Saludos mí Querido. DanMunn.Inmenso abrazo. De ver y escuchar todo ,ese magnífico talento .Que el universo te doto . Saludos desde Colombia.👍👏👍👏👍👏👍👏🤗🤗🤗😘😘😘🇨🇴🇨🇴🇨🇴☯️☯️☯️
As usual this is awesome , huge effort just like the Sweep Compendium that I started working a month back. I may not sweep pick real fast at 120 BPM but at least I can Target specific notes 5th 7th 9th 11th major minor which is helpful in improvisation. Mastering all the patterns of sweep picking compendium itself will take few years ,so I'm trying to see if the new course is more beneficial in terms of composing music or guitar mastery in general , than just repeating sweep picking arpeggios Can you give me an example of one of the sweep progression that you cover in this course? Thanks, again love what you do towards guitar mastery.
Thanks Sandesh! And that's awesome to hear. In the video here, most of the progressions are demonstrated. Look for the text in the bottom right hand corner to see which is which. This course is completely different than Sweep Picking Mastery or the Compendium. From the perspective of technique, this course is not about standard patterns at all but about how patterns and techniques can be used, found, built or combined to find the optimal solutions for playing what you need to. Neoclassical progressions and the method of composition is key to the lessons of the course. Check out the product description to get a more specific idea of what it's all about as it's too much to try to summarize here.
@DanMummSolo Thank you for the reply. I did purchase the course , anyway, eventually I ended up purchasing all your courses, so I thought there's no point in delaying the inevitable. Since I already took your other courses, I have a good understanding of the theory behind this, but even then, I'm baffled with the first progression that I started working on, but it's bugging me. I can send you a separate email , but kind of curious, the first progression how did you come up with this progression, and second this is a C minor progression so how is there a g flat diminished (exercise 7) ? For key of C minor, the diminished chord should be D diminished. This is bugging me. Also the G flat diminished in the tab/PDF doesn't seem to follow the formula of the DIMINISHED Triad I.E root, minor third and flat 5th coz I see you are using a D sharp note in there... I know that g flat is Accidental i.e blue note flat fifth or the sharp forth , but still trying to figure out how did you make a diminished chord out of this blue note g flat , and why it doesn't fit the triad formula.
@@bsandesh11 Hi Sandesh and thank you! I'm glad to hear it! You've actually found a mistake there (which is now fixed in the PDF eBook and Guitar Pro tabs - you can download the new versions from the download page). It should be Gbdim7. It is actually meant to be a Gbdim7 missing the 3rd or what would be, contextually, a double flatted B. What you've interpreted as a D# (thanks to my mistake) is actually supposed to be a double flatted F (the bb7 of the Gbdim7). For the sake of the course and the later borrowed chords, it could have been better to see this as an Adim7 (you'll understand why later). The trouble is that we'd be missing the root note and it would require too much explanation that would distract from the point of that part of the course for something that doesn't come until later in the course. However, I wanted to highlight the fact that we're using the flat 5th at this point to avoid confusion about what arpeggios fall into the key of Cm. Using a flat 5th as the root note of a diminished 7th is also a great shorthand for those that are looking to emulate the sound. Since the flat 5th is the part that is different, it's much easier to think of using a b5th accidental within a minor key to start a diminished 7th chord. As, hopefully, the course will be very clear about, changing the composition for the sake of simplifying the theory behind it would be a direct contradiction of a core principle of the course. The natural compositions themselves have to be the priority. Any theory we can talk about must come purely as a result of analyzing the composition. So, within the context and these particular parameters, seeing it as a Gbdim7 was the most optimal solution. This is a borrowed a chord, but we won't get into that idea until a bit later in the course. For now, analyze this as using the b5th accidental from the root of the key to get a Gbdim7 within the key of C-minor. While these concepts aren't too important in the first 2 progressions, we'll get into it in the later progressions. (I'll add to this that some of the borrowed dim7 arpeggios found at certain parts of the course went through renaming, sometimes more than once, when I was finalizing the tabs and writing the script. Because of the dim7' endless repeating nature and the fact that any one note of a diminished 7th could be interpreted as the root when read on its own, it makes for some weird and ambiguous situations. This arpeggio was originally labeled as an Adim7 and I decided that it would be better to see it as a Gbdim7 since there was no A in the arpeggio and I thought it would be better to highlight the flat 5th as I mentioned above. My point is that sometimes it can become extremely ambiguous about what perspective to take for analysis. In this case, I always erred on the side of making it more accessible to the general guitarist who might be taking the course.)
