Tuesday, August 17, 2010

Good practice procedures and strumming techniques

Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.




A good habit for any instrument is to warm up. On the guitar start by picking the open thin E string (E string closet to floor) approximately 150 to 200 times each string. Use down up picking always start down towards floor unless otherwise indicated. Do this for each adjacent string, B, G, D, A, low thick E (towards ceiling). Always play the guitar on your left leg and use a guitar strap adjust the strap so the guitar is supported above your left leg by one to two inches. Keep your left hand on the lower to middle ofback of guitar neck this allows your fingers to play on the very tips of fingers.

Remember to keep finger as close to the fret board as possible.

Slide across neck try to minimize lifting finger completely off fret board. The pinky finger is on a separate muscle group so be patient as this finger wants to come away from fret board the most. Also use a metronome after you are comfortable with an exercise or song.

The general overall approach to studying music is always to start: slow - smooth - even and consistent. Give each note or chord the same attack or intensity. Once comfortable add the metronome starting at: 60 BPM (beats per minute). Do not increase speed until you can play clearly at each tempo.

Then increase to: 70, 80 ,90, 100 continue to 220 BPM.

For your left foot use a phone book or foot stool available at your local music store. This helps maintain proper back and arm posture and allows your fingers to stay in the correct position for maximum speed, clarity and consistency.



It is very important to memorize all the natural note names ascending (up in tone) and descending (down in tone) for each string. The note names are the first seven letters of the alphabet repeated seven times (octaves) for our musical system. A, B, C, D, E, F, G. All the notes are whole steps (two fret distance) except for EF-BC which are half steps (one fret distance). An easy way to remember this is: Elvis Fans Buy Cars. Memorize notes on one string at a time ascending and descending. Once you understand the note sequence on one string the remaining strings are easier because it is the same sequence or order just starting on a different note.Later memorize the sharps and flats.



If you have a music instructor it is essential to keep going every week!

Many times a student will say I want to learn all the materials first then come back.

This is a myth because lessons are not just about learning new materials

It is also to make sure you maintain proper position, fingering, posture and other important techniques. Many times bad habits are created and the student is not even aware of it.





When strumming open chords within the first 3 frets of the guitar (near the nut) remember to always strum the open strings with less volume then the thinner strings and the fingered strings.

Many times the open thicker strings overshadow the thin fingered strings.

Also remember to play on the very tips of your fingers.

Keep your thumb on the lower to middle of back of guitar neck.



Start with quarter note strums - in groups of four strums: 1, 2, 3, 4, 1, 2, 3, 4 etc. etc.

All down strumming (towards floor).

Then do quarter note strums - in groups of two strums 12, 12, 12, 12 etc. etc.

All down strumming.

Then do down, up strumming in eighth note strums 1 and 2 and 3 and 4 and etc. etc.

Down, up strumming (floor-ceiling)

Also get a get chord book and learn the most common open position chords.

G major, A minor, C major, D major, E minor, D minor and F major.



All materials copyright 2010. For personal use only.



Vince Lauria Sun and Earth Music

Sunday, August 8, 2010

Voice Leading Part XVII - with chromatic passing tones

Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.




Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.




Normal Progression:
Find common tone and move other voices scale wise.
This can be ascending or descending.




The following examples will all be in C major (4 note chords) using Normal Progressions:
Ascending chord progressions. (notes are written lowest tone on left to highest tone on right)
C, E, G, B (C major seventh)
C, F, G, B (C major seventh suspended fourth)
C, F#, A, C (D seventh - third inversion)
B, G, B, D (G dominant seventh - first inversion) incomplete
B, F, B, D# (G dominant seventh augmented - second inversion) incomplete
C, G, B, E (C major seventh)
Imaj7, Imaj7sus4, IIV, V7, V7+, Imaj7 progression.


Sometimes the 5th or 3rd (or root) of a chord is omitted often called "incomplete".




