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Darius Wave
First of all we have to improve Your friendship with the fingerboard. Let's start from upgrading the A-minor pentatonic which You know well, to the full A-natural minor scale - in only one - fifth position. After You'll be able to play it down to up notes with no hesitation we'll do the next step. Inform me when You'll be ready.
Lukasz Drazek
Now im ready. I can play A-natural minor scale up and down on 5th position now.
Darius Wave
Ok...so now let's talk a little about what improvisation really is in practice.


1. Theory and knowlege are a must but we will do it step by step, starting from the simple major and minor keys.

2. Feeling - notes we play and dynamics we feel even thought we didn't consider names of the notes and it's relations - we just feel they fit. For example - while playing melodies based on half steps and whole steps, we can easily feel which note would be next (half or whole step) in particaular key / chord progression

3. Licks - things we just know and we have them done by hours/days/months/years of practise. We do not think in a speed of 20 notes per second. We have to practise first and then use the lick while we feel it will work in a particular place of the impro. It's very rare to create technical licks "live" while improvising (it happens but it's magic of the moment:) ).

4. Emotions - they can lead as to the places we never thought we could be smile.gif The "Damn...I've never played something like that before" factor. Many times You let your emotions own You for a moment...You play many things out of the "safe spots" on the fingerboard.

5. Note relations to the backing chords. It's very important to start to learn how each interval sounds - what is it's character. Learning to feel intervals helps to find positioning of the notes we already hear in our heads, while playing. We need to know where to find them and how they sound. Good way of practising intervals is finding popular melodies that starts from sepcyfic interval - it's like minor 6th = Love Story theme (first 2 notes).


Of course...there are more factor but gonna get to them later.

Good thing is to start working on phrasing. Sometimes is much more interesting to use only three notes but with lot's of dynamics, rhtythm and articulation. Very often Young players say "I can't improvise because I don't know scales"...that's a bad attitude. Before Your learn to use scales, learn how to make simple melodies....how to make music (not just guitar playing), and color it with available rhythm, dynamics and mentioned articulation


My first task for You would be to get that backing track:
http://www.youtube.com/watch?v=SrdIdKHkxQA

Now...imagine You're a vocalist...not a guitar player. Make a song of it. Use the notes of A-natural minor You just learned. Make me feel like You were covering someone's song that had a lirycs and vocal track. Notice that many popular melodies are pretty simple and based on a few repeatable licks. Now...We wanna do the same with this one. Create two different melodies - verse and the chorus. Each of them can be very simple and based even on just a few notes but while You repeat same thre notes try to not copy the way You play it...

For example :

If Your melody is just a simple A B C A B C A B C A B D...than try to play different each A B C section. If You used legato for the first section , You could use some bends in the next one. Think about all available articulation like...vibrato, bends, slides, legato, tapping, muting etc...

Record Your take over it
Lukasz Drazek
Darius Wave
Ok. Very good start. This is what should happen in Your head with a highest priority. Now...repeating the same notes gives as some time for thinking about what's gonna happen next.

No there are 2 things You need to do:

1. Use wider range of dynamic - add some legatos, harmonics, change the rhythm a bit - do somethng that will make the repeated notes something special...You can use some bends too smile.gif


2. Licks...there are moments with suspended notes for example g on the 5th fret / d string. You can fill those spots with the lick You learned from some previous lessons. Try to find at least two licks from lessons that You master and adopt the to start from the mentioned G note. Those can be some tapping, sweep, picking or legato licks...whatever but those are cool moments for doing some effective stuff.


Ask for help if any problems with licks transposition between different keys
Lukasz Drazek
Can you find another backing track. It will be something fresh for me. And I will do the same with this.
Darius Wave
Ok.I think very good backing track for improvising workout would be the one we used at the video chat. Beofre we'll go into this please try to spend sime time on watching video recording from the chat one week ago. It was and itroduction and a few concepts about simple phrases and dynamics over it. Let me know when Your done. Link to the backing track and to the chat video recordings are included in my last two posts at "video chat notes".
Lukasz Drazek
Hi!
I wanna join into "Less is more", I choose backing from http://www.guitarmasterclass.net/ls/Melodi...ck_Ballad_Solo/ and record few bars of my improvisation, i hope you can get some feedback and some tips to make it better smile.gif its only 20s

https://soundcloud.com/ukasz-dr-ek-2/first
Darius Wave
HeY Łukasz!