@@DanMummSolo Thanks. One more thing that I wanted to point out was in The Sweep picking compendium and sweep mastery , one of my all time favorite features was that you had included the root and other intervals names on top of each note, I cannot begin to say how much this was invaluable in learning. With this I can instantly analyze any arpeggios apply the formulas and have a solid foundation. As we get more experienced we don't have to look at the interval names anymore and it becomes intuitive. I was wondering if it's possible for you to include the interval names in this neo classical arpeggios course as well. Thanks 😊
P.S. If you run into any more questions like this, it's probably better to send me an email. I'll be trying to watch the comments here for the next couple days, but I don't use alerts from RUclips or social media because it's too much for me to keep track of the way my brain works, so at some point I'll no longer see comments here.
So..what happens if using an alternate tuning like Open C... how do the skills translate or how easy is it to unlearn then relearn, then unlearn again when tuning back to Standard..
So from the perspective used in this course, an alternate tuning would be merely to solve the problem of playing something on the guitar that you couldn't play otherwise. All of the progressions in this course use an optimized approach including combined techniques and even open notes, at times, to play the extended patterns and transitions that sometimes span many positions. Using an alternate tuning that is not relative to standard tuning for these progressions wouldn't make sense and, in many cases, would make them impossible or at least unreasonably difficult to play. However, if the entire guitar is tuned down, relative to standard, then you can obviously just play the progressions as they are written in the tabs - now just in a different key. Transposing these compositions down to a relative D tuning would sound awesome. I'd recommend using standard tuning when actually going through the course, however, as the course might get pretty confusing if you're trying to transpose everything I'm talking about as you're learning it. And I think it's not optimal to ignore differences in keys that are caused by a different relative tuning as it can interfere with the connection between your ear, the fretboard and musical concepts in general.
I may have misunderstood your question. If you're simply using a drop tuning like drop C, then the adjustment is fairly simple since everything else is relative to standard. Also, since every other pairing of strings (besides 2 to 3) are all 4th intervals, you already have the familiarity with what 5 to 6 would be in standard since it's also a 4th interval. So, as long as you can maintain an awareness of that, it shouldn't cause you any serious difficulty. Instead of being something to unlearn or relearn, you can see it as opportunity to look at the guitar from a different perspective that will allow you to go back and forth between those tunings.
![OhGeesy x Lefty Gunplay - What It Iz [Official Music Video]](http://i.ytimg.com/vi/L0yzW9t2ixk/mqdefault.jpg)
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Dan Mumm, maestro virtuoso, with the greatest collection of shirts and enviable hair.
Sweet! I plan on getting this one too, I love your courses
incredible music, as always :) greetings from Poland
Saludos mí Querido. DanMunn.Inmenso abrazo. De ver y escuchar todo ,ese magnífico talento .Que el universo te doto . Saludos desde Colombia.👍👏👍👏👍👏👍👏🤗🤗🤗😘😘😘🇨🇴🇨🇴🇨🇴☯️☯️☯️
As usual this is awesome , huge effort just like the Sweep Compendium that I started working a month back. I may not sweep pick real fast at 120 BPM but at least I can Target specific notes 5th 7th 9th 11th major minor which is helpful in improvisation. Mastering all the patterns of sweep picking compendium itself will take few years ,so I'm trying to see if the new course is more beneficial in terms of composing music or guitar mastery in general , than just repeating sweep picking arpeggios
Can you give me an example of one of the sweep progression that you cover in this course?
Thanks, again love what you do towards guitar mastery.
Thanks Sandesh! And that's awesome to hear. In the video here, most of the progressions are demonstrated. Look for the text in the bottom right hand corner to see which is which. This course is completely different than Sweep Picking Mastery or the Compendium. From the perspective of technique, this course is not about standard patterns at all but about how patterns and techniques can be used, found, built or combined to find the optimal solutions for playing what you need to. Neoclassical progressions and the method of composition is key to the lessons of the course. Check out the product description to get a more specific idea of what it's all about as it's too much to try to summarize here.
@DanMummSolo Thank you for the reply. I did purchase the course , anyway, eventually I ended up purchasing all your courses, so I thought there's no point in delaying the inevitable. Since I already took your other courses, I have a good understanding of the theory behind this, but even then, I'm baffled with the first progression that I started working on, but it's bugging me. I can send you a separate email , but kind of curious, the first progression how did you come up with this progression, and second this is a C minor progression so how is there a g flat diminished (exercise 7) ? For key of C minor, the diminished chord should be D diminished. This is bugging me. Also the G flat diminished in the tab/PDF doesn't seem to follow the formula of the DIMINISHED Triad I.E root, minor third and flat 5th coz I see you are using a D sharp note in there... I know that g flat is Accidental i.e blue note flat fifth or the sharp forth , but still trying to figure out how did you make a diminished chord out of this blue note g flat , and why it doesn't fit the triad formula.
@@bsandesh11 Hi Sandesh and thank you! I'm glad to hear it! You've actually found a mistake there (which is now fixed in the PDF eBook and Guitar Pro tabs - you can download the new versions from the download page). It should be Gbdim7. It is actually meant to be a Gbdim7 missing the 3rd or what would be, contextually, a double flatted B. What you've interpreted as a D# (thanks to my mistake) is actually supposed to be a double flatted F (the bb7 of the Gbdim7).
