Theory that lends itself to application . . .

[Brian Colmery]

Hey guys,

 

I'm a keys player that's been playing guitar for four or five years now, and it's starting to take precedence. I've pretty much learned everything myself, which has its ups and down points, namely theory stuff. I know all the intervals and the regular scales and church modes and such. What I don't know is what scale to use when, especially with guitar . . . I know there are Jazz scales and blues scales and other scales of that nature. Do you guys know any good books (or want to write short ones of your own in subsequent posts) that would instruct me not necessarily on every chord/scale known to man, but on which chord/scale goes with what type of music?

 

Sorry if I'm confusing, I'm a little confused myself!

 

Brian

[desmoines_bluesman]

http://www.guitarworld.com/0100/framesets/lessons.html

 

Go to the Satriani lessons. He seems to understand modes in terms of genres/applications better than 90% of players. He may have some additional info on his Web site.

 

You might also pose the same question you ask here in a new thread with attn to Scott Jones. His HC name is sjonesmusic, and I believe that's also his Web address (www.sjonesmusic.com). He offers lessons on here from time to time, and checks this forum regularly.

 

Good luck! (I certainly couldn't explain it that well.)

[desmoines_bluesman]

Well, I guess I can help you in one area - the blues. Much of it is based the pentatonic scale. For instance:

 

E 5--8

B 5--8

G 5-7

D 5-7

A 5-7

E 5--8

 

This is the pentatonic in A. There are several other "boxes," or fret patterns, that are based on scale fragments that famous blues musicians use, such as the Albert King box or B.B. King box. Other forumites can show you these, or you can do a search for them on the Web.

 

You can also use scales derived from 7th chords, like E7, A7 and B7.

[sansunzeste]

E 5--8

B 5--8

G 5-78

D 5-7

A 567

E 5--8

 

I think he meant this. (same thing but with an added #4/b5)

[StratKat]

Hi ya Brian!

 

I think the better thing to do in reality is to train your ear to the different types of scales that exist (Major, minor, harmonic, inharmonic, pents, altered pent/blues) and the like. Then when you hear it in your head you can identify the correct scale for what YOU think should be played over the progression.

 

For example, i know automatically when any of the above will fit with my playing style in whatever genre im imitiating at the time. SO when i hear a progression and the feel lends itself to a particular emotion or sound i just pick the scale form that my ear tells me to use.

 

People who always use a set of scale rules for progressions tend to limit themselves ussually to playing the scale proper to the chord form. Major scale to major chord, minor to minor, etc.... Its seldom in bars i ever hear even a relative minor to a major on purpose. And im speaking of jam sessions mostly, not cover tunes.

 

When you can identify what a scale is by ear (after learning them) and also WHAT specifically made that scale sound the way it did) then you can easily mix and match scales to chords on the fly.

 

Generally though for beginning lead players i tell them to do just the opposite at first. Maj to maj, min to min and so on. Then introduce them to relative minors, then the pents and melodic/harmonic minors later.