First things that come to my mind are:

1. The tone...a bit too much treble - try to take off some treble, high or presence on whatever kind of simulation You use.

2. I like the idea for melody but it's too straight - I mean too many equal notes. Try to think of some triplet feel or moving a few notes toward the 16th accents...not just all on straight 8th notes smile.gif
Lukasz Drazek
What do you think about teaching me theory from 0, with 1 week tasks? From totally begining or something like that?
Darius Wave
That's a great idea smile.gif we'll start tomorrow. Have a happy new year Lukasz smile.gif
Lukasz Drazek
QUOTE (Darius Wave @ Dec 31 2013, 02:56 PM) *
That's a great idea smile.gif we'll start tomorrow. Have a happy new year Lukasz smile.gif


Thanks smile.gif i will have access to internet around 2nd January. So we can start that day smile.gif And Happy New Year once again smile.gif
Darius Wave
Before We start I need to know what parts of theory are already familiar to You?

Also I have to notice that fretboard notes layout is essential to any theory workshops. How good You are with the "notes on frets" knowledge ? smile.gif
Lukasz Drazek
I can find notes in fretboard, but still give me some time, when i need to find # or b notes. But in some time i can figure out how its going on. And i know A minor 5th fret box. smile.gif i need expand teory a lot biggrin.gif
Darius Wave
Ok. You very first task is to find out the rules of how to build major and minor (aeolian) scale from any note. There are two shemes worth knowing. Try to remember relation between each note in the scale. This will help You to build major or minor scale from any note of Your choice.
Lukasz Drazek
Darius Wave
I'm afraid this video is not enough. Guitar is a clever instrument. We can just shift the position and we easy got a new scale but...our target is the theory so I would like You to become an "instructor" for a moment and try to explain me how to build major and minor scale without guitar. What are the rules? Remember - theory rules are common for all instruments. Positions doesn't work for an other instruments - for example: violin is not tuned in 4th's and it has different shapes for the scales. Try to imagine how can You describe the scale so every musicians could understand.

Sorry for not just giving the answer but the more things You'll figure out by yourself, the more You'll remember forever wink.gif
Lukasz Drazek
Major scale building like this:
Root note --> whole tone --> whole tone --> half tone --> whole tone -->whole tone --> whole tone --> half tone --> root


example:
1. C - D - E - F - G - A - B - C
2. A - B - C# - D - E - F# - G# - A

Minor scale building:
Root note --> whole tone --> half tone --> whole tone --> whole tone --> half tone --> whole tone --> whole tone --> root

example:
1. C - D - Eb - F - G - Ab - Bb - C
2. A - B - C - D - E - F - G -A
Darius Wave
Ok. Let's attach two popular shapes for those scales. Try to play both octaves (through all 6 strings - down - up)

1. 3 notes per string (repeat same notes on G and B strings) If You start from C (8th fret) You'll have fingering like
-1-2-4 | 1-2-4 | 1h-2-4 | 1h-2-4 | 1-2-4 | 1-2-4 | This form is probably the most popular in a lot of fast lick 3-notes perstring patterns.

2nd and 4th finger always play on 10 and 12 fret while 1st moves from 8 to 9 (1h = half step - 9,10,12 frets on one strings ::: all other are 8,10,12 frets). Try to show me this and...

FIND ANOTHER SHAPE FOR MAJOR SCALE on both octaves
Lukasz Drazek
This shape what you show me isnt major shape? i need find next shape for major scale? dont touch minor, right?
Darius Wave
Shape I showed is one of the major shapes. I need You to find another. Both will be major. Temporary leave the minor alone
Lukasz Drazek


i write below the shape so its:

2 4| 1 2 4| 1 3 4| 1 3 4 | 2 4 | 1 2 4
Darius Wave
QUOTE (Lukasz Drazek @ Jan 3 2014, 02:20 PM) *


i write below the shape so its:

2 4| 1 2 4| 1 3 4| 1 3 4 | 2 4 | 1 2 4



This is just a variation...but the more of them You know, the better fretboard knowledge You get.
It's not the one I wanted so let's keep searching. There is very basic shape for major scale done at the music chool. It start from 2nd finger on the root note. It's in the 7th position (for C-major) try to figure out this one smile.gif
Lukasz Drazek
From lowest string
A ) 8 10 | 7 8 10 | 7 9 10 | 7 9 10 | 8 10 12 | 8 10 12
Maybe its this one?

