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 5^th and 6^th 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>>

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

THE MIXOLYDIAN MODE (D/E, E7sus, G/A....)

The Mixolydian mode is built on the 5th note of a major scale. E Mixolydian would have the same notes as the A major scale (A B C D E F G) because E is the 5th scale degree of A. Therefore, E mixolydian is the notes of A major beginning on the note E: E F# G# A B C# D. An understanding of an intervallic relationship between each of these notes is necessary in order to understand the character of the mixolydian scale. To do that we must compare these notes to the standard sclae from which all music theory is derived: THE MAJOR SCALE. If we compare E mixolydian to the notes of E major we have:

E Major:



E Mixolydian

Now you can see that the only difference is that the 7^th degree is flet (lowered ½ step) in the mixolydian scale. By numbering the degrees we get a scale formula we can use which will be consistant with every mixolydian scale in every key.

Mixolydian:

You can see by this scale’s interval content that the chords possible from mixolydian are dominant 7th chord characters: E7 (1 3 5 b7), E11 or D/E (1 7 9 11), and E13 (1 3 b7 13). These are just a few of the possibilities for chords available using the mixolydian interval structure: 1 2(9) 3 4(11) 5 6(12)b7.

The most popular mixolydian chordis indoubtedly the 11th chord, which is one-whole-step higher. For E11, that would be the same as D/E (verbalized: “D over E”). Here, the D major triad is borrowing three notes from E mixolydian (Db7), F#(9) and A(11)) with the E below it functioning as the bass noteor root of the chord. Visualizing this chord as a triad over a bass note makes it easier to find these chord voicings on the guitar. Now its time to start putting all this information for mixolydian together.

THE IONIAN MODE (Emaj7, E(9)

E major would obviously have the same notes as the major scale. Therefore, the notes of E major are: E F# G# A B C# D# . The intervallic realtionship between each of these notes reveals the character of the major scale.

E Major:

By numbering the degrees we get a scale formula we can use which will be consistant with every major scale in every key.

Ionian:

You can see by this scale’s interval content that the chords possible from major are major chord characters: Emaj7 (1 3 5 7). E(add9) (1 3 5 9), Emaj9 ( 1 3 5 7 9) . These are just a few of the possibilities for chords available using the major interval structure: 1 2(9) 3 4(11) 5 6(13) 7. The most popular major chords are undoubtedly the major 7 chord and the major (add9).

THE DORIAN MODE (Emin7, Emin9, Emin11)

The dorian mode is built on the 2^nd note of the major scale. E dorian would have the same notes as the D major scale (D E F# G A B C#) because E is the 2^nd scale degree of D. Therefore, E dorian is the notes of D major beginning on the note E = E F3 G A B C# F (E dorian). An understanding of the intervallic relationship between these notes is necessary in order to understand the character of the dorian scale. To do that we must compare these notes to the standard scale which all music theory is derived: THE MAJOR SCALE. If we compare E dorian to the notes of E major we have:

E Major:


E Dorian:

Now you can see that the only difference is that the 3rd and 7th degrees are flat (lowered ½ step) in the dorian scale. By numbering the degrees we get a scale formula we can use which will be consistant with every dorian scale in every key.

Dorian:

You can see by this scale’s interval content that the chords possible from dorian are minor chord characters: Emin7 (1 b3 5 b7), Emin9 (1 b3 5 b7 9) and Emin11 (1 b3 b7 11 ). These are just a few of the possibilities for chords available using the dorian interval structure:1 2(9) b3 5 6(13) b7 . The most popular dorian chord is undoubtedly the minor 7 chord.

Lydian Mode (F#/E, EMaj7#11, B/E

The Lydian mode is built on the 4th note of a major scale. E lydian has the same notes as the B major scale (B, C#, D#, E, F#, G#, A#) because E is the 4th scale degree of B. Therefore, E lydian is the notes of B major beginning on the note E: F, F#, G#, A#, B, C#, D#). An understanding of the intervallic relationship between each of these notes is necessary in order to understand the character of the lydian scale. To do that we must compare these notes to the standard scale which all mucis theory is derived: THE MAJOR SCALE. If we compare E lydian to the notes of E major we have.

