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> Keilnoth's December Mtp Thread, Weekly assignments and uploads here
Pedja Simovic
post Dec 3 2009, 02:46 PM
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Hi Keil!

Welcome to your December Mtp Thread smile.gif Due to your computer/recording/hardware problem, I have decided to go easy on you for your 1st assignment. I hope you will resolve the problem soon so that we can kick it in full gear! For your 1st assignment we will instead focus on some theory and harmony which you will get the test for. Let me know if you need any help with it and here is your 1st assignment for December!

Your 1st assignment for December is due week from today (10th of December)

Theory reading :

- I would like you to read my posts from links provided below.
- Once you read it all, memorize 3 and 4 part harmony in C major scale.
- Learn to apply scale degrees rather then numbers ( I in C major is C, IV in C is F etc).
- Write out in this thread all notes for 3 and 4 part harmony in C major as well as in F and G major scales.

Here are the links:

Major scale harmony and chord functions

Cadences



Let me know if you have any questions and if I could help in any way!

Pedja


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Keilnoth
post Dec 4 2009, 02:06 PM
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Thanks a lot Pedja ! I will try to get my computer working this week-end.


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Pedja Simovic
post Dec 4 2009, 08:20 PM
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You welcome Keil, that would be great if you could get it sorted!


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Keilnoth
post Dec 7 2009, 09:04 AM
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Hello Pedja !

This week-end I resinstalled my computer. So I am back on GMC and I am able to record.

I've been reading your posts and I must say it's pretty confusing for now. smile.gif

Concerning substitutions, I understand how it works but when would we use that technique ? Is it to help composing ? Or to create accompaniment ?

And about cadences, I am still in the process of learning them. I understand the 3 part and 4 part harmonies and I have memorized it. In fact, I knew it already. It's a good review anyway. wink.gif

But then you speak about cadences and there you lost me a little bit. Music is not fixed, right... so I don't understand why we fix, ie. Ionian mode to I IV V I and II V I ? Once again, I am not sure I understand the purpose of those cadences.

Thank you for this first assignment. smile.gif


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My Wishlist: New bridge + Pickups for my Ibanez, EHX POG2, EHX Cathedral / Holy Grail
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Pedja Simovic
post Dec 7 2009, 10:08 AM
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QUOTE (Keilnoth @ Dec 7 2009, 09:04 AM) *
Hello Pedja !

This week-end I resinstalled my computer. So I am back on GMC and I am able to record.

I've been reading your posts and I must say it's pretty confusing for now. smile.gif

Concerning substitutions, I understand how it works but when would we use that technique ? Is it to help composing ? Or to create accompaniment ?

And about cadences, I am still in the process of learning them. I understand the 3 part and 4 part harmonies and I have memorized it. In fact, I knew it already. It's a good review anyway. wink.gif

But then you speak about cadences and there you lost me a little bit. Music is not fixed, right... so I don't understand why we fix, ie. Ionian mode to I IV V I and II V I ? Once again, I am not sure I understand the purpose of those cadences.

Thank you for this first assignment. smile.gif


Hello Keil,

I am glad you sorted your computer out and now we can get to recording examples wink.gif
Let me answer your questions in order...

Concerning substitutions, I understand how it works but when would we use that technique ? Is it to help composing ? Or to create accompaniment ?
We use them whenever it is possible to do so. Substitutions are there to enrich chord progressions, to enable different bass line movement, to enrich the harmony overall. They are there also to help you compose (more possibilities) and accompaniment as well (more choices how to back up soloist or singer).

And about cadences, I am still in the process of learning them. I understand the 3 part and 4 part harmonies and I have memorized it. In fact, I knew it already. It's a good review anyway. wink.gif
I am glad to hear you found it useful, I hope you get most out of it wink.gif

But then you speak about cadences and there you lost me a little bit. Music is not fixed, right... so I don't understand why we fix, ie. Ionian mode to I IV V I and II V I ? Once again, I am not sure I understand the purpose of those cadences.
I somewhat can agree with you regarding that statement. Music is not fixed in sense of possibilities that it gives you but then again when it comes to cadences things are pretty obvious and somewhat "limited" (if I may say that). If you read carefully my post about cadences you will see my definitions and explanations regarding cadences. Cadence describes given key or mode/scale. So for Ionian we need Tonic Subdominant and Dominant sound. Every mode has to have Tonic Subdominant and Dominant chord sounds not just Ionian. Since Tonic chord must be I chord of the scale (in key of C that is C major) for Subdominant we have chords on scale degrees II and IV (D minor and F major) and for Dominant function we got chords on scale degrees V and VII (G major and B diminished). So now we are left with I IV V (Tonic, Subdominant, Dominant) or I II V also known as II V I ( Sudominant Dominant Tonic). These are most common and widely used cadences for Ionian mode. It is as simple as that. I hope you understand it now smile.gif

You welcome for the 1st assignment smile.gif Let me know if you got any more questions!


