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Re: Scales pt II
11/13/2009 5:52:19 PM
Randy Hano
(6577) wrote:
I don't get into exotic scales or compound scales for several reasons.
1) There enough to work on within the diatonic scale itself. Remember each scales has a purpose and they all have some type of sound from happy to sad to dissonant.
2) When diatonic became natural, melodic minor and harmonic minor became the new adventure. Reharmanizing each one of these scales give you many new variations to play over certain chords or what type of textures that you are trying to achieve.
3) Diminished and Wholenote scales take you into the altered realm along with breaking the modes down on melodic minor (please note that it is the Jazz melodic minor for consistancy on the 6th). This brings alot of tension to your playing mechnisms.
4) Explore triad arpeggios. This will open up your playing and get you away from the domino effect.
More later! |
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Re: Scales pt II
11/16/2009 8:45:57 AM
Ken Richardson
(6235) wrote:
Arpeggios are cool.
I like doublestops too! |
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Re: Scales pt II
11/16/2009 10:24:46 AM
Randy Hano
(6577) wrote:
Yeah, there was more I was going to cover but I didn't. Some other things were Double-stops, triple stops and intervolic playing. To take it to the advanced level, you combine the intervals with you stops. That give you many voicing changes. Let's not also forget, bending the double stops or triple stops. |
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Re: Scales pt II
11/16/2009 12:41:18 PM
Randy Hano
(6577) wrote:
I don't consider invervallic playing to be a schooled term but it is what I call it. Allan Holdsworth is one example as you tend to play in wide interval for lines versus scales, arps or patterns. The object is to play using using intervals - m2, M2, m3, M3, P4, A4, etc. to play. This really breaks up monotony. What can be fun with this is to play a scale intervallically by playing for example: 1, 9, 3, 11, 5, 13, 7, 15th for example. It still contains the note names of the Ionian/Major scale but the spacing changes your approach to it all. This will also help you to see the fret board more horizonal than vertical improving your linear playing. |
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Re: Scales pt II
11/17/2009 1:24:24 PM
Chris Bond II
(1807) wrote:
Check this out, it is from a long...long out of print book by a cat name Mick Goodrick.
It is without a doubt the most complete guitar text I have ever read.
Excerpt from Section Two
Playing Up and Down on a Single String
(The Science of Unitar)
Three principles of left hand movement:
Groupings; Two, three or four notes based on what the left hand can cover
Hand-carries or shifts: Moving to a higher pitched note with lower numerical finger; moving to a lower pitched note with a higher numerical finger; linking the groupings.
Slides: Using the same finger to play consecutive pitches - No Glissandi
Breakdown of finger possibilities:
A
Four possibilities of one finger at a time
1 1st finger
2 2nd finger
3 3rd finger
4 4th finger
No groupings, no shifts, all slides.
B
Six possibilities of Two Fingers at a Time
1 1 and 2
2 1 and 3
3 1 and 4
4 2 and 3
5 2 and 4
6 3 and 4
C
Four possibilities of three fingers at a time
1 1, 2, 3
2 1, 2, 4
3 1, 3, 4
4 2, 3, 4
D
All four fingers:
Combine all previous possibilities two, three, and four note groupings, shifts and slides. |
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Re: Scales pt II
11/17/2009 1:31:41 AM
Chris Pinto
(22323) wrote:
Yo' Ken,
Good question....
Hell! I don't know the names of most scales, I just play whatever notes fit the tune.... I have a good ear for melody & notes, and, fortunately or unfortunately, I've always taken that for granted.
Should I have learned more theory?
Yeah, probably. :)
Do I regret not learning more theory?
Sometimes.
Would it have helped me be a better player?
YUP! LOL
Does it matter at this stage in my life?
NOPE!
See, my knowledge about music in general is basically a big fat "0"....My knowledge of scales mainly consists of "SOME" Arpeggio patterns, some Pentatonic scales, SOME Major scales, SOME Minor scales, and ONE harmonic minor scale, but, that's about the only theory I know. If you were to ask me any kind of theory-related question....Forget about it! It would be like me trying to answer questions about the "Space-Time Continuum", or "Quantum Physics". LOL
Oddly enough, I always loved the "Locrian" & "Dorian" scales/modes, (my left hand seems to love those patterns) hehe, but, I never really knew what those scales were called, until recently, when I started going back to my teacher last year. Still don't know what all the terminology means, but, whatever.
I know a couple of exotic "patterns", but, as much as I love them, and REALLY LOVE the way they sound, I hardly use them, basically, because I don't know enough about them, or know many of them. I guess the exotic patterns are out of my "comfort zone"??? So to speak....Someone like Marty Friedman can play the hell out of those exotic scales...But, not me! LOL
Luckily, because I have a great ear for note placement, I can basically (within my playing capability) just play whatever notes fit a particular tune, or mood.
I basically shoot a solo from the hip. It usually works. LOL
Chris |
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Re: Scales pt II
11/17/2009 10:24:40 AM
Randy Hano
(6577) wrote:
Brother Chris, no worries on knowing what you are playing. I may have studied theory and have a vast understanding but when it comes down to just playing, I don't think - oh I will play this scale here and that arpeggio there, yada, yada, yada. A lot of understanding theory and concepts really just help you to connect, grow and possibly expand new ideas. You gotta use the theory in order to make it work, then make the work usable in your playing style. If I was to analyze what I play, yes I can but when I am playing or improvising, I am in the moment and mostly hear what I play.
If you take the theoritical concepts and apply the ideas, you can develop new passages and growth. You still have to apply them and make them musical.
My best example is from the Pink Floyd song "Time". For the longest time I wanted to learn David's solo in that song. One of my technique is active listening. No matter how much I tried, I couldn't hear what he was playing so I finally pulled the mistress out and played her with the song. I found that it was just a simple D major arpeggio he was playing all the time. Granted I can hear scale variations, extended chords identify them and such but I couldn't hear a simple D major arp.
The bottom line - Frank Zappa best said it - "Shut Up and Play Your Guitar". So that's what I do. |
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