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> Sumit's Chords And Melodies
sumitnxt
post Feb 18 2014, 10:00 AM
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yest, sometimes i find that you find the answer yourself but only you have asked for help smile.gif
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Cosmin Lupu
post Feb 19 2014, 07:41 AM
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Hehe smile.gif I know the feeling, mate smile.gif Well, keep me updated on your progress, will ya?


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sumitnxt
post Feb 19 2014, 08:21 AM
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sure smile.gif
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Cosmin Lupu
post Feb 20 2014, 07:41 AM
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Perfect!


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sumitnxt
post Mar 10 2014, 03:35 PM
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hey cosmin !!

i need your help again smile.gif

i have been practising the phrygian jam and a muris lesson for alternate picking and will post it once i think i am ready.
right now i want to talk about strumming. i am stuck at trying to strum like the video i am attaching but i need your help understanding how to practice it and get it upto speed. the chord changes is no problem but how do i get the strum to sound exactly like the video. i even have a tab but still having trouble getting into flow. when i try to forget about getting the exact replica strumming and try to create my own strumming flow i am able to get a groove but it does not sound as nice. so help me in developing strumming. how is strumming practised btw.. is it practised like lead by going from very slow to fast . or is there a different technique in replicating a strumming like the video. ( i have attached the video and the chart )

regards,

sumit

This post has been edited by sumitnxt: Mar 10 2014, 03:37 PM
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Attached File  strumming.pdf ( 57.92K ) Number of downloads: 142
 
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Cosmin Lupu
post Mar 11 2014, 08:37 AM
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Hey mate smile.gif Watch the video carefully and observe that the right hand moves in 16th notes but it moves in the air except for the chords it strikes. It is important to understand that and to listen to the video to see where the chord changes occur. Otherwise, it should be practiced like anything else on the guitar - slow at first, only after you have understood where the chord changes occur in respect to the 4/4 time signature and then slowly speeding up. Use your ears and the chord sheet and you will most likely get there. Also, please post a video in order for me to see what you are doing and point out things I notice smile.gif Deal?


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sumitnxt
post Jun 11 2014, 05:15 PM
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hi cosmin,

writing after a long time. how are things at your end ?
i have some confusion about pull offs, my pulloffs are not sounding as loud as i hear in different videos on youtube.
i am wondering is it because i am not using a correct tone to make them sound loud enough ? or are the supposed to sound as loud as the picked notes irrespective of the tone.
i have seen with some high distortion and high reverb / delay effects i don't have to do anything extra to get enough sound on a pull off.
( e.g satriani tones )

but my feeling tells me , the pull off should sound as good as the picked note without any effect.

please put some light.
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Cosmin Lupu
post Jun 12 2014, 10:57 AM
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QUOTE (sumitnxt @ Jun 11 2014, 04:15 PM) *
hi cosmin,

writing after a long time. how are things at your end ?
i have some confusion about pull offs, my pulloffs are not sounding as loud as i hear in different videos on youtube.
i am wondering is it because i am not using a correct tone to make them sound loud enough ? or are the supposed to sound as loud as the picked notes irrespective of the tone.
i have seen with some high distortion and high reverb / delay effects i don't have to do anything extra to get enough sound on a pull off.
( e.g satriani tones )

but my feeling tells me , the pull off should sound as good as the picked note without any effect.

please put some light.


Hey mate smile.gif Just returning from an Alter Bridge concert in Hungary and I am currently in the Belgrade airport in Serbia biggrin.gif Your feeling is correct smile.gif

You need to develop finger stamina and strength in respect to your left hand and that is done by practicing legato! I totally recommend you to begin working on this by using Ben's Land of legato series - here's the first lesson smile.gif

The idea is to focus on getting each note to sound even in terms of loudness and duration: https://www.guitarmasterclass.net/ls/Bens-Land-Of-Legato/


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sumitnxt
post Jun 12 2014, 01:15 PM
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great to hear about your tour.
thanks for your guidance on pull offs.