E, G, C, E (C major - first inversion)
E, G#, C, E (C major augmented - first inversion)
F, A, C, E (F major seventh)
F, B, D, G (G dominant seventh - third inversion)
F, B, D#, G (G dominant seventh augmented - third inversion)
G, C, E, B (C major seventh - second inversion)
Imaj7, Imaj7+, IVmaj7, V7, V7+, Imaj7 progression.


C, G, B, E (C major seventh)
Db, G, B, E (C sharp minor seventh flat five)
D, G, B, F (G dominant seventh - second inversion)
E, B, C, G (C major seventh - first inversion)
E, B, C#, G (C sharp minor seventh flat five - first inversion)
F, B, D, G (G dominant seventh - third inversion)
F, B, Eb, G (G dominant seventh augmented - third inversion)
G, C, E, C (C major - second inversion)
Imaj7, bii7b5, V7, Imaj7, bii7b5, V7, V7+, Imaj7 progression.


E, B, C, G (C major seventh - first inversion)
F, B, C, G (C major seventh suspended fourth - first inversion)
F, B, D, G (G dominant seventh - third inversion)
F, B, D#, G (G dominant seventh augmented - third inversion)
G, C, E, A (A minor seventh - third inversion)
A, E, F, C (F major seventh - first inversion)
Imaj7, Imaj7sus4, V7, V7+, vi7, IVmaj7, progression.


F, A, C. E (F major seventh)
A, E, G, C (A minor seventh)
A, E, G, C# (A dominant seventh)
A, F, C, D, (D minor seventh - second inversion)
A#, F#, C, D (D dominant seventh augmented - second inversion)
D, G. B, F (G dominant seventh - second inversion)
E, B, C, G (C major seventh - first inversion)
IVmaj7, vi7, VI7, ii7, II7, V7, Imaj7 progression.


C, E, G, B (C major seventh)
C, E, G#, C (C augmented)
C, F, A, E (F major seventh - second inversion)
D, A, C, F (D minor seventh)
F, B, D, G (G dominant seventh - third inversion)
F, B, D#, G (G dominant seventh augmented - third inversion)
G, D, E, B (E minor seventh - first inversion)
G, D, F, B (G dominant seventh)
G, E, A, C (A minor seventh - third inversion)
G, E, A, C# (A dominant seventh - third inversion)
A, F, C, E (F major seventh - first inversion)
C, B, E, G (C major seventh)
Imaj7, Imaj7+, IVmaj7, ii7, V7, V7+, iii7, V7, vi7, VI7, IVmaj7, Imaj7 progression.







Now transpose these to each position (register) of your instrument, then to all 15 keys.



















All materials copyright 2010. For personal use only.













Vince Lauria Sun and Earth Music

Voice Leading Part XVI - with chromatic passing tones

Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.








Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.


Normal Progression:
Find common tone and move other voices scale wise.
This can be ascending or descending.


First examples will all be in C major (3 note chords) using Normal Progressions:
Descending chord progressions.(notes are written lowest tone on left to highest tone on right)


C, E, G (C major)
B, D, G (G major - first inversion)
Bb, D, G (G minor - first inversion)
A, C, F (F major - first inversion)
Ab, C, F (F minor - first inversion)
G, C, E (C major - second inversion)
I, V, v, IV, iv, I progression.


G, C, E (C major - second inversion)
G, C, Eb (C minor - second inversion)
G, B, D (G major)
G, Bb, D (G minor)
F, A, D (D minor - first inversion)
F, A, C (F major)
I, i, V, v, ii, IV progression.
(remember all techniques are meant to open new doors, take the time to experiment to learn and digest what is presented here - then create what you personally like.
Many times new ideas seem awkward this is primarily because you are unfamiliar with them. Some of the greatest bands and composers were not liked initiatively but went on to be accepted and loved).


F, A, C (F major)
F, Ab, C (F minor)
E, G, C (C major - first inversion)
Eb, Gb, C (C diminished - first inversion)
D, F, A (D minor)
C, F, Ab (F minor - second inversion)
C, E, G (C major)
IV, iv, I, io, ii, iv, I progression.


