Bare Knuckle Pickups Forum
Forum Ringside => Guitars, Amps and Effects => Topic started by: hincks on January 13, 2012, 02:41:39 AM
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i dont need anyone to explain modes to me that'll just confuse me more, all i want to know is if just learning pentatonic/blues scales is enough to play solos. or do i need to learn modes in order to play pentatonic/blues scales to begin with
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I did and my solos suck. Read into that what you will.
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but i dont have to learn about modes to play solos though, correct?
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You dont HAVE to, no.
It helps.
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No, you can manage with blues & pentatonic and your ears especially if more scales confuse you.
You will notice in more elaborate chord progressions though, that sometimes there are notes you can play and sound good but sometimes they will sound wrong.Understanding modes will help in these situations.
My advice is keep playing the scales you mention but don't rule out learning modes later, they help.You will probably
know the sound of some of them intuitively already eg, carlos santana is generally playing in dorian mode which works
in rock progressions when the I, IV & V chord are all minor.
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No you dont, im sure it helps but its not a pre-requisite at all. A good way of doing it is to 'hear' a solo in your head and then look for the notes on the guitar-this way you dont limit yourself by guitar technique/theory but it may also help you to learn new stuff whilst trying to perform the 'solo in your head'.
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Just copy the guitar players you like and you will be fine to get started.
Joe Satriani has some great lessons on modes on youtube if you do want to learn them.
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You could do what I did. Learn the pentatonic/blues scale in all 5 positions, then try adding 'extra' notes in songs and see if they fit. That's basically adding the notes from the modes but without the theory ;) Works for me so I can get by.
Oh, and learn little licks from your favourite guitar players. Then you can throw those in to create your own mix-up of solo style. Mine's somewhere between Angus Young, Billy Gibbons and a hamfisted amateur :lol:
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Come on Dave. Don't be so hard on Billy and Angus :D
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Oooh, you cheeky monkey! :lol:
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i dont need anyone to explain modes to me that'll just confuse me more, all i want to know is if just learning pentatonic/blues scales is enough to play solos.
That depends on the musical style(s) you want to play and how ambitious you are. E.g. for blues and country you can do fine without it. For Jazz you should know about them.
or do i need to learn modes in order to play pentatonic/blues scales to begin with
No. Just start with the pentatonic and blues scales. They will get you a long way.
Cheers Stephan
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its good to have a few up your sleeve i think, but its not necessary.
in fact after you've learnt a few you start to learn ways to play outside them anyway (though it often turns out some classical composer figured out some theory for those notes too at some point)
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A great big NO from me.
Feel free to get into them if you're interested... don't rule anything out... if you're the sort of person who likes rules and theories, they will definitely help you understand why things work.
But you do not need them. The most important thing is your ears - use them first. If it sounds good it is good.
You could do what I did. Learn the pentatonic/blues scale in all 5 positions, then try adding 'extra' notes in songs and see if they fit. That's basically adding the notes from the modes but without the theory ;) Works for me so I can get by.
Oh, and learn little licks from your favourite guitar players. Then you can throw those in to create your own mix-up of solo style. Mine's somewhere between Angus Young, Billy Gibbons and a hamfisted amateur :lol:
That's exactly what I did :D (slightly different guitarists as my main ones, but those two were high on the list as well)
When you've got happy enough to stand in front of an audience like this and make like a guitar-hero, you'll possibly find yourself "stagnating" in your own mind after a while. You aren't stagnating at all, but you'll feel like it. For me personally, that was when modes got interesting - they can help you break out and learn some new tricks in your daily practice/noodling, and you'll understand nodes a lot more if you can recognise bits in them that you already do by ear anyway.
But don't ever get into the frame of mind where you think "I'll play a bit of dorian and then some twidlian (I don't even know the names!) followed by a few phrases of doodlian, finishing up with a great big ascending knoblian... that'll make a superb solo..." - you're human, not a computer, make music like a human, like you talk, not like a computer...
:D
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twidlian mode is my favourite too :lol: :lol:
(actually I'm big into modes at the moment, but I stand by not recommend them initially)
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Yeah, I wouldn't knock modes themselves - I was really into them as well for a while (many years ago now). I'd tried them before and got very frustrated.
But there was this period when I thought I'd look it all up again. By then I'd played enough, and trained my ears enough I guess, to actually understand and hear some of what I was looking at.