Cosmin another question. i have seen that since the time i started working on lead guitar. i find it very difficult to focus on completely learning a long solo or instrumental song. e.g santana's europa . quite frankly i want to learn it . i would love to perform it . but when i sit and learn two three licks from the song and in order to master those licks i put in the effort . Soon my mind starts playing tricks with me i take a look at the tab for the entire song and see that its too huge (8 pages ) . my mind just finds it overwhelming thinking about how much effort and time will i have to put really.

i don't have this problem at all with small solos where i could see that 2-3 days of practice would finally make it happen. i develop some strategy and finish learning the small solos. but i don't know what happens with the long 4-5 minute solos. Those are the real ones i'd like to play.

i have heard a lot of advice that break the large solos down and master the small parts first to complete the songs but somehow after learning like 1/4th of the song i start procrastinating and find it easier to pick up a new song.

i am approaching you because i have a feeling that this might be a common problem and your guidance can help me get over it.

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Cosmin Lupu
post Jun 13 2014, 01:05 PM
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Hey man smile.gif

It's simply a focus and experience problem. When you will become experienced enough, you will learn how to break songs down and learn them piece by piece. You are not yet able to focus on such large pieces, so the solution in my opinion, is to keep working on smaller ones to build experience and in the mean time, break down the Europa song into more small pieces smile.gif Set a deadline for each one - let's say 4 days in which you should focus only on that part and revise the ones you already know and you'll see that in sometime you will have it nailed entirely.

The idea is to become disciplined in order to reach your desired goal. That's the only obstacle really wink.gif Deal?


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sumitnxt
post Jun 16 2014, 08:27 AM
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thanks for helping out cosmin,

i am working both on europa and legato lesson from ben.
I have now been playing for some time and have got better at hand movements , speed and accuracy . which has been my first priority on guitar. But now I need to get back at learning music theory . I have heard that it is very important to apply the concept you learn in music theory otherwise it is useless for you. I think its true . So can you teach me some concept on music theory and then show me how i can apply that concept ? please pick some concept that you think is more important.

thanks

sumit
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Cosmin Lupu
post Jun 16 2014, 10:27 AM
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Hey Sumit smile.gif

Learning music theory and applying it, is pretty much one of the most important elements in learning how to better express yourself as a musician.

In my opinion, you should begin by understanding the major scale:

- how it is constructed
- its intervals
- how to derive chords and arpeggios from it by using harmonization
- how to learn a solo and see the relationship between notes and chords in it

First things first, please start by reading the theory chapter here:

https://www.guitarmasterclass.net/guitar_fo...showtopic=47641

I am waiting for your questions on the matter and then, I think that the next most important step would be to tackle the first of the lessons here:

https://www.guitarmasterclass.net/ls/Triads..._Series_Part_1/

Please let me know what you think and we'll take it from here, deal?


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sumitnxt
post Jun 16 2014, 11:18 AM
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hi cosmin thanks for refering me to the theory lesson. I understood the method to build major scale for all keys. so how can i apply this knowldedge now ?


also i have one question -
is there anything as A# or we call that key as B flat only ? and why


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Cosmin Lupu
post Jun 16 2014, 11:21 AM
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QUOTE (sumitnxt @ Jun 16 2014, 10:18 AM) *
hi cosmin thanks for refering me to the theory lesson. I understood the method to build major scale for all keys. so how can i apply this knowldedge now ?


You will know the harmonic contexts in which you will play from now on smile.gif If someone tells you - We are playing in the key of F major, you will know the notes that make up the F major scale and how to harmonize it and understand the chords that you can use to build chord progressions based on the key. After you will tackle the lesson I recommended wink.gif


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sumitnxt
post Jun 16 2014, 12:16 PM
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thanks cosmin,

i just read the theory part of the Triad lesson you referred.
i understand that triads are 3 note chords made up of diatonic notes.
i understand triads are formed using the root 3rd and 5th notes.

but i don't see the application.
1. can you show me a practical problem that can be solved using triads.
2. As far as i can see knowing how to build a major scale is not going to much use unless i know exactly where is each note on the fretboard. even the triad lesson requires doesn't it ?

