Bare Knuckle Pickups Forum
At The Back => Time Out => Topic started by: MDV on July 12, 2009, 02:11:37 PM
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I like the bashthestringswithmyfingersindifferentplacesatdifferenttimes scale best, and use little else, but if pressed, phrygian, aeolian, myxolidian, dorian and diminished.
You?
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Pentatonic with a few extra notes thrown in is the only scale I know :lol:
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Pentatonic with a few extra notes thrown in is the only scale I know :lol:
Thats ok
A - That probably covers every scale there is, give or take :P
B - Youre never more than a half step from a right note :lol:
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I really like the sound of the Lydian mode, probably my favourite mode. I try to use it when possible when practising my improvisation.
Others I like to use are Pentatonic, Blues, Harmonic Minor and Dorian.
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I try to get variety into my solos, the days when I used pentatonic, pentatonic blues & aeolian only are long gone :)
Phrygian, Phrygian Dominant, Lydian, Lydian Augmented, both Octatonic scales, double harmonic minor & japanese (not the proper name for it but that's what I call it) are the current favourites.
Arpeggio-wise, I like the major, minor, dim7 (who in metal doesn't? :twisted:) & madd9.
Have a listen to this (http://bareknucklepickups.co.uk/forum/index.php?topic=14365.0) rough clip as an example...
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Pentatonic with a few extra notes thrown in is the only scale I know :lol:
same here really, though I mix in some major scale runs where appropriate. I remember one punter at a gig complimenting my use of the mixalydian scale - still don't know wtf that is.
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What are these scales that you write of?
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Phrygian mostly, if I'm trying to do the straight ahead, linear fast stuff, cos it has all the right elements of blues type scales, just expanded to sound darker and more depressing!
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Pentatonic with a few extra notes thrown in is the only scale I know :lol:
same here really, though I mix in some major scale runs where appropriate. I remember one punter at a gig complimenting my use of the mixalydian scale - still don't know wtf that is.
+2
99% major or minor pentatonic with 1% major scale notes 'thrown' in (and I really mean thrown in).
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I like the bashthestringswithmyfingersindifferentplacesatdifferenttimes scale best, and use little else, but if pressed, phrygian, aeolian, myxolidian, dorian and diminished.
You?
Unless I'm mistaken 80% of those are the same scale, called 'Major' I believe ;)
I tend to think about intervals rather than key/scales. After all we're only one note away from right one 8)
if I sit down and think about what I play I'm probably playing Major scales (hovering between Mixolydian, Aeolian, Lydian) and some melodic/harmonic minor modes plus a lot of pentatonic and chromatic stuff.
But most of what I play is purely by accident :roll:
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riffing tends to be a mix of locrian, sometimes changing the minor 3rd to a major 3rd, which is probably some mode of harmonic minor, I also use half whole and whole half and sometimes the whole tone scales
basically what ever sounds good, evil and heavy
melodies and clean stuff seem to always be in natural minor, shredding is any minor key
for some reason I've started doing pentatonic "bluesy" shred, I only started focusing on pentatonics more to learn the whole of the fretboard properly, I only learnt what double stops are last night :)
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minor pentatonic/blues mostly. actually, i often use that hybrid pentatonic scale a lot, mainly because of expediency in the finger positioning, it's kind of like a mix of the dorian and blues scale.
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Cool thread!
I never approached the guitar thinking about scales. I had to learn 'em to pass guitar college 10 years ago but I never really studied them or consciously used them and have no intentions of doing so.
Like Gingataff I think about how intervals work with whats going on rather than what scale sounds like x or y or would best fit. Learning how to put chords together and going from there has always been best for me. When I tried to explain it to a mate who is really theory orientated he said.. yea you mix a few scales up and use passing chromatics to connect them... :lol: so I think how you think about it before you even pickup the guitar is really really really really important.
When I do listen to people that are obviously working inside a pattern or box I think it sounds really conceited and shiteeeee especially when they haven't bothered to learn all the positions which is often the case.
I'm somewhere between Van Halen and Alan Holdsworth as far as note choice goes :lol:
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I never approached the guitar thinking about scales. I had to learn 'em to pass guitar college 10 years ago but I never really studied them or consciously used them and have no intentions on doing so.
I think about how intervals work with whats going on behind it. Knowing how to put chords together and going from there has always been best for me.
When I said this to a mate who is really theory orientated he said.. yea you mix alot of scales and use passing chromatics to connect them...
When I do listen to people that are obviously working inside a pattern or box I think it sounds really conceited and shitee especially when they haven't bothered to learn all the positions which is often the case.
Yes! To all of it, but mainly the bolded. Intervals are how I think about music, if I think at all. They're the building blocks of the whole thing.
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What are these scales that you write of?
Seconded
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For a very very long time there I'd only ever formally learned the blues and pentatonic scales, I've been looking to change that recently, but to be honest I don't think I'll ever be Satriani in that regard.
I know very little theory, and that which I do know was picked up on purely a practical basis over time.
When writing solos I just try to play what I think suits the song, on an off day I'll hit something out of key because I don't know the "no go" frets for every key, theoretically.
Based entirely on prior practical playing of the actual instrument I know what sound comes off each fret and I work off that.
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Whatever the chords/riff underneath imply. I try not to think about it unless I'm trying to ellicit a particular vibe, but I do play wholetone-halftone, diminished and locrian quite a lot. Soloing is pretty much as above.
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When writing solos I just try to play what I think suits the song, on an off day I'll hit something out of key because I don't know the "no go" frets for every key, theoretically.
personally I think there isn't any no go frets, it's just how you resolve it, usually a semi tone up or down will make the "bad" notes work
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Generally, it's the Kerry King scale... whichever fret happens to be under my fingers at the time!
On a more serious note, it's usually the ol' pentatonic, with some major bits put in... im sure there's another scale that i play, but i probably don't realise it :)
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When writing solos I just try to play what I think suits the song, on an off day I'll hit something out of key because I don't know the "no go" frets for every key, theoretically.
personally I think there isn't any no go frets, it's just how you resolve it, usually a semi tone up or down will make the "bad" notes work
Mistakes like that can be rectified, sure, but I think it's just as important if not more so, to know what just flat out wont work over certain keys, as it is to know what will work.
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Majors and some modes but i have to revise the modes as I can't always remember which shape is called which friggian mode.
Pentatonics in all shapes. I like the sound of them.
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Kitchen and Bathroom - The only other type are stuck to fish.
As for what the rest of you are on about, I haven't a clue.