For the sake of the course and the later borrowed chords, it could have been better to see this as an Adim7 (you'll understand why later). The trouble is that we'd be missing the root note and it would require too much explanation that would distract from the point of that part of the course for something that doesn't come until later in the course.
However, I wanted to highlight the fact that we're using the flat 5th at this point to avoid confusion about what arpeggios fall into the key of Cm. Using a flat 5th as the root note of a diminished 7th is also a great shorthand for those that are looking to emulate the sound. Since the flat 5th is the part that is different, it's much easier to think of using a b5th accidental within a minor key to start a diminished 7th chord.
As, hopefully, the course will be very clear about, changing the composition for the sake of simplifying the theory behind it would be a direct contradiction of a core principle of the course. The natural compositions themselves have to be the priority. Any theory we can talk about must come purely as a result of analyzing the composition. So, within the context and these particular parameters, seeing it as a Gbdim7 was the most optimal solution.
This is a borrowed a chord, but we won't get into that idea until a bit later in the course. For now, analyze this as using the b5th accidental from the root of the key to get a Gbdim7 within the key of C-minor. While these concepts aren't too important in the first 2 progressions, we'll get into it in the later progressions.
(I'll add to this that some of the borrowed dim7 arpeggios found at certain parts of the course went through renaming, sometimes more than once, when I was finalizing the tabs and writing the script. Because of the dim7' endless repeating nature and the fact that any one note of a diminished 7th could be interpreted as the root when read on its own, it makes for some weird and ambiguous situations. This arpeggio was originally labeled as an Adim7 and I decided that it would be better to see it as a Gbdim7 since there was no A in the arpeggio and I thought it would be better to highlight the flat 5th as I mentioned above. My point is that sometimes it can become extremely ambiguous about what perspective to take for analysis. In this case, I always erred on the side of making it more accessible to the general guitarist who might be taking the course.)
@@DanMummSolo Thanks. One more thing that I wanted to point out was in The Sweep picking compendium and sweep mastery , one of my all time favorite features was that you had included the root and other intervals names on top of each note, I cannot begin to say how much this was invaluable in learning. With this I can instantly analyze any arpeggios apply the formulas and have a solid foundation. As we get more experienced we don't have to look at the interval names anymore and it becomes intuitive. I was wondering if it's possible for you to include the interval names in this neo classical arpeggios course as well. Thanks 😊
P.S. If you run into any more questions like this, it's probably better to send me an email. I'll be trying to watch the comments here for the next couple days, but I don't use alerts from RUclips or social media because it's too much for me to keep track of the way my brain works, so at some point I'll no longer see comments here.
Girrazo d'metal
🏅🤘
when do you consider an exercise mastered and at which bpm must you reach before moving onto the next exercise?
😍💕🤘♥🤘Awesome🤘♥🤘
Yea maan kool shirts , where does he get them ??
Thanks :) All the colorful shirts are from an online store called Loud Elephant. I highly recommend them!
So..what happens if using an alternate tuning like Open C... how do the skills translate or how easy is it to unlearn then relearn, then unlearn again when tuning back to Standard..
So from the perspective used in this course, an alternate tuning would be merely to solve the problem of playing something on the guitar that you couldn't play otherwise. All of the progressions in this course use an optimized approach including combined techniques and even open notes, at times, to play the extended patterns and transitions that sometimes span many positions. Using an alternate tuning that is not relative to standard tuning for these progressions wouldn't make sense and, in many cases, would make them impossible or at least unreasonably difficult to play. However, if the entire guitar is tuned down, relative to standard, then you can obviously just play the progressions as they are written in the tabs - now just in a different key. Transposing these compositions down to a relative D tuning would sound awesome. I'd recommend using standard tuning when actually going through the course, however, as the course might get pretty confusing if you're trying to transpose everything I'm talking about as you're learning it. And I think it's not optimal to ignore differences in keys that are caused by a different relative tuning as it can interfere with the connection between your ear, the fretboard and musical concepts in general.
I may have misunderstood your question. If you're simply using a drop tuning like drop C, then the adjustment is fairly simple since everything else is relative to standard. Also, since every other pairing of strings (besides 2 to 3) are all 4th intervals, you already have the familiarity with what 5 to 6 would be in standard since it's also a 4th interval. So, as long as you can maintain an awareness of that, it shouldn't cause you any serious difficulty. Instead of being something to unlearn or relearn, you can see it as opportunity to look at the guitar from a different perspective that will allow you to go back and forth between those tunings.
Shredmetales d'girros
Kisses and Hugs from Argentina💋💋💋💋💋💋🤗🤗🇦🇷