I still didn't bother learning any of the modes or anything (as if that wasn't obvious already! :lol:), but I did experiment with the intervals and what sounds came out playing them over different chords. I ended up finding at least two or three more notes I could play when in a tight corner - and suddenly I thought my playing sounded interesting again.
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What are these modes and scales you guys are talking about? - are you saying there is a 'proper' way to do what I do :lol:
I learnt the blues/pentatonic scales (major and minor) early on and ran with it. Later on the teacher I went to tried to show me modes, but most of it went way over my head. The trouble is knowing when they'll fit the progression, that what I can't understand. In any case, much of the 'extra' notes I ended up adding in were part of modes so I was playing 'modally' without realising - didn't make it any better or worse for me.
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Short answer - No.
Long answer:-
The thing is modes are really just an abstract idea. You learn scales and then playing modally you just shift the scale and start on a different note. So if for example you learnt the major scale all over the neck, the modes bit would come easily.
All scales have modes, most of the ones people talk about come from the major scale - Ionian (major Scale, Dorian, Phrygian etc, these are the ones you hear people talk about but the Harmonic Minor scale also has its own usefull set of modes.
Even some hardcore jazzers don't bother with modes, they look at everything chordally. They may play something that someone would call a mode but they are arriving at it from a different place with a different mindset.
The Pentatonic minor scale is the perfect scale to start with, it may be all you need. Don't worry about modes for now. The Pentatonic Minor is easy to make sound good.
Following the pentatonic minor it's a good idea to learn the pentatonic major (same shapes, different fret for the same key) and also the major scale, not always the most usefull in rock music on it's own but as it's the daddy of all scales in western music knowing it inside out makes everything else usefull.
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wrote a massive post which got lost going into my thoughts.
but basically about 90% of the music i write is in the natural minor (aeolian) scale, very useful in rock I think - Schenker plays in it alot for example
edit for graphical content:
(http://cdn3.iofferphoto.com/img/item/835/107/11/ZJAesmgdxFOqDiI.jpg)
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A great big NO from me.
Feel free to get into them if you're interested... don't rule anything out... if you're the sort of person who likes rules and theories, they will definitely help you understand why things work.
But you do not need them. The most important thing is your ears - use them first. If it sounds good it is good.
I think you're absolutely right, Andy.... but remember not everyone has ears as good as yours, so learning a few things by rote can possibly help. Sometimes. :wink:
Anyway, I hesitate to contribute to this thread since I'm the worst guitar player in the world.... but over the years I've come to think:
Solos really don't matter very much. Don't get me wrong, I love guitar solos, but in most rock/pop music they're just icing on the cake, a few seconds to to take the song somewhere different and provide a bit of excitement. The important thing is the song. And as you've probably heard more than a few famous guitar players say in interviews, 90% of the time you're playing rhythm anyway.
So I'd say, learn songs. Or even write songs, if you have the talent to do so. Learn the solos that go with those songs, and then you'll get a feel for what works and what doesn't.
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I still can't work out wtf they are. For example C major and D dorian contain the same notes, so there is no difference from what I can tell. Still looking for a simple explanation and believe me I have searched. They would have to add to your toolbox if you work them out, if you do let me in on the secret ;)
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I still can't work out wtf they are. For example C major and D dorian contain the same notes, so there is no difference from what I can tell. Still looking for a simple explanation and believe me I have searched. They would have to add to your toolbox if you work them out, if you do let me in on the secret ;)
OK, at the risk of profound embarrassment, has anyone heard this:
I Decided Playing Loudly Made A Lot of sense....
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
So yes, C Ionian (C Major) has the same notes as D Dorian, E Phrygian etc. ....but because you're starting the "pattern" at a different note, the intervals are different and therefore the "feel" is different when you play over a chord progression in the appropriate key.
And that's all the theory I know.... :?
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edit for graphical content:
(http://cdn3.iofferphoto.com/img/item/835/107/11/ZJAesmgdxFOqDiI.jpg)
I think I still have that issue somewhere....
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I still can't work out wtf they are. For example C major and D dorian contain the same notes, so there is no difference from what I can tell. Still looking for a simple explanation and believe me I have searched. They would have to add to your toolbox if you work them out, if you do let me in on the secret ;)
OK, at the risk of profound embarrassment, has anyone heard this:
I Decided Playing Loudly Made A Lot of sense....
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
So yes, C Ionian (C Major) has the same notes as D Dorian, E Phrygian etc. ....but because you're starting the "pattern" at a different note, the intervals are different and therefore the "feel" is different when you play over a chord progression in the appropriate key.