C, E, G (C major)
B, D, G (G major - first inversion)
Bb, D, F (Bb major)
A, C, F (F major - first inversion)
Ab, C, F (F minor - first inversion)
G, C, E (C major - second inversion)
I, V, bVII, IV, iv, I progression.


D, F, A (D minor)
Db, F, A (D flat augmented)
C, E, A (A minor - first inversion)
B, E, G (E minor - second inversion)
Bb, E, G (E diminished - second inversion)
A, C, F (F major - first inversion)
ii, bII+, vi, iii, iiio, IV progression.


G, C, E (C major - second inversion)
G, C, Eb (C minor - second inversion)
G, B, D (G major)
G, Bb, Db (G diminished)
F, A, C (F major)
F, Ab, C (F minor)
E, G, C (C major - first inversion)
I, i, V, vo, IV, iv, I progression.


E, G, C (C major - first inversion)
E, G, B (C major seventh - first inversion)
D, G, Bb (G minor - second inversion)
D, F, A (D minor)
C, F, Ab (F minor - second inversion)
C, E, G (C major)
I, Imaj7,v, ii, iv, I progression.




Many of these chords can be called different names. This is called synonyms.
This will be covered in a later lesson.





Now transpose these to each position (register) of your instrument, then to all 15 keys.


















All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music.

Voice Leading Part XV - with chromatic passing tones

Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.



Chromatic passing tones are notes outside of the scale - non diatonic.
Adds nice color and tension to voice leading.


Normal Progression:
Find common tone and move other voices scale wise.
This can be ascending or descending.


Examples are in C major (3 note chords) using Normal Progressions:
Ascending chord progressions. (notes are written lowest tone on left to highest tone on right)
These chords are all created from the C Major Scale: C, D, E, F, G, A, B, C.
C, E, G (C major)
C, E G#, (C augmented) augmented is same thing as sharp fifth
C, F, A (F major)
C, F, A# (F suspended fourth)
D, G, B (G major - second inversion)
E, G, C (C major - first inversion)
I, IV+, IV, IVsus4, V, I progression.


E, G, C (C major - first inversion)
E, G#, C (C augmented - first inversion)
F, A, C (F major)
F, A#, C (F suspended sharp fourth)
G, B, D (G major)
G, C, E (C major - second inversion)
I, IV+, IV, IVsus4, V, I progression.


C, E, G (C major)
C#,E, G (C major flat ninth)
D, G, B (G major - second inversion)
D#, G, B (G major augmented - second inversion)
E, G, C (C major - first inversion)
F, G, C (C suspended fourth - first inversion)
G, B, D (G major)
G, C, E (C major - second inversion)
I, Ib9, V, V+, I, Isus4, V, I progression.



C, E, G (C major)
C, F#, G (C suspended sharp fourth) sometimes
called sharp eleventh or flat fifth
D, G, B (G major - second inversion)
D, G#, B (G major flat ninth - second inversion)
E, A, C (A minor - second inversion)
F, A, C (F major)
I, Isus#4, V, Vb9, vi, IV, progression.


F, A, C (F major)
A, C, E (A minor)
A, C#, E (A major)
A, D, F (D minor- second inversion)
A#, D, F (D minor augmented -second inversion)
B, D, G (G major - first inversion)
C, D, G (G major suspended fourth - first inversion)
C, E, G (C major)
IV, vi, VImaj, ii, ii+, V, Vsus4, I progression.


C, E, G (C major)
C, F, A (F major - second inversion)
D, F, A (D minor)
D, F, A# (D minor augmented)
D, G, B (G major - second inversion)
E, G, B (E minor)
E, G, C (E minor augmented)
E, A, C (A minor - second inversion)
F, A, C (F major)
G, C, E (C major - second inversion)
I, IV, ii, ii+, V, iii, iii+, vi, IV, I progression.


