Members gennation Posted April 17, 2006 Members Share Posted April 17, 2006 It focuses on how each of those guys can turn their modes into new Pentatonic scales, or scale fragments. It allows them to play Diatonically, but not sound like they are running up and down scales. By using this concept you can add more Interval spacing to runs/licks/phrases/etc...without sounding so "scaley". It's such an easy concept and can reap rewards immediately. In the furture I'm going to expand it across all of the Modes, but do explain how you can do that yourself. I used Lydian in this case as it's a common sound that those three guys use, some more than others, but nontheless. Check it out, it's just my theory of stuff as usually, but you can do it to every mode and every other scale also. It'll give you a fresh perspective on old things and give you a lot less of a "running up and down scales" sound. http://lessons.mikedodge.com follow the links the 3 part Applying the Lydian Mode. (it needs a new name too, shortly I will have it all under it's own link too) This is fresh off the grill and being served now I should add that this song is NOTHING but these Pentatonic-ized mode patterns up and down the neck. I wrote this song based on nothing but this idea. It's like "you can play like Vai in 60 minutes" Enjoy. Link to comment Share on other sites More sharing options...
Members joenovice Posted April 18, 2006 Members Share Posted April 18, 2006 Damn Genn!!!! Lovely.... fantastic....... When are you going to publish the book? I've seen enough good material from your site to make several instructional books. These scale/fragments/modal ideas are great. Good playing as well. Link to comment Share on other sites More sharing options...
Members red|dragon Posted April 18, 2006 Members Share Posted April 18, 2006 copy paste save asnice job geny!Sure, some people think this is a "Dorian pattern", but with E as the tonal center it's an E Lydian scale. ii, IV, V and vii = all the same??? Link to comment Share on other sites More sharing options...
Members Kinetic Posted April 18, 2006 Members Share Posted April 18, 2006 Nice one, it's all straight forward as well unlike so many internet tutiorials. Good job. Link to comment Share on other sites More sharing options...
Members Kinetic Posted April 18, 2006 Members Share Posted April 18, 2006 Oops, should point out that while the first chord is an Eadd9 the second is an Esus2(#11), the third an Esus2 and the fourth another Esus2(#11). It's not the 2nd/9th that makes the sound but the suspension of the 3rd and the addition of the #11. It's the ambiguity of the suspended chords along with the tension of the #11 that makes them so playable. We could debate whether the chord is an Esus2(#11) or whether an Eadd9sus#4 could exist but regardless it's not an Eadd9/#11 because there's no 3rd.Still a good job Link to comment Share on other sites More sharing options...
Members Virgman Posted April 18, 2006 Members Share Posted April 18, 2006 Muchas gracias, Senor Mike.Me loves pentatonics. Link to comment Share on other sites More sharing options...
Members Kinetic Posted April 18, 2006 Members Share Posted April 18, 2006 I think the best bit of info in there is thisAt this point what you should take away from this is that 9 our of 10 times, people like Johnson, Vai, and Satch (who are all known for using the Lydian scale heavily) use LESS notes to a scale, rather than MORE notes in a scale.It took me years to discover that. Link to comment Share on other sites More sharing options...
Members gennation Posted April 18, 2006 Author Members Share Posted April 18, 2006 Hey guys, thanks for recieving this so well It is a cool and very applicable idea.I plan on tabbing out all the other possible scale fragments that I've found, and showing cool ways to connect them. Then also showing examples in jazz, rock, blues, fusion, country, etc...These things fall under the fingers so well it's not hard to come up with some really nice sounding stuff.And Kenetic, you are correct with your "sus" observation. I think I was calling it an Eadd9/#11 as a toggle/ornamental type chord for the Eadd9.But yeah, even if I wrote it as Eadd9/#11(no 3rd), It's would make more sense as a "sus" chord. Thanks for catching that. Link to comment Share on other sites More sharing options...
Members Kinetic Posted April 18, 2006 Members Share Posted April 18, 2006 Originally posted by gennation Hey guys, thanks for recieving this so well It is a cool and very applicable idea. I plan on tabbing out all the other possible scale fragments that I've found, and showing cool ways to connect them. Then also showing examples in jazz, rock, blues, fusion, country, etc... These things fall under the fingers so well it's not hard to come up with some really nice sounding stuff. And Kenetic, you are correct with your "sus" observation. I think I was calling it an Eadd9/#11 as a toggle/ornamental type chord for the Eadd9. But yeah, even if I wrote it as Eadd9/#11(no 3rd), It's would make more sense as a "sus" chord. Thanks for catching that. Yeah, that last one's better because the chord sound is not dependent on leaving out the 3rd.Again it's a very good tutorial because you get deep into the subject matter rather than just saying "Use the E Lydian scale and play these licks" Link to comment Share on other sites More sharing options...
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