And that's all the theory I know.... :?
Thats a quality mnemonic!
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So yes, C Ionian (C Major) has the same notes as D Dorian, E Phrygian etc. ....but because you're starting the "pattern" at a different note, the intervals are different and therefore the "feel" is different when you play over a chord progression in the appropriate key.
When I improvise lead I start and finish licks anywhere, just as long as I'm just using the notes in the scale. Thus you couldn't tell if I'm improvising in C major or D Dorian. Maybe it is the accompanying chords that make it a mode?
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Hard to explain (especially when I barely know what I'm talking about), but:
If the song's in the key of C you may think you're improvising in D Dorian, but you're not.... you're really playing C Ionian (aka C Major). Because you're in C.
The actual notes may be the same, but it's all about how they relate to the underlying key.
(So if you wanted to improvise in Dorian, it should be C Dorian, not D Dorian)
Does that make sense? Apologies if it doesn't.
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you don't *have* to... i mean you can just blatantly rip off the guitarists you like (actually i'd advise doing that whether you learn modes or not :lol: "talent borrows; genius steals" and all that).
and i mean depending on what type of music you're playing or what key you're in, you might rarely ever need modes.
i think it's also worth pointing out that the major and (natural) minor scale technically are modes.
but i mean it's not that hard to learn modes.
play the major scale from E to E. that's ionian.
then play the same notes, but instead of starting on E, move up to F# and play through to F# again. that's dorian.
keep moving up one note at a time in this way and you'll go through (if i remember correctly :lol: ) phrygian, lydian, mixolydian, aeolian (natural minor) and locrian.
you can do the same thing with the harmonic minor scale. phrygian dominant is pretty cool in it (can't remember which mode it is, i could work it out but i cba, but it has a flat 2nd, sharp 4th- malmsteen uses it a lot).
but that's really only how to work them out- you should treat them as separate scales with their own sound. phrygian sounds spanish (or br00tal with distortion), lydian sounds dreamy, etc.
of course, in my own playing it's minor pentatonic or blues like 99.9% of the time :haha
I still can't work out wtf they are. For example C major and D dorian contain the same notes, so there is no difference from what I can tell. Still looking for a simple explanation and believe me I have searched. They would have to add to your toolbox if you work them out, if you do let me in on the secret ;)
you start and end on a different note, so they sound different.
"home base", for want of a better term, is a different place. the place where the music wants to resolve itself to is different. and the intervals (at least some of them) are different, which makes it sound different.
I mean teh natural minor and the major scale contain the same notes, but they sound very different. exact same idea.
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I still can't work out wtf they are. For example C major and D dorian contain the same notes, so there is no difference from what I can tell. Still looking for a simple explanation and believe me I have searched. They would have to add to your toolbox if you work them out, if you do let me in on the secret ;)
Play a D note and then play the D major scale over the top of it.
Then play a D note and play D dorian over the top of it. You should hear the difference in the modes easier than trying to pick out the difference between C major and D dorian
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I still can't work out wtf they are. For example C major and D dorian contain the same notes, so there is no difference from what I can tell. Still looking for a simple explanation and believe me I have searched. They would have to add to your toolbox if you work them out, if you do let me in on the secret ;)
Play a D note and then play the D major scale over the top of it.
Then play a D note and play D dorian over the top of it. You should hear the difference in the modes easier than trying to pick out the difference between C major and D dorian
this is 100% true
although the notes in C major and D dorian might be the same, the weight each of the notes have is different.
for example - when soloing in C major, you'll probably play alot of the note C itself - maybe even start and stop your lead line with it. you might use D as a passing note, but it won't necessary feature hugely - you'll be playing to take advantages of the features of the major mode - generally considered to have positive uplifting qualities.
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So yes, C Ionian (C Major) has the same notes as D Dorian, E Phrygian etc. ....but because you're starting the "pattern" at a different note, the intervals are different and therefore the "feel" is different when you play over a chord progression in the appropriate key.
When I improvise lead I start and finish licks anywhere, just as long as I'm just using the notes in the scale. Thus you couldn't tell if I'm improvising in C major or D Dorian. Maybe it is the accompanying chords that make it a mode?
As phillys getting at - all the modes are just the major scale. They each just start on the next note of the major (which is ionian)
If you play out 2 octaves of the major scale/ionian in any key they you have just played through all the modes as well. The notes are the same, the order is the same, the key is the same.