C, E, G (C major)
C, E, G# (C major augmented)
C, E, A (A minor - first inversion)
D, F, A (D minor)
D, F, A# (D minor augmented)
D, F, B (B diminished - first inversion)
E, G, B (E minor)
E, G, C (C major - first inversion)
F, A, C (F major)
F, A, D (D minor - first inversion)
F, A#, D (D minor augmented - first inversion)
G, B, D (G major)
G, C, E (C major - second inversion)
I, I+, vi, ii, ii+, viio, iii, I, IV, ii, ii+, V, I progression.









Now transpose these to each position (register) of your instrument, then to all 15 keys.









All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music

Voice Leading Part XIV

Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.







The next examples are with C Harmonic Minor.


Contrary Motion:
If the bass moves up - the treble moves down.
If the bass moves down - the treble moves up.

All examples will be 4 note chords using Contrary Motion.
(notes are written lowest tone on left to highest tone on right)
passing scale tones are played after chord, try to let as many chord notes ring while
playing passing notes.








C, Eb, G, B (C minor major seventh) B, C

B, F, G, D (G dominant seventh - first inversion) Eb, D

C, Eb, Ab, C (F minor seventh - second inversion) incomplete C, B

B, F, B, D (G dominant seventh - first inversion) incomplete B, G

C, G, C, Eb (C minor)

imaj7, V7, iv7, V7, i progression.




G, C, Eb, B (C minor major seventh - second inversion) B, C

F, D, G, D (G dominant seventh - third inversion) incomplete D, C

Ab, C, F, C (D minor seventh flat fifth - second inversion) incomplete C, D

G, Eb, Ab, Eb (A flat major seventh - third inversion) incomplete D, C

B, C, Eb, G (C minor major seventh - third inversion)

imaj7, V7, ii7b5, VImaj7, imaj7 progression.



F, Ab, C, Eb (F minor seventh) Eb, G

Eb, B, C, G (C minor major seventh - first inversion) G, F

F, G, B, D (G dominant seventh - third inversion ) D, Eb

D, Ab, C, F (D minor seventh flat fifth) F, Eb

Eb, F, Ab, C (F minor seventh - third inversion) C, D

C, G, B Eb (C minor)

iv7, imaj7, V7, ii7b5, iv7, i progression.

Some of these chords are difficult to play on guitar. Suggestion when overdubbing or playing with another guitarist - split chord into two separate parts. Also experiment changing octaves of notes within chord-higher or lower in tone.





C, G, B, Eb (C minor major seventh) D, Eb

B, G, D, F (G dominant seventh - first inversion) Eb, D

D, F, Ab, B (B diminished seventh - first inversion) C, D

C, Ab, Eb, F (F minor seventh - second inversion) F, Eb

D, F, Ab, C (D minor seventh flat fifth) D, Eb

B, G, B, F (G dominant seventh - first inversion) incomplete F, Eb

C, Eb, G, C (C minor)

imaj7, V7, viio7, iv7, ii7b5, V7, i progression.



D, F, Ab, C (D minor seventh flat fifth) D, F

C, G, Eb, Ab (Ab major seventh - first inversion) incomplete F, D

D, Eb, G, B (E major seventh augmented - third inversion) B, C

B, F, B, D (G dominant seventh - first inversion) incomplete C, B

C, Eb, G, Ab (Ab major seventh - first inversion)

ii7b5, VImaj7, IIImaj7+, V7, VImaj7 progression.



C, G, B, Eb (C minor major seventh) D, C

D, F. G, B (G dominant seventh - second inversion) D, Eb

C, Ab, C, F (F minor - second inversion) F, G

D, F, B, D (G dominant seventh - second inversion) incomplete D, Eb

C, Eb, G, C (C minor)

imaj7, V7, iv7, V7, i progression.