E Major:

E Lydian:

Now you can see that the only difference is that the 4^th degree is sharp (raised ½ step) in the lydian scale. By numbering the degrees we get a scale formula we can use which will be consistant with every lydian scale in every key.

Lydian:

You can see by this scale’s interval content that the chords that are possible from lydian are major chord characters: Emaj7 (1 3 5 7), Emaj9 (1 3 5 7 9), Emaj7#11 (1 3 7 #11), and F#/E (1 #4 6 9). These are just a few of the possibilities for chords available using the lydian interval structure: 1 – 2 (9) – 3 – 84(#11) – 5 – 6 (13) – 7. The most popular lydian chord is undoubtedly the 811 chord, which is more commonly reffared to as a major tried over a bass note which is one-whole-step lower. For E 11), that would be the same as F/E (verbalized: “F8 over E”). Here, the F8 major triad is borrowing three notes from E lydian (F#=9, A#=#11, C#=6) with the E below it functioning as the bass note or root of the chord. Visualizing this chord as a triad over a bass note makes it easier to find these chord voicings on the guitar. Now it’s time to start putting all this information for lydian together.

Locrian Mode (Emin7b5, Bb Maj7b5/E)

The Locrian mode is built in the 7^th note of a major scale. E Locrian would have the same notes as F major scale ( F G A Bb C D E) because E is the &th scale degree of F. Therefore, E Locrian is the notes of major beginning on the note E : E F G A Bb C D. An understanding of an intervallic relationship between these notes is necessary in order to understand the character of the locrian scale. To do that we must compare these notes to the major scale. If we compare E Locrian to the notes of Emajor, we have

E Major

E Locrian

Now you can see that the differences are that the 2^nd, 3^rd, 5^th, 6^th and 7^th degrees are flat (lowered ½ step) in the locrian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every locrian scale in every key.

Locrian

You can see by this scale’s interval content that the chords possible from locrian are minor chord characters : Emin7b5 ( 1 b3 b5 b7) and Emin11 (1 b3 b7 11). These are just few possibilities that we can create from the interval. The champion for locrian chord is no doubt minor 7(b5) chord.

To me, I simply know that whenever I play E Locrian, I actually play F Major start from E note.

Buying your first guitar (Indonesia Language Version)

Kesan pertama katanya ga terlupakan... begitu juga dengan Gitar. Gitar pertama ga bakalan terlupakan. Suka duka memiliki gitar pertama akan terbawa terus sampai jauh-jauh hari, terutama jika kemudian orang tersebut menjadi musisi.

Cerita diatas adalah fase dimana seseorang telah membeli gitar pertamanya. Sekarang kita akan bahas momen pembelian gitar pertama tersebut. Salah memilih gitar bisa berakibat fatal karena kesan yang muncul tidak seperti yang kita harapkan. Akhirnya, hasrat yang besar untuk bermain gitarpun hancur karena ternyata gitar tak semenarik yang diharapkan (karena salah beli gitar).

Ada beberapa pertimbangan yang harus disadari sebelum membeli gitar pertama.

1. Gitaris idola
   Gitaris idola mungkin adalah jawaban dari semua masalah kita . Jika kamu memiliki gitaris idola, sangat mudah untuk menentukan gitar yang akan kamu beli. Jika senang Paul Gilbert misalnya, maka kita memang lebih suka musik Rock. Dan tentu saja kamu sangat mungkin suka dengan Ibanez Signature nya Paul Gilbert. Problem solved. Silahkan langsung meluncur ke Toko musik terdekat.
   
   
   
   
   left to right: Paul Gilbert, Steve Vai and Andres Segovia
   
   
   
   Jika kamu gemar dengan Steve Vai, atau mungkin Joe Satriani atau gitaris Rock lainnya yang senang mengeluarkan suara-suara aneh, mungkin kamu butuh gitar dengan type bridge nya Up down tremolo bar... jadi nada bisa dinaikin atau duturunin pitch nya.
   
   Jika kamu menggemari Al Dimeola, Jubing Kristianto, atau bahkan Andre Segovia, maka kamu butuh Gitar Klasik... bukan elektrik :D
   
   Nah jika kamu ternyata gemarnya Anji Drive atau Charlie ST12, kamu bukan pengen jadi gitaris, tapi Vokalis...ga perlu nerusin baca artikel ini lagi heheheh.
   