So, there are two important things to understand - All the modes are in effect in the key of whatever the relative ionian to that mode is. Is usually presented as C, so when youre playing in E Phrygian youre still really playing C Ionian, just starting in a different place in the scale.
The other thing is the order of the modes: when playing in any given mode you can move to another provided you move to the right relative tonic for it. So if youre in B Phrygian, you can goto A dorian, for example, if you so desire. You cant play A locrian. Well, you can, but it would sound cr@p. Probably. Musically it works, because its all the same notes, in the same order because all the modes are just different start and end points on the same scale (major/ionian).
This all allows you to use the modes as 'flavour' and colouring for changing mood while remaining in key. They are all the same scale insofar as they are the same notes, and though the modes in the same key (all modes in E, for example) sound very different, the modes all in the proper order are all consonant with each other and so long as you get the right tonic for each one, because all the notes are the same and in the same order, you can play any/all of them over anything in straightforward major or minor (given that major is ionian and minor is aeolian).
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I don't bother with all the relative scale stuff (ie playing D maj scale over a C maj chord) when I'm improvising although sometimes I do when I'm trying to compose.
I find it easier and quicker to play from the root note and add the intervals I want or play altered and extended arpeggios and any other chromatic bullshiteee that comes to mind.
And as has been said, for the orignal question, you don't really need modes to solo.
Major and minor scales, pentatonics and chord tones should be fine untill you decide you want to try something else.
and learning intervals couldn't hurt either.
I still can't work out wtf they are. For example C major and D dorian contain the same notes, so there is no difference from what I can tell. Still looking for a simple explanation and believe me I have searched. They would have to add to your toolbox if you work them out, if you do let me in on the secret ;)
Play a D note and then play the D major scale over the top of it.
Then play a D note and play D dorian over the top of it. You should hear the difference in the modes easier than trying to pick out the difference between C major and D dorian
If you do decide to tackle modes this is indeed the best way^
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WARNING: Long AndyR post ahead :lol:
Sorry folks :roll:
Even some hardcore jazzers don't bother with modes, they look at everything chordally. They may play something that someone would call a mode but they are arriving at it from a different place with a different mindset.
This stuck out when I was reading through.
I actually look at everything chordally. I think in terms of melody lines (vocals, solos, riffs even) modifying the harmony of the underlying (or implied chord). So if the chord is a C, and I sing or play a D, the chord is now a Csus9 (or 2 if you want!). If you do the blues dunga-dunga riff with the pinky finger, you're adding a 6th with the pincky, so I think in terms (if the chord is E) of an alternating E and E6 sequence.
All of my lead playing is based on these principles. First off, what's in the chord - I can play any of those safely, but on their own you'll be hard pressed to sound interesting. So you add the groovy notes as passing notes - 4ths, 6ths, 7ths etc... plus any note you fancy trying. I also tend to pay attention what key the song is in, what the next chord is, and whether the song's key is major or minor (that's where the modes actually provide the theory to "explain" it all)- you tend not to change the key of the melody line everytime the chord changes (unless you want to, that is!), so the notes you can safely play over an A chord in the key of A are slightly different than the ones you play over A in the key of D.
To kick this off originally, I did learn what turned out to be the minor pentatonic thing - but I found it myself. When I started learning to improvise "blues" lines, I recorded a bunch of twelve bar in E. Then I experimented with all the notes in the first 3 or 4 frets to find out which ones seem to work and sound "solo-like" when played in little phrases.
I can still remember the ones I found - E, F#, G, A, Bb, B, (C), D - the C is in brackets because I liked it a lot but it seemed you had to go careful about when you used it, C# was an option too. There was no possibility of bending strings on this acoustic, so that's probably why I had Bb in the list.
Then... I got a white crayon and marked the fretboard with every occurence I could find (and reach) of these 8 notes.
I spent a couple of weeks (I was 16 or 17) fiddling around with this looking for ways to get from note to note easily, finding little phrases that sounded good to me. I ended up finding a position at the nut, using frets 1, 2 and 3 (and therefore duplicated at the 12th fret), and another at the 7th fret with different shapes. It was obvious to me you just moved these up and down the neck if the key changed. I got away with just this lot for about 5-7 years and loads of gigs :lol:
I could use more notes in the scale if it wasn't blues - I was already comfortable with major and minor scales, and the white crayon exercise had taught me where a bunch of notes were on the fretboard, so my brain soon learnt the rest.
