Full Version: Lester - Mtp - December
Pages: 1, 2
Lester
QUOTE (Jerry Arcidiacono @ Dec 26 2009, 10:11 AM)
Yeah, we need to finish 4 assignments and the REC before the end of the current month. Now, you have fixed your problems while recording and synch videos. This is good because in the next month we should work more relaxed, maybe with 5/6 days for each assignment while you can work more specifically on the REC through the end of the month. Also, we can discuss about the REC at the beginning of the month!

Sounds good to me!

We look at D diminished triads in the first few vids, but I was wondering: why does this Dm/5- or so called "half diminished" keep showing up? why is it like this and not fully diminished? just wondering....

And another thing: I think there's a little mistake in the tab in vid 2 it tells me to grab a quite impossible Dm
Jerry Arcidiacono
QUOTE (Lester @ Dec 26 2009, 11:55 PM)
Sounds good to me!

We look at D diminished triads in the first few vids, but I was wondering: why does this Dm/5- or so called "half diminished" keep showing up? why is it like this and not fully diminished? just wondering....

And another thing: I think there's a little mistake in the tab in vid 2 it tells me to grab a quite impossible Dm

Dm/5- is D-F-Ab (this is a diminished triad)
Dm7/5- is D-F-Ab-C (called also half diminished but it's not a triad)

Please remember what we have discussed some posts ago about the "dim" notation!

Thank you for reporting the error on the tab. Will be fixed soon.
Lester
QUOTE (Jerry Arcidiacono @ Dec 27 2009, 12:30 AM)
Dm/5- is D-F-Ab (this is a diminished triad)
Dm7/5- is D-F-Ab-C (called also half diminished but it's not a triad)

Please remember what we have discussed some posts ago about the "dim" notation!

Thank you for reporting the error on the tab. Will be fixed soon.

Ah, yes I did remember that post, but I forgot about the 7th, which in that case makes it a half-diminished.
It's actually quite logical: it contains a root, minor 3rd (which makes this a minor chord) and a diminished fifth (5-)

I think I get it, thanks!
Lester
Hi Jerry,

I think I just discovered a little mistake in vid nr. 5 of the jazz notes 2 lesson.
on the Dm/5- chord, the 14th fret is written on the 6th string, but shouldn't it be the 13th fret since we use minor 3rd in diminished chords?

If I'm right, then there's the same mistake in vid nr.6. on the Dm/5- chord.
Jerry Arcidiacono
QUOTE (Lester @ Dec 27 2009, 10:44 AM)
Ah, yes I did remember that post, but I forgot about the 7th, which in that case makes it a half-diminished.
It's actually quite logical: it contains a root, minor 3rd (which makes this a minor chord) and a diminished fifth (5-)

I think I get it, thanks!

Great

QUOTE (Lester @ Dec 27 2009, 02:32 PM)
Hi Jerry,

I think I just discovered a little mistake in vid nr. 5 of the jazz notes 2 lesson.
on the Dm/5- chord, the 14th fret is written on the 6th string, but shouldn't it be the 13th fret since we use minor 3rd in diminished chords?

If I'm right, then there's the same mistake in vid nr.6. on the Dm/5- chord.

I will check this video too. I'm leaving home right now. If there is a mistake, I need Kris' work to republish the lesson!
Thank you for reporting this!
Lester
Hi Jerry,

I was going through the theory of the jazz notes 5 lesson and in vid1 the chord progression is being displayed.
I see the Ab7M twice though, while in the other cases we change it to the Abm7 and make it the supertonic.

Is there a reason why it is this way?

And about the notes we use for soloing:

We use the D dorian over the Dm7 chord, G mixolydian over the G7 chord and C ionan over ther C7M chord, right?
But as far as I'm concerned we stay in the D dorian mode over those 3 chords right?
talking about the part played in vid 2.

Maybe it's not what I think it is, I think so.
Jerry Arcidiacono
QUOTE (Lester @ Dec 31 2009, 12:16 PM)
Hi Jerry,

I was going through the theory of the jazz notes 5 lesson and in vid1 the chord progression is being displayed.
I see the Ab7M twice though, while in the other cases we change it to the Abm7 and make it the supertonic.

Is there a reason why it is this way?

It's just a typo. The lesson shows different ii-V-I progressions and after each X7M chord you just move to Xm7 chord to start the next ii-V-I.

QUOTE (Lester @ Dec 31 2009, 12:16 PM)
And about the notes we use for soloing:

We use the D dorian over the Dm7 chord, G mixolydian over the G7 chord and C ionan over ther C7M chord, right?
But as far as I'm concerned we stay in the D dorian mode over those 3 chords right?
talking about the part played in vid 2.

Maybe it's not what I think it is, I think so.