Or even

B ) 8 10 | 7 8 10 | 7 9 10 | 7 9 | 6 8 10 | 7 8 10
Darius Wave
Yep! Those are most common shapes. smile.gif Now I need You to write all the chords that belong to the C-major key. We create those chords using only the notes from this particular scale. What would be the names of the chords? You can use the shapes fro major scale to support Your analysis
Lukasz Drazek
C major notes:
C D E F G A B

1)C E G - C major

2)D F A - D minor

3)E G B - E minor

4)F A C - F major

5)G B D - G major

6)A C E - A minor

7)B D F - B half diminished

I found that is there B half dim, and i notice that from B to D is 3 half steps, and from B to F is 6 half steps(fifth reduced) and its dimished chord there
Darius Wave
It's almost correct but...

In the world of harmony (at least looking at the basics of theory...otherwise all is possible) we build harmony with the thirds. When we take very basic combination of 3 notes we get the triads (trójdźwięki). From a definition triad is a sound of 3 notes played at he same time of course we have only 4 types of triads that are most popular - major, minor, diminished and augmented. All those are made of thirds in different variations (simple math - we have 2 types of thirds and we can switch them however we like between those 3 notes of triad). Now here we come with the word "chord". Chord is "at least" 3 notes and most of the chords we now are built form the additional thirds. This is how we get 7th chords. It just another 3rd in the chain, added to the last note of the triad. Now there is a difference between

B D F - a triad = 2 x minor third = diminished chord
B D F A - a chord (7th chord) = 2 x minor third + 1 x major third (F - A) = half diminished (Bm7b5)

So as You can see if we play just those 3 notes we have a pure diminished triad. It becomes halfdiminished only when we add another 3rd from the scale.

Now You know what is the difference?



Theory is a bit twisted. We learn rules and then we break them but...there is now way to teach it if I just say "everything is possible". Naming the triads an chords depends of the key we play in. Sometimes exactly the same shape oin guitar will have different name. This is because of 5 lines notes notation. In some keys we will not have a C note but we will call it B#...for example ...C# major.


Now let's go to the circle of 5ths.

Here's a good article:

http://www.music-theory-for-musicians.com/...-of-fifths.html

Music Theory has much to do with the math. People tried to make patterns to describe some natural music behaviors.

C-major opens the circle of 5th's. Now a 5th from C we will have a key with one sharp mark = F# = G major. Then we go one more 5th up and we have D. D major will have the sharp mark from the previous key (G) + one additional - sharp 7th (C#). This is also a reason of sharp order notation in the notes. That's basicly how it works.

Lukasz Drazek
Ok i got it this circle. And with that diminished chord so, what i understand is:

B D F - chord diminished (2x minor third)

B D F A - half diminished chord

B D F# - minor chord

so this will be augmented chord, am i right?
B D G - augmented chord

B D G A - it will be half augmented chord ?

i think i understand this. If this augmented chord is correct what is your next task?
Darius Wave
B D G is not augmented because B --> D is a minor third and augmented chord should be 2 x major third

Also....we don't use a half-augmented name. We rather call them augmented 7, where 7 is minor (same as with half-dimninished)
Lukasz Drazek
So:
B D# G augmented chord --- 2x major third
B D# G A# augmented7 chord --- 2x major third + 1x minor third
?
Darius Wave
Exactly smile.gif

Now let's find some cool backing to work on this in real. Do You have any in mind?
Lukasz Drazek
Is no matter what key of track is? yet i dont find.
Darius Wave
You can choose a bcking track from one of the lessons You did in REC take smile.gif
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