It took me years to figure out how to be comfortable with Major pentatonic - you kind of need that for Rock and Roll tunes and Country (which was cropping up), but I just fluffed my way through it - if the song's in A, play the shapes you know for F# minor pentatonic, no-one seems to notice the difference! :lol: (Sh1t! I just realised I still do this 20-odd years later).
Meanwhile I was writing and arranging songs - so chords and harmony were always in my mind. Somewhere I read that chords are just the notes of scales stacked on top of each other and vice versa... so that encouraged me to pick the side I understood - harmony - and do it all from there.
The modes, which I don't find that helpful myself, do actually describe all this stuff - but I find it so much easier if I can hear something I like first and then get told why it works. When I looked into the modes (I was about 19) it was all a bit dry and mathematic, I liked it for that reason, but I couldn't hear no music coming out of the theory!!
I think you're absolutely right, Andy.... but remember not everyone has ears as good as yours, so learning a few things by rote can possibly help. Sometimes. :wink:
Hopefully some of the waffle above shows that I did actually learn it "by rote" - it's just that I picked the notes that I wanted to learn myself :lol:
I have a real feeling that I can improvise at will partly because of this. I wanted to learn how to "talk" with melodies and chords, so I went by sounds and what felt good. Once you've learnt a few phrases and tricks of your own you start hearing the relationship to other people's phrases, you understand what it is they're doing, and you can nick theirs as well. Other guys I knew at the time were getting lessons or whatever (I don't remember modes being the "in thing" they became later, though), and to my amazement I've found that some of them still can't improvise, even though they'd like to be able to. They know far more academic music theory than I do, but if we're chugging along on a chord, they're not able to suggest what a groovy next chord might be (so we're stuck in twelve-bar land until I take over and start yelling interesting chord changes at them :lol:).
EDIT: Lezard said it all much more succinctly while I was rambling. Especially this:
I find it easier and quicker to play from the root note and add the intervals I want or play altered and extended arpeggios and any other chromatic bullshiteeeeeeeeeee that comes to mind.
And as has been said, for the orignal question, you don't really need modes to solo.
Major and minor scales, pentatonics and chord tones should be fine untill you decide you want to try something else.
and learning intervals couldn't hurt either.
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+1 to andy and lezard.
Intervals are all there really is. Understand those and youre more or less set. karl sanders, a guitarist I hold in very high regard (Nile) was once asked what scales he uses; he rattled off a few, but added something like 'come up with a melody and make a scale from it' then use that to play around with. Its the sequence of intervals that matter, it doesnt matter what you call the sequence. If you know the intervals in a chord, you can play over it easily without knowing what scale youre using (though the chances are excellent that whatever you come up with, it already exists as some obscure scale or other).
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Also, andy, you $%&#ing dare stop writing long ass posts and I'm gonna find where you live and replace all your fenders with BC riches. The pointiest ones.
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I agree that it is not crucial to know modes. OK it may not be too bad a thing if you do know them and can name them but thats not going to turn you into a great player (not that I am a great player by any stretch of the imagination). I think Andy has said it very well. I take a similar approach which is these days known as the chord tone method though I didn't know that until fairly recently. Its all about, for me, thinking about the notes that appear in the chords I am playing over and finding the sweet ones. It means using those tones from the chord sequence in a way that pleases you. I am hopeless at explaining myself unfortunately.
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The best way to understand the importance of the modes and the different "flavors" they bring to your solos is to hear the differences. This video is perfect for that, I really recommend watching it:
http://www.youtube.com/watch?v=jE0qLKHnflo
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:lol: @ MDV - no wurries, I don't think I'll ever manage to curtail it!
Hey! My "quote" button has just failed - a while back Dave-mc said his had stopped working and I was thinking "driver error" ... obviously not :lol:
38th - explained perfectly.
Actually, I've learnt something in this thread. Although I typed a load about it, I've only just learnt that I'm not alone in this. It was because of tomjackson's post that I started off. And now I find others think "chords".
I would (and expect you others) recommend EVERYONE investigate a bit more about chords/harmony if you don't know it already, what they sound like when you add more notes and why they work. Because 1) it seems to give you a lot of freedom, and 2) for "theory" it seems a lot more relevant and a lot less abstract than some of the other stuff does (to me, at least, anyway!)
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I agree when it comes to learning about chords.
It's all about the relationships between the notes being played at any given moment, and learning about those relationships and the different sounds/feelings they create is one of the most important things you can do to make your guitar playing truly musical.
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What Andy said.
Understanding modes is fine. Playing them is fine, good exercise for the fingers.
