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electrotar

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  1. Love to hear it! You def don't NEED to know what it is you're playing. As you say, knowing "the sounds" is all you need. I always feel that you may as well look at those "sounds" and seeing what they are, harmonically. It's interesting, and will expand you're knowledge and ability to find the sounds you hear, more easily, in any key...etc. cool yeh, well its nothing special 1st tiem i try tapping ill post it later dude,,,
  2. No, it's fine lol Ok cool i dunno what im doing but i know the sounds im going to make lol i can post up a tune i made later?
  3. Learn chord constuction, and always know what it is you're tapping! Don't tap based on a scale. but i play by ear, this is bad?
  4. I dont really know any rules or whatever, I just do 3 finger taps based on pentatonic scale...and ad lib..I can make it sound good but I have no clue what im doing really lol. Any guides, recommended books or advice?
  5. Any clips? I'm rREally curious about how well you were able to learn those 100+ songs. lol I know about 1000 songs nevermind 100. I have like 3 oasis tab books, a few beatles book. 100 beatles song book, Paul Weller book, RHCP, LEz ZEp, Jimmy Hendric, The verve,,,,,that is alreasy about 300 songs. Then using ultiamte guitar I know/learn chords/guitar to at least another 500+ songs.... Its nothing special...anytime I hear a song I like or know in last 5-10 years I check internet to see chords...I buy an album I get tab on internet....I know chords to every dingle oasis song alone and every RHCp song....that alone is xxx amoint of songs. I also learned my fav 60-80s music songs thats at least 200+ songs also.
  6. ^^hey thats a good point...I really only learned shapes of chords. Which chords are in which key. Where on the fret I can play these chords. A few scales to make solos with and their postitions on the frets. So yeh I learned a bunch of shapes and patterns and minimal theory. It wasnt until I started to learn piano/keyboard I learned much more theory such as chords are made of three notes/triads..CAn you belive I had played guitar for years, learned 100+ songs even to the level of hendrix and LEd Zep and di not even know a chord was made of three notes. Playing and learning guitar just does not require music theory at all. Whereas learning the piano was moreso teaching me theory at the same time. I have since bought some theory books so have some theory of music knowldeg now but not much. I was a guitar player not a musician. I wonder if having more theory would make it easier to make my own music/songs?
  7. First, please don't think that I was coming at you personally. I have a habit of reading threads, then focusing on what I feel the group could benefit from. You happened to ask a question that I felt would be helpful for everyone to focus on. As for your question. Kind of but no. This is not about styles, but it is about sounds. Do you know the difference between E7 and EM7? That would be a start. If you do, great..If you don't look at these. x79997 is an E bar chord. R 5th r 3rd 5th x79797 would be E7. R 5th b7 3rd 5th x79897 is EM7. R 5th 7th 3rd 5th Focus between the two chords E7 and EM7. Try the Pent ideas I suggested, if you already haven't. Hear how they sound against each chord. Then you can decide what and how you approach them in a tune. Notice how the 1st chord E, does not imply a 7th or a b7. That is why it can be used to sound either way, depending on the context of what is being played in the bass, melody etc.. Do you think musicians that make songs think about these things when they make the songs or they dont know they just do what soudns good or they do know but instictiveky so as not need to think about it specifically.
  8. It depends on context. If you played E-7 pent over an E Triad, and it sounds good, you are invoking E7. In turn play C#- pent against EM7 and tell me how that sounds. Also play G#- pent against EM9. How does that sound? It is all about whether the 7th is natural or flatted as to which sounds best over a given situation. Other ideas come into play as well, but that is another story. E- pent: E G A B D against E7 gives you the root, #9, 11, 5th, b7. So when you are playing an E- Pent against E7, you are really playing E7 #9 Sus. The minor 3rd of E minor is really the #9 of E7. Dominant chords are full of tension and can be altered very easily and effectively. You can use b9 #9, b5(#4) #5(b13). You may also run past the M7 as a passing tone, blues and bebop do it all of the time. Play the E altered scale (Fmm), (E F G Ab Bb C D), against any of these tensions on an E7 and see how they sound. Notice the E altered scale, (7th mode of F melodic minor), gives every tension I described, except the M7. Remember Major scales and chords are Major, no matter what other altered note is in it. If it has a M3rd it is Major. Minor scales and chords, are minor if it has a b3rd. These scales are inner related through their parent key hierarchy. Modal interchange, Parallel and relative minors, come into play as well. That is why I could play E altered (Fmm) against E7, and we know that there are no F-7 modes related to E7, parent key A. I hope that helps. Well thats all a bit above my head atm as im not that clued up theory though i understand what u are saying. I just meant in sound and feel. Like yeh youd play minor pent to make it rocky or yuo play major pent to make it jazzy? etc..
  9. Ok i tried to play Em pentatonic over a E rock backing track sounds cool. Then I try solo using C#m (E major) pentatonic and it just sounds crappy. WOnder why this. THe minor notes contrast the MAjor key? Using major scale is too cluttered with same notes and no contrast?
  10. C major rhythm? I think he's referring to chordal progressions in the key of C. Then he asks about the melody notes over such progressions. Yes thats what I mean. CHrod progression in C .....not progression in Cm.
  11. Not sure if this is what your asking but I'll take a stab. . It's all about the mood, feeling, vibe youre trying to get across.... Try this....record yourself playing a 12 bar blues in the key of C major . Go back and improvise over your progression using the C Blues scale (which is the C minor pentatonic with an extra note...the flatted 5th) Now go back and play over the same progression this time using the C major pentatonic scale... Can you hear the difference? yeh thats what i mean I guess ill test for myself but from what I see. BLues they always play the minor notes Rock they most often solo with the major notes (relative minor pentatonic that is)
  12. what the hell is a C major rhythm? Basically a song in the key of c major!!! WHen we play blues scale that is C minor scale notes over C major key!! In rock though they often play the major notes (relative minor) over the Major key...eg Song in key of G and play Em pentatonic. (NOT Gm pentatonic) What is difference in sound and why chose to play the minor scale over a major key? EG.. Cminor notes over C major key/chords...Its bluesy?
  13. Why would one choose to play C ajor sclae over C major rather than C minor? The blues scale is based on the minor but the Blues rythmn is major? So eg in blues you have C major rythmn but then C minor notes on top. So why does one choose to play c minor/blues or C major? I notice most often in rock the Relative minor scale is played which is just the major right? eg. A rock song in G will prob most likely have solo from Em pentatonic (which is notes from G scale).
  14. ha and take this for exmaple...the ultimate example of modern day how image sells over anything. I youtube vivaldi and get this g65oWFMSoK0 Now we have some sexy lady playing vivaldi...is this because she is the greatest violinst out there? ha ye right!! NO she is sexy so she is the famous one making money even thugh she prob not the best at violin
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