Notes for these modes are the same if you consider them as sets. Thinking "D Dorian over Dm7, G mixolydian G7, etc. " is useful because each mode has particular tones, comparing it to the major or natural minor scale. Plus, you can use chord tones starting from the root of each chord while creating arpeggios or various licks. As example, if you have a Dm7 chord, you can start with your favourite shape of D dorian and play D-F-A-C. Over a G7 chord you can start with G mixolydian and play G-B-D-F and so on.
Hope this makes sense!
Lester
QUOTE (Jerry Arcidiacono @ Jan 1 2010, 07:48 PM)
Notes for these modes are the same if you consider them as sets. Thinking "D Dorian over Dm7, G mixolydian G7, etc. " is useful because each mode has particular tones, comparing it to the major or natural minor scale. Plus, you can use chord tones starting from the root of each chord while creating arpeggios or various licks. As example, if you have a Dm7 chord, you can start with your favourite shape of D dorian and play D-F-A-C. Over a G7 chord you can start with G mixolydian and play G-B-D-F and so on.
Hope this makes sense!

Thank you for the explanation.
I understand the part thtat these modes have the same notes, but after that I don't quite get what you mean anymore.
Jerry Arcidiacono
QUOTE (Lester @ Jan 1 2010, 08:45 PM)
Thank you for the explanation.
I understand the part thtat these modes have the same notes, but after that I don't quite get what you mean anymore.

I mean that even you're using the same set of notes, each mode has its own particular sound. You can hear this particular sound especially if you play the mode over its related chord, like JN 3 shows.
Lester
QUOTE (Jerry Arcidiacono @ Jan 1 2010, 09:31 PM)
I mean that even you're using the same set of notes, each mode has its own particular sound. You can hear this particular sound especially if you play the mode over its related chord, like JN 3 shows.

right, I understand that I think.
but when I look at the lesson we keep playing D dorian over Dm7, G7 and C7M.
shouldn't we chang position to get the feel of each mode?
Jerry Arcidiacono
QUOTE (Lester @ Jan 1 2010, 09:38 PM)
right, I understand that I think.
but when I look at the lesson we keep playing D dorian over Dm7, G7 and C7M.
shouldn't we chang position to get the feel of each mode?

Not necessarily. Each box contains every mode, even if it starts with a different note. The point is to "see" the "right" notes in each box, while you're improvising. This means hours and hours of practice and theory studies.
Lester
QUOTE (Jerry Arcidiacono @ Jan 1 2010, 10:25 PM)
Not necessarily. Each box contains every mode, even if it starts with a different note. The point is to "see" the "right" notes in each box, while you're improvising. This means hours and hours of practice and theory studies.

Right, I think I get it. so when you move on to a different mode in the same box the root notes change and the other intervals as well, right?

If that's true, there's indeed a lot of patterns and theory to take in.
Jerry Arcidiacono
QUOTE (Lester @ Jan 2 2010, 12:13 PM)
Right, I think I get it. so when you move on to a different mode in the same box the root notes change and the other intervals as well, right?

If that's true, there's indeed a lot of patterns and theory to take in.

Lester
Hi Jerry!

Here's my take on the jazz notes 2 lesson, not that happy with it, the backing is a bit too loud compared to the guitar in my opinion and the chords weren't that convincing all the time, but I didn't have any more time for another take. after all, this was about understanding the concept of inversions

Here's my REC take, which I do am happy with

http://www.guitarmasterclass.net/guitar_fo...showtopic=32971

Cheers!
Jerry Arcidiacono
QUOTE (Lester @ Jan 2 2010, 06:26 PM)
Hi Jerry!

Here's my take on the jazz notes 2 lesson, not that happy with it, the backing is a bit too loud compared to the guitar in my opinion and the chords weren't that convincing all the time, but I didn't have any more time for another take. after all, this was about understanding the concept of inversions

Here's my REC take, which I do am happy with

http://www.guitarmasterclass.net/guitar_fo...showtopic=32971

Cheers!

Lester
so, what do we do now? any next assignments?
I would suggest the jazz notes 6 lesson for this months REC, then I have the whole month to practice that and I think I'm going to need it!
Jerry Arcidiacono
QUOTE (Lester @ Jan 2 2010, 11:09 PM)
so, what do we do now? any next assignments?
I would suggest the jazz notes 6 lesson for this months REC, then I have the whole month to practice that and I think I'm going to need it!

Hi Lester, please give me a little break I have some flu right now and tomorrow I will have a loooooong recording session.
This month was very interesting. We have covered the JN series from 1 to 4 while you have mastered JN 5 as your monthly REC.
Thank you for finding some typos here and there, will be fixed as soon as possible.
Yeah, JN 6 sounds like a good choice for the next month.
I just need to understand if everything was fine with our MTP program - it was the first MTP month for me too. I'm closing this thread and I will wait for a feedback from the GMC staff.