But understanding the structure of the song is way more important.
I like artificial modes or scales - diminished or augmented. It's a great device to be able to play a relatively melodic bluesy solo, then put a quick diminished descending run in the middle of it.
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I like artificial modes or scales - diminished or augmented. It's a great device to be able to play a relatively melodic bluesy solo, then put a quick diminished descending run in the middle of it.
true dat! I love using symmetrical scales to change between pentatonic positions.
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Hey! My "quote" button has just failed - a while back Dave-mc said his had stopped working and I was thinking "driver error" ... obviously not :lol:
haha
but yeah it happens on me all the time. then 30 seconds later (or the next time i log in) it's working fine. :?
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you could learn to play modes, or sit and watch this hot lass shred, the choice is yours... http://youtu.be/Vkj4bU8lozc
and she likes The Stooges too, omg!!! http://youtu.be/B5keHbjN2Gc :lol:
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Hard to explain (especially when I barely know what I'm talking about), but:
If the song's in the key of C you may think you're improvising in D Dorian, but you're not.... you're really playing C Ionian (aka C Major). Because you're in C.
The actual notes may be the same, but it's all about how they relate to the underlying key.
(So if you wanted to improvise in Dorian, it should be C Dorian, not D Dorian)
Does that make sense? Apologies if it doesn't.
That's probably the best explanation I have heard to date. Thanks a lot.
Also thanks to all the other contributors with their detailed posts. I will examine them closely. It was the fundamental meaning of modes that always eluded me.
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You could do what I did. Learn the pentatonic/blues scale in all 5 positions, then try adding 'extra' notes in songs and see if they fit. That's basically adding the notes from the modes but without the theory ;) Works for me so I can get by
I do this as well. Always think about learning the modes but to be honest I don't care enough to give it a go :lol:
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Lydian is fun to learn..... go on you know you want to.
Turn up the gain, palm mute a C major chord on the A string and then from time to time play the 7th fret on the B string with your little finger. Instant rip off of flying in a blue dream by satch.
God I'm bored
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Very interesting thread.
My conclusions from speaking to many musicians is that modes seem to be an obsession unique to guitar players.
One of the bands I play with have a horn section, all really good players (much better than me at soloing of jazz changes), really into jazz, and have studied music at college.
Chatting with them, they seem to fine any discussion of modes very strange indeed, and not really relevant to how they approach playing through changes.
In reality, there isn't that much Western music (Flamenco being the major exception) that is genuinely modal.
If you play notes from the D dorian scale over a Dm you aren't playing modally unless Dm is the key centre AND the harmony of the rest of the piece is derived from the D Dorian scale.
My approach, such that it is, seems to be similar to many on this thread, and is based more on chord tones and "extra" notes rather than looking at scales.
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Chatting with them, they seem to fine any discussion of modes very strange indeed, and not really relevant to how they approach playing through changes.
I believe that they are more often used over static vamps or very simple changes in a jazz and particularly a fusion context, "So What" being the classic example.
I guess it's so popular on guitar because it's just so damn easy for us to transpose things.
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Chatting with them, they seem to fine any discussion of modes very strange indeed, and not really relevant to how they approach playing through changes.
I believe that they are more often used over static vamps or very simple changes in a jazz and particularly a fusion context, "So What" being the classic example.
And also an example of quartal harmony.
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not to mention an example of Miles and crew being bloody awesome. http://www.youtube.com/watch?v=edgjBDXH2ks
Read a little while back that he was studying the "Lydian Chromatic Concept of tonal organisation" arround the time it was recorded.It's pretty intresting stuff/mindnummingly dull and confusing, depending on how much you like your theory.
Quartal harmony's another thing that seems to be comparatively easy on guitar, what with it being tuned in 4ths to begin with. Sometimes I think we've got it too easy....until I try to play in public haha
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not to mention an example of Miles and crew being bloody awesome. http://www.youtube.com/watch?v=edgjBDXH2ks
Cheers, I really enjoyed that. I'm off to buy a smoking jacket and roll up some Jamaican woodbines 8)
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The most important thing is your ears - use them first. If it sounds good it is good.
These are words of wisdom
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not to mention an example of Miles and crew being bloody awesome. http://www.youtube.com/watch?v=edgjBDXH2ks
Cheers, I really enjoyed that. I'm off to buy a smoking jacket and roll up some Jamaican woodbines 8)
The only "Drinkify" that's even close to accurate http://drinkify.org/miles%20davis 8)