale degree in Eb major scale, hence mode is F dorian)


Improvisation extra exercise:

Ok, I've never done this before. So wouldn't call it improvising coz I had to sort of compose what I was playing very slowly first and then tied the pieces together and went with what sounded good. So attached is my solo attempt on example 1 chord progression.

Triad 1st inversion is coming along ok.. working on the 321 & 432 strings which are troublesome coz of the new shapes that Im not used to. But should be able to achieve it within deadlines. On the +side picking is improving a bit.

This post has been edited by zen: Dec 23 2009, 11:52 AM
Attached File(s)
Attached File  CLydian_zen.mp3 ( 1.82MB ) Number of downloads: 147
 


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Pedja Simovic
post Dec 23 2009, 04:31 PM
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QUOTE (zen @ Dec 23 2009, 09:42 AM) *
Pedja, I'm confused now. I probably didn't grasp the concept well. Let me share what i have understood so far in a nutshell:

Modes exist within scales. It depends on which scale degree note of the scale we start playing and come back to it. So in C Major scale, modes are C ionian, D dorian, E phrygian and so on. Now how do scale degrees get impacted when we start playing modes?

C Ionian:
I - II - III - IV - V - VI - VII - VIII
Cmaj,Dmin,Emin,Fmaj,Gmaj,Amin,Bdim,Cmaj

D dorian
Imin - II min -III - IV - V min- VI - VII - VIII min (???? is this how? i guess i was still stuck with I,IV,V on major and II,III,VI on minors)
Dmin,Emin,Fmaj,Gmaj,Amin,Bdim,Cmaj,Dmin

( I was sucessfully able to move the chords around but I struggled to apply the maj or minors on degrees and also confused with the applicaiton of "b" in bVII etc.. not sure about that. )


Let me pick 2 examples from above:

Example 2

// D min / G min / C / A min / D min / Bb / C / A min //

// VI / II / V / III / VI / IV / V / III // (this is what i wrote previously which is wrong)

// I min/ IV min/ VII maj/ V min/ I min/ VI maj/ VII maj/ V min// (is this correct?)

KEY - F (two consequetive minors Gmin and A min, make them on II & II scale degrees, also Bb & C on IV & V, making the scale as F Major)
Mode - D Aeolian (starting chord is Dmin; Dmin is on VI scale degree in F Major, hence mode is D Aeolian)


Example 3

// F min7 / Eb / Bb7 / Bb7 / F min7 / C min / Eb / Bb7 / Bb7 //

// II / I / V / V / II / VI / I / V / V // (this is what i wrote previously which is wrong)

// I min7/ VII maj/ IV 7/ IV 7/ I min 7/ V min/ VII maj/ IV 7/ IV 7 // (is this correct?)

KEY - Eb (dominant 7 chord is Bb7 which is on V scale degree, making the scale Eb major)
Mode - F Dorian (staring chord is Fmin7, which is on II scale degree in Eb major scale, hence mode is F dorian)


Improvisation extra exercise:

Ok, I've never done this before. So wouldn't call it improvising coz I had to sort of compose what I was playing very slowly first and then tied the pieces together and went with what sounded good. So attached is my solo attempt on example 1 chord progression.

Triad 1st inversion is coming along ok.. working on the 321 & 432 strings which are troublesome coz of the new shapes that Im not used to. But should be able to achieve it within deadlines. On the +side picking is improving a bit.


Zen I will help you with the chord labeling and scale degrees. Picture this - Major scale has all major and perfect intervals!

C D E F G A B C = C major or C Ionian

C to D = Major 2nd
C to E = Major 3rd
C to F = Perfect 4th
C to G = Perfect 5th
C to A = Major 6th
C to B = Major 7th
C to C = Octave

This is why we label scale degrees in any major scale with regular I, II , III , IV, V , VI, VII and VIII. Don't forget that we should label next to roman numeral type of chord. So for triads I might do this I, II min, III min, IV , V , VI min, VII dim, VIII. Or, we could also type I maj, II min, III min, IV maj, V maj, VI min, VII dim, VIII maj.
Now, when we talk about any other scale or other modes, we have to realize what intervals are in play compared to regular Major scale (Ionian mode).
Lets check out Dorian mode in C major scale.

