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> Cem's Rhythm Rampage
Cosmin Lupu
post Apr 26 2012, 07:36 AM
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Hey Cem!

the lemma is correct smile.gif and when I was referring to 'AP only' I was thinking about picking in an 'down up, down up' fashion - so, alternate picking instead of sometimes incorporating movements such as 'down, down, up' as I have noticed you were doing.

Yes, practicing strumming and funky stuff will develop your rhythmic sense and right hand skills, so, keep working in that direction on your own if it feels good to you.

W=hat direction would you like to pursue? Should we dive into synchronizing further on? smile.gif

Cosmin


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Cem
post Apr 26 2012, 03:53 PM
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That type of pattern only occurs when skipping strings. I never thought that strictly going down up while changing strings is a good idea, but if you say so I will give it a try and see what happens.

About our route, I'm in a dilemma. I need to get rid of this sync problem ASAP but I am grown sick of exercise partitions, I don't want to go up and down on scales mindlessly anymore, I want to play friggin' music!

I leave you this decision, whatever you say I'm okay with it but no more exercise-oriented stuff. Never.
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Cosmin Lupu
post Apr 27 2012, 08:11 PM
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Ahoy Cem smile.gif if it's sync and music you want, well, let's find a combination between the two, right?

https://www.guitarmasterclass.net/ls/J-S-Ba...ond-Voice-pt-2/

a tone which will obligate you to play as clean as possible biggrin.gif Bach is your friend man tongue.gif what do you think?

Cosmin


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Cem
post Apr 28 2012, 06:26 AM
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You definitely know what I like man tongue.gif I'm on it.
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Cosmin Lupu
post Apr 28 2012, 09:09 AM
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Awesomeness wink.gif Bach never fails! biggrin.gif


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Cem
post May 3 2012, 05:08 PM
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Sitrep :

Been working on the task, I would have already submitted a record if only that god-damn string skippy passages were absent -.- .
I feel my sync has significantly improved over the last two months but I noticed that I can't play as fast as I used to.

Regarding Pure AP runs I think I can't change that from here on. When skipping to farther strings (not adjacent ones) I play like exactly you do, as I remember in a video of Paul Gilbert he said he preferred to play that way because it helps him to not to accidentally hit the strings in-between. But when skipping to adjacent ones, it is always the shortest way possible, I really can't help it sad.gif .
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Cosmin Lupu
post May 4 2012, 08:50 AM
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Hey Cem, the only way you're gonna get past this, is giving it time and playing each note as clear as possible smile.gif stay relaxed and give yourself time man wink.gif If sync has improved, now slow down again and try to get rid of the nasty habit wink.gif

I would propose this exercise:

g----------7----------
d---5 7 8----8 7 5---

alternate pick every note as sextuplets and take two following approaches smile.gif

1) starting with the first pick stroke down
2) starting with the first pick stroke up

This will help you alternate pick your way through the issue biggrin.gif

Cosmin


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Cosmin Lupu
post May 11 2012, 12:22 PM
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Hello my friend smile.gif

I did a little research and here's what I gathered for you:

http://www.amazon.com/Structure-Atonal-Mus...e/dp/0300021208

http://www.dummies.com/how-to/content/bend...onal-music.html - no pun intended, but good explanations nonetheless smile.gif

http://en.wikibooks.org/wiki/Music_Theory/Atonal



let me know if you would like to discuss on this matter - I am not experienced but who knows what we can discover together? biggrin.gif

Cosmin


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Cem
post May 11 2012, 09:41 PM
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Ok, this is going to be a long post, get ready tongue.gif.

I tried to listen to some atonal compositions on youtube. I felt extremely uncomfortable that I cannot put into words here. It made me feel tense for a good amount of time after hearing it. Absolutely unbearable.

I don't know if my opinions will change after I get used to atonal system, I do not know much about it (this subject was just briefly mentioned by one of the instructors at my music course) but my intuition says that atonal music is a great tool for ear training. If one can just voice a prime tone row I don't think that he/she will ever have any problems with anything related to tonal music.

To connect this with tonal music, I think this will definitely expand your horizon when composing. After all, the tonal music theory just gives us an abstraction which lets us know "which way the river should flow". Atonal music, on the other hand lifts this abstraction thus giving us more freedom in terms of musicality which means having options on where you should go.

But, atonal music is dangerous for people like me whose ear is nowhere near perfect. This danger is not to be trifled with, I can imagine getting comfortable to atonal compositions and being able to listen to them effortlessly, yet this will come at a cost. This will make me comfortable with hearing notes outside of the tone range, and I simply cannot afford that. I don't have a deep musical ability or understanding or an amazing music ear, all I can rely on is how I feel when I hear a stream of notes. If I'll lose this, music would be meaningless for me.

I would love to explore the mysteries of music regardless of the subject's property but in this case, I can't dare to do it for the reasons I described above. In addition to these, roughly an hour passed since I listened to the atonal composition and I still got that tense, distracted feeling. But I don't mind learning more on the subject without hearing anything of it laugh.gif . These are my opinions after a brief research on the atonal music.


Back to our course, I think I have found the root of my sync problem. It's simply relatively under-developed picking hand. I just joined Todd's shred bootcamp, luckily his first lesson was focused on the development of picking hand.I discovered that my arm joined to the picking motion slightly, it was extremely subtle yet it made my picking inconsistent and prevented the improvement of my wrist motion, not a big deal at low tempos but it gets exponentially bad as tempo increases. I have been working on wrist-only movement of picking motion and I can say that the progress was more than I have made in the past 5 months.

I went to a jam session with a fellow guitarist and a drummer. It sucked, I could barely played anything. This led me to realise that I have the skills to play guitar at a decent level but my repertoire is nearly empty. I'll post a record on the latest task within a week, after that I'd say lets stay true to the Rampage and work on a repertoire-oriented route, is that ok for you? I know I'm changing the focus too much out of frustration, but I feel this is the right path to take, finally. What do you think?
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Cosmin Lupu
post May 12 2012, 11:58 AM
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Hey Cem smile.gif I have nothing against going for a repertoire based mentoring course. I will choose pieces which deal with sync such as the Bach one tongue.gif so you can cement your skills in both directions biggrin.gif what do you think man?

Regarding the atonal music - this is uncharted territory for me as well, my friend smile.gif I don't consider my ears as being perfected to an incredible height, but I think that I could get used to listening to different things without being afraid that 'I'll lose it somehow' if you get my vibe.

My suggestion would be the following: work on your ear training with the western music and then, when you can test yourself and realize that you are confident enough to recognize the intervals and chords (at this point your relative pitch would be pretty good) you can dabble into atonal music.

It's more comfortable to know you got some weapons when going exploring, right? biggrin.gif

Let me know on your thoughts, my friend smile.gif

Cosmin


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