As you can see the theory is consfusing me now smile.gif

thanks

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Cosmin Lupu
post Jun 17 2014, 10:29 AM
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Hey Sumit, there can be many applications - you may see this as a building biceps in order to be able to become a better climber wink.gif

If you know the notes on the neck, you will be able to find your way around with pretty much everything. I will give you an example in which knowing triads and your fretboard is mandatory in order to solve the task at hand:

Build a progression in the key of C major and improvise over it, in the following manner: on two bars using only the C major scale and on the next two bars only the C major pentatonic scale, and so on. You are not allowed to use more than one string and you are restricted to half step bends only.

Please tell me what your approach on this would be wink.gif

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sumitnxt
post Jun 17 2014, 11:24 AM
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theoretically this would be my approach.

i would pick a popular progression 1 4 5 to play the chords C F G

i would strum c chord for first two bars and F and G for next two bars and repeat.

i would play the solo on high E string.

for first two bars i would make a tune out of the CDEFGAB notes and use E and B notes for half bends.
for next two bars i would make a tune out of CDEGA and not have any bends.

i already know how to play C F and G chords so i will not use the knowledge of triads to form these chords .
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Cosmin Lupu
post Jun 17 2014, 12:11 PM
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QUOTE (sumitnxt @ Jun 17 2014, 10:24 AM) *
theoretically this would be my approach.

i would pick a popular progression 1 4 5 to play the chords C F G

i would strum c chord for first two bars and F and G for next two bars and repeat.

i would play the solo on high E string.

for first two bars i would make a tune out of the CDEFGAB notes and use E and B notes for half bends.
for next two bars i would make a tune out of CDEGA and not have any bends.

i already know how to play C F and G chords so i will not use the knowledge of triads to form these chords .


What if I would give you a progression such as Dm Gmaj Cmaj but I would only allow you to use the G B E and E strings to form it?


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sumitnxt
post Jun 17 2014, 12:59 PM
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right , so triads are required .

thanks

By the way i wanted to share my daily practice routine with you.

today i have included an excercise to remember notes on fretboard into my daily practice routine.
also included are legato , vibrato, alternate picking excericises.
I am working on santana europa as well.

What I also want to include is music theory. I have understood that the triads lesson you referred. i understood it theoretically do you think i should practice playing that lesson ? or can i present you with a problem of my own that would be an application of triads.

lets say i create a tune by playing randomly on the guitar. i just played one and attached it .( its a Bollywood style tune )
how can i now run a background chord progression on it ?
if i were to spice up the tune to include some chords in the melody ( so that it could be played by a single guitar player ) what do i do ?


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Cosmin Lupu
post Jun 18 2014, 09:41 AM
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Hey Sumit smile.gif I do think you should learn the lesson and practice it and most of all become able to play the triads in EVERY key.

Your example is a very good application: having a lead line that needs a chord or a chord progression over which it should fit smile.gif

Once you will become acquainted with using triads and building chords and then chord progressions, you will be able to hear chord changes over the lead lines you are inventing or building lead lines over the progressions you are given or invent yourself.

Don't forget that lead lines are made up of chord tones in their most basic of forms, so it's only fitting that they should fit well over some chords or others. What I am trying to say here is that you need to learn music theory, so that you may become able to understand the relationship between notes and chords. For instance, in your example - I would use a simple progression such as:

Bmaj, C#m, F#maj, Bmaj - the scale in which you play is B major

The chord tones you are using have lead me to try these chords smile.gif The first one is D# the major third of B major, then I discovered the C#m because of the E which is its minor third and the F#maj appeared because of the A# which is its major third and then you landed on the B and the B major was suggested by it to conclude.

If you learn the triads and train your ears with every scale, you will be able to do this yourself smile.gif Please let me know what your thoughts are.

What sort of an exercise do you use for remembering notes on the fretboard?

This post has been edited by Cosmin Lupu: Jun 18 2014, 09:42 AM


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