D E F G A B C D = D Dorian mode

D to E = Major 2nd (same as in major scale so we use regular I and II here)
D to F = MINOR 3rd (here we have to use FLAT for III so we get bIII instead of regular III)
D to G = Perfect 4th (same as in major scale so we use regular IV here)
D to A = Perfect 5th (same as in major scale so we use regular V here)
D to B = Major 6th (same as in major scale so we use regular VI here)
D to C = MINOR 7th (here we have to use flat because in major scale we have major 7th, here we have minor 7th so we get bVII symbol instead)
D to D = Octave (this is and will be obvious and same for all the scales - in order for something to be a scale it has to start and end on the same note so thats automatically an octave interval !)

So scale degrees for D Dorian (or any Dorian mode) are : I II bIII IV V VI bVII VIII
If we apply 3 part harmony (triads) in D Dorian we would get : I min II min bIII maj IV maj V min VI dim bVII maj VIII min

Hope this helps you with the idea how to finish up the whole assignment!

Regarding your C Lydian recording there are two things I would like to say : 1) I like what you played ! Very nice ideas , repetition, sequence melodic , very nice! 2) The chord progression is not good since your 2nd chord should be B min and you played something else check it smile.gif

Look forward to your work man.


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zen
post Dec 24 2009, 09:58 AM
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Pedja, thanks a lot for the explanation. I think it's clear now. Here are my answers and some questions in red again:

Example 1

// C / B min / A min / B min / C / B min / A min / G //

// Imaj /VIImin/ VImin/ VIImin/ Imaj/ VIImin/ VI min/ Vmaj //

kEY - G (two consequetive minors Amin & Bmin, make them on II & III scale degree, making the scale as G Maj)
Mode - C Lydian (starting chord is C; C is on IV scale degree in G Major, Hence mode is C Lydian)
Notes of G major scale - G A B C D E F# G
C Lydian - C D E F# G A B C

If there was chord F# in the progression, how will its scale degree be shown? As IVaug or IV dimaug?


Example 2

// D min / G min / C / A min / D min / Bb / C / A min //

// Imin / IVmin/ bVIImaj/ Vmin/ Imin/ bVImaj/ bVIImaj/ Vmin//

KEY - F (two consequetive minors Gmin and A min, make them on II & II scale degrees, also Bb & C on IV & V, making the scale as F Major)
Mode - D Aeolian (starting chord is Dmin; Dmin is on VI scale degree in F Major, hence mode is D Aeolian)
Notes of F Major scale - F G A Bb C D E F
D Aeolian - D E F G A Bb C D


Example 3

// F min7 / Eb / Bb7 / Bb7 / F min7 / C min / Eb / Bb7 / Bb7 //

// Imin7 /bVIImaj/IV7/IV7/Imin7/Vmin/ bVIImaj/IV7/IV7//

KEY - Eb (dominant 7 chord is Bb7 which is on V scale degree, making the scale Eb major)
Mode - F Dorian (starting chord is Fmin7, which is on II scale degree in Eb major scale, hence mode is F dorian)
Notes of Eb Major scale - Eb F G Ab Bb C D Eb
F Dorian - F G Ab Bb C D Eb F


Example 4

// Eb maj7 / D min7 / G min7 / F7 / Eb maj7 / C min7 / Bb maj7 / F7 //

//Imaj7/ VIImin / IIImin7/ II7/ Imaj7/ VImin7 / Vmaj7/ II7 //

Key - Bb ( dominant 7 chord is F7 which is on V scale degree, making this scale Bb Major)
MOde - Eb Lydian (starting chord is Ebmaj7, which is on IV scale degree in Bb major scale, hence mode is Eb Lydian)
Notes of Bb major scale - Bb C D Eb F G A Bb
Eb Lydian - Eb F G A Bb C D Eb

If there was chord A in the progression, how will its scale degree be shown? As IVaug?


Example 5

// D maj7 / B min7 / E min7 / A7 / D maj7 / F# min7 / G maj7 / A7 //

// Imaj7 / VImin7 / IImin7 / V7 / Imaj7 / IIImin7 / IVmaj7 / V7 //

Key - D (dominant chord A7 is on V scale degree, making the scale D Major)
Mode - D Ionian (starting chord is Dmaj7 which is on I scale degree in the scale of D Major, hence mode is D Ionian)
Notes of D major scale - D E F# G A B C# D



Now for the triad harmony revision for all the modes:

Ionian - Imaj/ IImin/ IIImin/ IVmaj/ Vmaj/ VImin/ VIIdim / VIIImaj
Dorian - Imin/ IImin/ bIIImaj/ IVmaj/ Vmin/ VIdim/ bVIImin/ VIIImaj
Phrygian-Imin/ bIImaj/ bIIImaj/ IVmin/ Vdim/ bVImaj/ bVIImin/ VIIImin
Lydian - Imaj/ IImaj/ IIImin/ IVdimaug/ Vmaj/ VImin/ VIImin/ VIIImaj
Mixolydian- Imaj/ IImin/ IIIdim/ IVmaj/ Vmin/ VImin/ bVIImaj/ VIIImaj
Aeolian - Imin/ IIdim/ bIIImaj/ IVmin/ Vmin/ bVImaj/ bVIImaj/ VIIImin
Locrian - Idim/ bIImaj/ bIIImin/ IVmin/ bVmaj/ bVImaj/ bVIImin/ VIIIdim


As for the improvisation, thanks for your feedback. Yes, i played Cmin instead of Bmin laugh.gif .. not quite sure how that happened .. no wonder the solo was a bit dark ..


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Pedja Simovic
post Dec 24 2009, 12:35 PM
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QUOTE (zen @ Dec 24 2009, 09:58 AM) *
Pedja, thanks a lot for the explanation. I think it's clear now. Here are my answers and some questions in red again:

Example 1

// C / B min / A min / B min / C / B min / A min / G //

// Imaj /VIImin/ VImin/ VIImin/ Imaj/ VIImin/ VI min/ Vmaj //

kEY - G (two consequetive minors Amin & Bmin, make them on II & III scale degree, making the scale as G Maj)
Mode - C Lydian (starting chord is C; C is on IV scale degree in G Major, Hence mode is C Lydian)
Notes of G major scale - G A B C D E F# G
C Lydian - C D E F# G A B C

If there was chord F# in the progression, how will its scale degree be shown? As IVaug or IV dimaug?


Example 2

// D min / G min / C / A min / D min / Bb / C / A min //

// Imin / IVmin/ bVIImaj/ Vmin/ Imin/ bVImaj/ bVIImaj/ Vmin//

KEY - F (two consequetive minors Gmin and A min, make them on II & II scale degrees, also Bb & C on IV & V, making the scale as F Major)
Mode - D Aeolian (starting chord is Dmin; Dmin is on VI scale degree in F Major, hence mode is D Aeolian)
Notes of F Major scale - F G A Bb C D E F
D Aeolian - D E F G A Bb C D


Example 3

// F min7 / Eb / Bb7 / Bb7 / F min7 / C min / Eb / Bb7 / Bb7 //

// Imin7 /bVIImaj/IV7/IV7/Imin7/Vmin/ bVIImaj/IV7/IV7//

KEY - Eb (dominant 7 chord is Bb7 which is on V scale degree, making the scale Eb major)
Mode - F Dorian (starting chord is Fmin7, which is on II scale degree in Eb major scale, hence mode is F dorian)
Notes of Eb Major scale - Eb F G Ab Bb C D Eb
F Dorian - F G Ab Bb C D Eb F


Example 4

// Eb maj7 / D min7 / G min7 / F7 / Eb maj7 / C min7 / Bb maj7 / F7 //

//Imaj7/ VIImin / IIImin7/ II7/ Imaj7/ VImin7 / Vmaj7/ II7 //

Key - Bb ( dominant 7 chord is F7 which is on V scale degree, making this scale Bb Major)
MOde - Eb Lydian (starting chord is Ebmaj7, which is on IV scale degree in Bb major scale, hence mode is Eb Lydian)
Notes of Bb major scale - Bb C D Eb F G A Bb
Eb Lydian - Eb F G A Bb C D Eb

If there was chord A in the progression, how will its scale degree be shown? As IVaug?