C, Eb, G, B (C minor major seventh) G, A

B, F, B, D (G dominant seventh - first inversion) incomplete D, B

C, D, F, Ab (D minor seventh flat fifth - third inversion) B, D

Ab, F, C, Eb (F minor seventh - first inversion) Eb, D

B, D, F, B (G dominant seventh - first inversion) incomplete G, B

G, Eb, G, C (C minor - second inversion)

imaj7, V7, ii7b5, iv7, V7, i progression.



Now transpose these to each position (register) of your instrument, then to all 15 keys.





All materials copyright 2010. For personal use only.


Vince Lauria Sun and Earth Music

Voice Leading Part XIII

Vince Lauria on iTunes | YouTube | IMDb | AmazonMP3 All materials copyright © 2010 Vince Lauria | www.vincelauria.com.




This also applies to minor keys (also all modes).The next examples are with C Harmonic Minor.


Contrary Motion:
If the bass moves up - the treble moves down.
If the bass moves down - the treble moves up.





First examples will all be in C minor (4 note chords) using Contrary Motion:
(notes are written lowest tone on left to highest tone on right)




C, Eb, G, B (C minor major seventh)

B, F, G, D (G dominant seventh - first inversion)

C, Eb, Ab, C (F minor seventh - second inversion) incomplete

B, F, B, D (G dominant seventh - first inversion) incomplete

C, G, C, Eb (C minor)

imaj7, V7, iv7, V7, i progression.




G, C, Eb, B (C minor major seventh - second inversion)

F, D, G, D (G dominant seventh - third inversion) incomplete

Ab, C, F, C (D minor seventh flat fifth - second inversion) incomplete

G, Eb, Ab, Eb (A flat major seventh - third inversion) incomplete

B, C, Eb, G (C minor major seventh - third inversion)

imaj7, V7, ii7b5, VImaj7, imaj7 progression.



F, Ab, C, Eb (F minor seventh)

Eb, B, C, G (C minor major seventh - first inversion)

F, G, B, D (G dominant seventh - third inversion )

D, Ab, C, F (D minor seventh flat fifth)

Eb, F, Ab, C (F minor seventh - third inversion)

C, G, B Eb (C minor)

iv7, imaj7, V7, ii7b5, iv7, i progression.

Some of these chords are difficult to play on guitar. Suggestion when overdubbing or playing with another guitarist - split chord into two separate parts. Also experiment changing octaves of notes within chord-higher or lower in tone.





C, G, B, Eb (C minor major seventh)

B, G, D, F (G dominant seventh - first inversion)

D, F, Ab, B (B diminished seventh - first inversion)

C, Ab, Eb, F (F minor seventh - second inversion)

D, F, Ab, C (D minor seventh flat fifth)

B, G, B, F (G dominant seventh - first inversion) incomplete

C, Eb, G, C (C minor)

imaj7, V7, viio7, iv7, ii7b5, V7, i progression.



D, F, Ab, C (D minor seventh flat fifth)

C, G, Eb, Ab (Ab major seventh - first inversion) incomplete

D, Eb, G, B (E major seventh augmented - third inversion)

B, F, B, D (G dominant seventh - first inversion) incomplete

C, Eb, G, Ab (Ab major seventh - first inversion)

ii7b5, VImaj7, IIImaj7+, V7, VImaj7 progression.



C, G, B, Eb (C minor major seventh)

D, F. G, B (G dominant seventh - second inversion)

C, Ab, C, F (F minor - second inversion)

D, F, B, D (G dominant seventh - second inversion) incomplete

C, Eb, G, C (C minor)

imaj7, V7, iv7, V7, i progression.



C, Eb, G, B (C minor major seventh)

B, F, B, D (G dominant seventh - first inversion) incomplete

C, D, F, Ab (D minor seventh flat fifth - third inversion)

Ab, F, C, Eb (F minor seventh - first inversion)

B, D, F, B (G dominant seventh - first inversion) incomplete

G, Eb, G, C (C minor - second inversion)

imaj7, V7, ii7b5, iv7, V7, i progression.



Now transpose these to each position (register) of your instrument, then to all 15 keys.


















All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Musi
c

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