and elevation is the name. we play Christian music, with rock taste of course. Here some video from our first album. I play both guitar and bass in this album
Kamis, 29 November 2012
My Band, Elevation Band, and our Video Clips
Finally we made a band.. hahahaha
and elevation is the name. we play Christian music, with rock taste of course. Here some video from our first album. I play both guitar and bass in this album
and elevation is the name. we play Christian music, with rock taste of course. Here some video from our first album. I play both guitar and bass in this album
Jumat, 03 Februari 2012
These licks are so Fusion
These lines below, I stole from Don Mock. In music term, it's not stealing, it's paraphrasing hahaha...joking.
Line 1
Rock and jazz smell is really demonstrated in this line. It begins with an almost "Hendrix" lick through the first bar then suddenly the line jumps "outside" the key into a sequence made up of B. Ab, then F Pentatonic Scales.
D7#9
The GuitarPro Version>>
Line 2
This dominant type line use the variety of 5th and 6th intervals and triad shapes. For different taste, just try to add hammer on and pull-ofs. Experiment playing this line over C7, Gm7 and BbMaj7b5. After you have learn it, try this; lower all the E notes to Eb. Now we have new dominant type line that will work over F7, Cm7, etc
C7, Gm7
The GuitarPro Version>>
Line3
The Harmonies (chord) used in many fusion tunes are often Poly, Bitonal and Triad over Bass note Chords. It's nice to have a vocabulary of single note ideas that reflect these sounds. This line use the note of G, A, B and D major Triads along with some 4th interval shapes to create a bitonal effect. It sounds good over A7, G/A, B/A, Em7 etc.
A7
The GuitarPro Version>>
Line 1
Rock and jazz smell is really demonstrated in this line. It begins with an almost "Hendrix" lick through the first bar then suddenly the line jumps "outside" the key into a sequence made up of B. Ab, then F Pentatonic Scales.
D7#9
The GuitarPro Version>>
Line 2
This dominant type line use the variety of 5th and 6th intervals and triad shapes. For different taste, just try to add hammer on and pull-ofs. Experiment playing this line over C7, Gm7 and BbMaj7b5. After you have learn it, try this; lower all the E notes to Eb. Now we have new dominant type line that will work over F7, Cm7, etc
C7, Gm7
The GuitarPro Version>>
Line3
The Harmonies (chord) used in many fusion tunes are often Poly, Bitonal and Triad over Bass note Chords. It's nice to have a vocabulary of single note ideas that reflect these sounds. This line use the note of G, A, B and D major Triads along with some 4th interval shapes to create a bitonal effect. It sounds good over A7, G/A, B/A, Em7 etc.
A7
The GuitarPro Version>>
Selasa, 24 Januari 2012
Drop 2 Type Voicings
It is no doubt that Voicing could be the most popular technique to instantly create a "weird but nice" chord. By only "change position" of a note from chord, we could enter new dimension of sound. So, let's talk about Voicing, specially the champion... Drop 2 voicing
By dropping the second note from the top of a four-way close voicing down an octave, a larger sounding voicing (referred to as “drop 2”) is produced. These drop 2 voicings in turn produce a chord physically more accesibble on the guitar than some of the orginal four-way close voicings.
Lets explore all four inversions of the drop 2 type voicings and their pplacement on the middle four strings of the guitar (2, 3, 4, 5).
C Maj = C E G B ( R 3 5 7)
The Following maj7th chord forms are produced by the above voicings on the middle four strings of the guitar: ( strings vertically/ frets horizontal)
The above form ca be trasposed or moved to different keys
By dropping the second note from the top of a four-way close voicing down an octave, a larger sounding voicing (referred to as “drop 2”) is produced. These drop 2 voicings in turn produce a chord physically more accesibble on the guitar than some of the orginal four-way close voicings.
Lets explore all four inversions of the drop 2 type voicings and their pplacement on the middle four strings of the guitar (2, 3, 4, 5).
C Maj = C E G B ( R 3 5 7)
The Following maj7th chord forms are produced by the above voicings on the middle four strings of the guitar: ( strings vertically/ frets horizontal)
The above form ca be trasposed or moved to different keys
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