Example 5

// D maj7 / B min7 / E min7 / A7 / D maj7 / F# min7 / G maj7 / A7 //

// Imaj7 / VImin7 / IImin7 / V7 / Imaj7 / IIImin7 / IVmaj7 / V7 //

Key - D (dominant chord A7 is on V scale degree, making the scale D Major)
Mode - D Ionian (starting chord is Dmaj7 which is on I scale degree in the scale of D Major, hence mode is D Ionian)
Notes of D major scale - D E F# G A B C# D



Now for the triad harmony revision for all the modes:

Ionian - Imaj/ IImin/ IIImin/ IVmaj/ Vmaj/ VImin/ VIIdim / VIIImaj
Dorian - Imin/ IImin/ bIIImaj/ IVmaj/ Vmin/ VIdim/ bVIImin/ VIIImaj
Phrygian-Imin/ bIImaj/ bIIImaj/ IVmin/ Vdim/ bVImaj/ bVIImin/ VIIImin
Lydian - Imaj/ IImaj/ IIImin/ IVdimaug/ Vmaj/ VImin/ VIImin/ VIIImaj
Mixolydian- Imaj/ IImin/ IIIdim/ IVmaj/ Vmin/ VImin/ bVIImaj/ VIIImaj
Aeolian - Imin/ IIdim/ bIIImaj/ IVmin/ Vmin/ bVImaj/ bVIImaj/ VIIImin
Locrian - Idim/ bIImaj/ bIIImin/ IVmin/ bVmaj/ bVImaj/ bVIImin/ VIIIdim


As for the improvisation, thanks for your feedback. Yes, i played Cmin instead of Bmin laugh.gif .. not quite sure how that happened .. no wonder the solo was a bit dark ..


Excellent answers Zen!
Let me help you with 4th scale degree in Lydian. We would just put sharp sign in front of it. So in C Lydian if you had F# diminished triad or F# min7b5 chord we would label it #IVdim or #IVmin7b5.

Hope that clears everything up now. Fantastic work man, lets get to rest of the assignments now smile.gif


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zen
post Dec 25 2009, 09:50 AM
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Thanks Pedja.. i think i finally got the hang of it smile.gif but definitely need more practice to confirm this. .. How about a few more theory questions ...? smile.gif

Im on my last leg of practicing the triad lesson, which means that ive memorized the shapes now , just have to make the transitions clear and smooth.. Will upload very soon in a day or 2 hopefully.

Edit - Here's the next assignment and I think this is as clear as I can make it before my head explodes laugh.gif .. Hope you like it.. (I think taking yesterday off work helped me practice a bit rolleyes.gif )





This post has been edited by zen: Dec 25 2009, 12:38 PM


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Pedja Simovic
post Dec 25 2009, 04:18 PM
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QUOTE (zen @ Dec 25 2009, 09:50 AM) *
Thanks Pedja.. i think i finally got the hang of it smile.gif but definitely need more practice to confirm this. .. How about a few more theory questions ...? smile.gif

Im on my last leg of practicing the triad lesson, which means that ive memorized the shapes now , just have to make the transitions clear and smooth.. Will upload very soon in a day or 2 hopefully.

Edit - Here's the next assignment and I think this is as clear as I can make it before my head explodes laugh.gif .. Hope you like it.. (I think taking yesterday off work helped me practice a bit rolleyes.gif )





Cool Zen. I will give you more theory but it will be related to modes more wink.gif
The video for REC is good. I like it that you know your faults , I don't have to point them out in this example. Same like before I would give you 8 or 9 here except in this video timing at certain parts sounds like you are rushing a bit when entering with new chord.
Submit it for REC lets see what happens biggrin.gif

Oh and by the way, this lesson is part 2 . I just remember you put down #1 in there wink.gif

This post has been edited by Pedja Simovic: Dec 25 2009, 04:19 PM


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post Dec 25 2009, 04:25 PM
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Thanks Pedja.. Yes, since i just learnt the shapes.. not so confident of landing on the new chord immediately, which is why there's a rush. It will improve as i incorporate this in my routine .. smile.gif

As for improvisation solo, I will upload another basic one tomorrow and looking forward to the theory questions smile.gif

p.s - thanks for correcting the title of the vid . I've fixed it tongue.gif

This post has been edited by zen: Dec 25 2009, 04:27 PM


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post Dec 26 2009, 01:51 AM
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Pedja, here's what i composed in Example 2

// D min / G min / C / A min / D min / Bb / C / A min //

I think the problem I'm facing is that:

1. Cant compose anything complicated or fast laugh.gif
2. Not really sure if Im stickin to the mode .. im just playin what sounds and feels right huh.gif

Take attached with this post
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Attached File  DAeolian_zen.mp3 ( 1.79MB ) Number of downloads: 136
 


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Pedja Simovic
post Dec 26 2009, 04:11 AM
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QUOTE (zen @ Dec 26 2009, 01:51 AM) *
Pedja, here's what i composed in Example 2

// D min / G min / C / A min / D min / Bb / C / A min //

I think the problem I'm facing is that:

1. Cant compose anything complicated or fast laugh.gif
2. Not really sure if Im stickin to the mode .. im just playin what sounds and feels right huh.gif

Take attached with this post


Zen cool solo sample smile.gif Lets talk about your questions now...