   
   
2. Jenis musik yang digemari
   Terkadang, seorang calon gitaris tertarik pada seorang gitaris tapi merasa ga bakalan sejago idolanya. So dia juga enggan beli gitar yang digunakan idolanya. Nah, untuk kondisi ini, silahkan melihat ke jenis musik yang digemari. Jika senang Rock, mungkin Ibanex RG atau Les Paul bisa dipertimbangkan. Tapi tidak ada pakem untuk paduan gitar dan alat musiknya. Yang penting kamu nyaman ketika mainnya.
   
   
   
   
   Fixed Bridge and Up Down Tremolo
   
   
   
   
3. Situasi yang dihadapi
   Let say kamu menggemari Yngwie Malmsteen (gitar Strat nya dilengkapi dengan pickup yang berbeda dan scalloped fretboard). Tapi kamu juga sadar bahwa kamu pengennya jadi gitaris kafe. Maka kamu bisa memilih gitar yang lebih “umum”, misalnya Stratocaster atau mungkin PRS. Tapi sekali lagi, ga harus sekaku itu, baca lagi point 2. Cukup pelajari teknik permainannya saja.
   
   
   
4. Budget
   Dulu, budget ini adalah topik yang bisa menghancurkan impian para gitaris, karena waktu itu memang belum banyak varian merek gitar yang beredar. Sekarang, sudah banyak gitar dengan kualitas OK namun harga tetap terjangkau.. Sebut saja OLP, Squier, Beberapa seri Epiphone, Cort, beberapa seri Ibanez. Jadi jika budget kita terbatas, santai aja.. masih banyak gitar yang bisa kita beli.
   
   
   
5. Baru atau Second?
   Nah, ada beberapa persepsi mengenai hal ini. Buat para gitaris, terkadang membeli gitar second ada keasyikannya.... beberapa alasannya adalah “kayunya udah jadi”, “dapat gitar dengan harga kualitas lebih baik daripada harus beli baru dengan harga yang sama”. Hanya saja, kamu harus benar-benar mengerti gitar agar tidak tertipu. Gitaris pemula mungkin cenderung lebih memilih gitar baru dari toko. Sensasi rasanya memang ga bisa tergantikan. Yang penting jangan jadi gitaris dengn keingan minjem doank.... Alias Cuma
   minjem gitar :D
   
   
   
6. Kelengkapan lainnya.
   Jika kita punya maksimal budget 2 juta, sebaiknya jangan beli gitar seharga 2 juta. Jangan lupa, gitar elektrik butuh strap, kabel jack, Amplyfier mungkin, atau efek gitar. Jika kamu memang berangan-angan ingin memiliki suara gitar yang agak-agak mirip Paul Gilbert, jangan lupa, minimal kamu butuh Efek gitar Distortion lho.... Hanya saja, sekarang amplyfier untuk gitar sudah menyertakan beberapa efek suara didalamnya.
   
   
   
7. Gitar dari Toko atau Luthier?
   Gitar dari Toko memang cenderung berbentuk umum dan banyak yang sama (memang itu pengertian umum sih :D ). Tapi Quality Control dari Toko cenderung merata. Jika kamu menggunakan jasa Luthier (pengrajin gitar), kamu dapat gitar dengan bentuk yang unik sesuai dengan keinginanmu, tapi saat ini banyak gitaris yang mengeluh dengan kualitas dari Gitar Custom yang mereka dibuat oleh Luthier lokal (well, banyak juga luthier yang bagus, tapi ya jangan lupa... ada gaya ada harga)
   
   
   
8. Masih bingung?....
   Dengan tips diatas, masih juga bingung? Udah de, coba kamu inget-inget kapan kamu mulai seneng main gitar... Gitar siapa yang kamu pakai? Nah, belilah gitar yang sama dengan gitar tersebut.
   
   
   
9. Masih juga bingung?
   Well, coba lagi kamu ingat-ingat... jangan-jangan kamu ga seneng main gitar. Senangnya main Drum... Nah kalau sudah begitu, silahkan cari artikel lain untuk panduan membeli Drum hehehe.
   

Selamat membeli gitar baru dan selamat belajar gitar. Pengen jago main gitar? Hubungi saya ya , saya adalah instruktur gitar.