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Keilnoth
post Dec 7 2009, 09:05 PM
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These are the 3 parts progression in C, F and G :

C major, D minor, E minor, F major, G major, A minor, B diminished, C major
F major, G minor, A minor, Bb major, C major, D minor, E diminished, F major
G major, A minor, B minor, C major, D major, E minor, F# minor, G major

These are the 4 parts progression in C, F and G :

CM7, Dm7, Em7, FM7, G7, Am7, Bm7b5, CM7
FM7, Gm7, Am7, BbM7, C7, Dm7, Em7b5, FM7
GM7, Am7, Bm7, EM7, F#7, Gm7, Am7b5, GM7


I understand substitutions much better now. It's a tool for composing and improvising. Really nice ! smile.gif

About cadences, if I understand correctly, but I need to re-read the whole post, they give a general idea of some chords progression in some modes. It's an idea, so nothing is fixed but as you said, they are widely used.

Thank you


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Pedja Simovic
post Dec 8 2009, 12:54 PM
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Keil excellent response!
I would prefer you used Maj7 instead of M7; same goes for Min7 wink.gif

Read the post on cadences again and let me know if you need any extra help.


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Keilnoth
post Dec 9 2009, 12:16 AM
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I've just realized that this is completely wrong, isn't it ?

GM7, Am7, Bm7, EM7, F#7, Gm7, Am7b5, GM7

It's :

GMaj7, Amin7, Bmin7, CMaj7, D7, Emin7, F#min7b5, GMaj7


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My Wishlist: New bridge + Pickups for my Ibanez, EHX POG2, EHX Cathedral / Holy Grail
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Pedja Simovic
post Dec 9 2009, 12:17 AM
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QUOTE (Keilnoth @ Dec 9 2009, 12:16 AM) *
I've just realized that this is completely wrong, isn't it ?

GM7, Am7, Bm7, EM7, F#7, Gm7, Am7b5, GM7

It's :

GMaj7, Amin7, Bmin7, CMaj7, D7, Emin7, F#min7b5, GMaj7


Yes I saw that just now! I read first two scales and figured you got a grasp of it but good thing you corrected yourself man smile.gif


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Pedja Simovic
post Dec 12 2009, 03:37 PM
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Keil I hope you got your recording gear and computer finally sorted. I want you to work on Alternate picking for 2nd assignment. If you are not able to do that right now we can postpone it and do Theory and Harmony related assignment now. Let me know ASAP.

Deadline for your 2nd assignment is 18th of December.

Alternate picking

- Record each lick in 3 different tempos! Make sure tempos are at least 15-20 bpm difference.
- Try to show me your maximum tempo for these licks, I want you to push yourself here!
- Feel free to ask for more exercises if these are too easy for you!
- Upload your takes in this thread. Ideally I would like you to do videos, put them on Youtube and embed them here.

You can find these exercises played in the thread HERE

Let me know if you got any questions!

Pedja
Attached File(s)
Attached File  Exercise_1_Alternate.pdf ( 103.34K ) Number of downloads: 41
Attached File  Exercise_2_Alternate.pdf ( 104.72K ) Number of downloads: 31
Attached File  Exercise_3_Alternate.pdf ( 106.53K ) Number of downloads: 24
Attached File  Exercise_4_Alternate.pdf ( 66.74K ) Number of downloads: 29
Attached File  Exercise_5_Alternate.pdf ( 70.31K ) Number of downloads: 34
 


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Keilnoth
post Dec 13 2009, 01:20 PM
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Yes, I can do that ! smile.gif


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Keilnoth
post Dec 13 2009, 03:14 PM
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Hello Pedja, I am currently checking a bit more about Major Scale Harmony :

https://www.guitarmasterclass.net/guitar_fo...showtopic=30271

... and I found something strange.

In the paragraph about Dominant harmonization you say :

QUOTE
VI scale degree = B diminished = B D F = It has 7 2 and 4 ! 7 is essential note as its leading into 1 which is C note in this case. I already discussed importance of 2 and 4 above. Thats another great chord right there.


But isn't it the VII scale degree ? smile.gif
A bit further your say VII btw but it's pretty confusing the first time.