1. In order for you to compose something fast your ear needs to listen and play fast music. So you pretty much have to listen to shred type music to get some runs in your ears. It is entirely up to you who you prefer over who but the idea is to get as much as possible from your guitar heroes. I know I started learning Santana, then Slash followed by Gary Moore and Satriani, which later followed to Eric Johnson, Mike Stern, Pat Metheny and other non guitar related musicians. You can always play sequences (groupings of notes that move through the scale/mode/pentatonic) so that could be a good starting point as well. Hope that gives you some ideas man.

2. I am hearing a lot of chord tones and available tensions in your solos. If you will have some extra time try to analyze what notes you played over each chord and you will see why it works smile.gif

Overall I am happy with what you did here. You also used drums and rhythm guitar. I think rhythm guitar could be more tighter and in sync with drum beat, otherwise very good work. If you are thinking of adding bass part, remember that ROOTS are always your best choice when playing bass. Occasionally you could throw in 3rd and/or 5th of the chord but that might be too crowded for specific style and tempo of music.

Let me know if you need any more help man smile.gif

This post has been edited by Pedja Simovic: Dec 26 2009, 04:11 AM


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post Dec 26 2009, 04:34 AM
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QUOTE (Pedja Simovic @ Dec 26 2009, 02:11 PM) *
Zen cool solo sample smile.gif Lets talk about your questions now...

1. In order for you to compose something fast your ear needs to listen and play fast music. So you pretty much have to listen to shred type music to get some runs in your ears. It is entirely up to you who you prefer over who but the idea is to get as much as possible from your guitar heroes. I know I started learning Santana, then Slash followed by Gary Moore and Satriani, which later followed to Eric Johnson, Mike Stern, Pat Metheny and other non guitar related musicians. You can always play sequences (groupings of notes that move through the scale/mode/pentatonic) so that could be a good starting point as well. Hope that gives you some ideas man.


That's the sad part .. I listen to metal mostly and most guitarists have fast licks, chops and shredding solo's. I still have to master those techniques though. I mostly cant figure out what they're playing but thats what I like 'listening' to smile.gif .. In terms of solo artists, i've heard satriani the most and love his playing style. I hear people say that it's also based on one's lick vocabulary .. more licks one learns the better he can incorporate them in his playing style.. i guess i'll have to start learning some licks. STarting with sequences or the scale itself played runs of 3rd's of 5ths is a good idea, i'll try that. Thanks for that . + I also think in order to "think fast shreddy stuff" , i gotta change the backing to somethin more appropriate so it gives me suitable ideas for it. I will try it next time.


QUOTE
2. I am hearing a lot of chord tones and available tensions in your solos. If you will have some extra time try to analyze what notes you played over each chord and you will see why it works smile.gif

Overall I am happy with what you did here. You also used drums and rhythm guitar. I think rhythm guitar could be more tighter and in sync with drum beat, otherwise very good work. If you are thinking of adding bass part, remember that ROOTS are always your best choice when playing bass. Occasionally you could throw in 3rd and/or 5th of the chord but that might be too crowded for specific style and tempo of music.

Let me know if you need any more help man smile.gif


Thank you very much for your kind feedback. This is the first time i recorded a backing and tried to play a solo over it smile.gif .. so yes, it will hopefully improve from here. I'll analyse the notes as well.

Edit: Ive analysed the notes .. All of them are from the F major scale or the F key.. so it fits .. But I wanna learn where modes come into practice.. Each mode hasa different 'sound' from what Ive heard but we are playing the same notes in all modes , how is the sound going to be different? Does that mean to make this solo in true D Aeolian , i start my solo from the note D always ?

Edit 2: I played the same progression in power chords and recorded a concept of a solo..Please see attached file.. It has timing and note faults everywhere but this is what I was speaking about .. Its an idea .. I wanna build on such a style..

I'm really enjoying this MTP smile.gif

This post has been edited by zen: Dec 26 2009, 06:57 AM
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Attached File  DAeolian_Distort_zen_01.mp3 ( 2.49MB ) Number of downloads: 57
 


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