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My Wishlist: New bridge + Pickups for my Ibanez, EHX POG2, EHX Cathedral / Holy Grail
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Pedja Simovic
post Dec 13 2009, 05:58 PM
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QUOTE (Keilnoth @ Dec 13 2009, 03:14 PM) *
Hello Pedja, I am currently checking a bit more about Major Scale Harmony :

https://www.guitarmasterclass.net/guitar_fo...showtopic=30271

... and I found something strange.

In the paragraph about Dominant harmonization you say :



But isn't it the VII scale degree ? smile.gif
A bit further your say VII btw but it's pretty confusing the first time.


That was a typo Keil. As you saw I never edited that post it was all written at once. Now I edited it and corrected that typo. Glad you noticed it!


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Keilnoth
post Dec 14 2009, 10:55 PM
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I recorded all the exerices in 3 different speeds (50 - 65 - 75).
There are a few tempo problem I think and I can't get faster than 75 without being sloppy so I stopped then.

Attached File  MTP___December___50.mp3 ( 1.54MB ) Number of downloads: 121

Attached File  MTP___December___65.mp3 ( 981.25K ) Number of downloads: 114

Attached File  MTP___December___75.mp3 ( 850.64K ) Number of downloads: 115


I will try to record a video by the end of the week.


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Pedja Simovic
post Dec 14 2009, 11:16 PM
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Keil this is sounding good. I would put emphasis on exercises 4 and 5. Pay attention when coming back on exercise 4 - read it again. Regarding exercise 5, don't let the notes ring out and yet don't get unwanted noise between notes. If you play with distortion and record it you will hear exactly what I mean!


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Keilnoth
post Dec 17 2009, 11:41 PM
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Hello Pedja, I have some vids ready but didn't have time to edit them correctly. I just downloaded Sony Vegas because after my computer crash I has no more video editor.

I will post them tomorrow.


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Keilnoth
post Dec 18 2009, 08:17 PM
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Here it is :



The audio quality is crappy as I didn't record it separately. I didn't do the 75bpm as I recorded during 1h30 for 2 minutes of video. I was pretty tired (and frustrated) and I still had to edit it with Vegas, which I am going to buy right now.


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My Wishlist: New bridge + Pickups for my Ibanez, EHX POG2, EHX Cathedral / Holy Grail
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Pedja Simovic
post Dec 19 2009, 01:34 AM
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QUOTE (Keilnoth @ Dec 18 2009, 08:17 PM) *
Here it is :



The audio quality is crappy as I didn't record it separately. I didn't do the 75bpm as I recorded during 1h30 for 2 minutes of video. I was pretty tired (and frustrated) and I still had to edit it with Vegas, which I am going to buy right now.


Very good work Keil. I am glad you did it all with semi clean sound with just a touch of distortion. You could hear in your examples because camcorder picked up actual audio clicks as you pick the strings. You can go two ways about this. Accept that sound or try to make it less obvious and find a different angle how to pick into strings. That should make the AP sound more subtle and pleasant. Again it is entirely up to you I am just giving you suggestions here. Changing pick size can help as well, so experiment with that.
I noticed that on the 5th example you started changing fingering while you were playing it. Please try to follow fingerings I provided, they are there for reason. As soon as you start pushing tempos you will see that it is impossible to play with those fingerings, you will just cause injury to your hand which is something we don't want.
Overall I am very pleased with your work and effort. I do think we should continue with AP and build on this, perhaps push more tempos to see how much you can stretch with it, but I also feel we need to cover sweep picking so we will move to new technique and keep switching back and forth once we get the basics down. For time being keep on working on these exercise and expect your new assignment very soon!


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Keilnoth
post Dec 19 2009, 10:17 AM
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Awww, you know, I haven't even paid attention to the finger number at the bottom of your tab. tongue.gif
Will check that again and try to push the tempo.

I am using a 1.0mm pick. It's pretty hard. Will try to put some angle to see if I can get some cleaner soon.

Thank you,


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My Amp: Peavey Bandit 112
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My Wishlist: New bridge + Pickups for my Ibanez, EHX POG2, EHX Cathedral / Holy Grail
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Pedja Simovic
post Dec 20 2009, 06:09 PM
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Keil here is the rest of your assignments for December!

3rd assignment :

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.
- When you are done with video, post it on REC board for grading!


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 got any questions !

Pedja


Attached File(s)
Attached File  main_120bpm.mp3 ( 1.1MB ) Number of downloads: 64
 


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