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Poparad

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About Poparad

  • Birthday 04/18/1983

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    Akron, OH

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    Musician

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  1. Probably a mistake. There's an off chance there might be some reason why he would be replacing the A minor chord with an F major chord, which would probably be mentioned in the text somewhere. Otherwise, yes, typo.
  2. I don't have any experience with the first two, but I did work through the Leavitt one a lot when I was in college. It's pretty dry, and the musical examples are a bit dated sounding, so it was the only book I've used that actually focused on position-specific reading. Generally with my students, I just have them work on actual songs that are in notation only, and force them to figure it out (with assistance, of course). Usually simple things first, like lead sheets to jazz standards, or other styles of music. So not chords or guitar parts, but melodies.
  3. Here's a quick article on it: http://www.guitarcommand.com/minor-arpeggios-shapes-licks/ Shape #2 is the common one most people start with. I'd leave out the two notes on the 6th string as they make the shape awkward to play, and most of the time get left out anyway for two reasons: 1) when soloing, you tend to stick to the higher range to cut through the mix and 2) the root in that shape is on the 5th string anyway, so that makes for a more natural starting point. Now alternate that minor arpeggio with a diminished one: http://www.jazzguitar.be/blog/how-to-play-diminished-arpeggios/ Bam! You're a neoclassical shredder. Well, almost.
  4. Yes. However, because of the symmetry, you can start the pattern not just on the root, but also every 3 frets, too. So in A, you can start the pattern on A, C, Eb, or F# and have the same diminished scale. That's what it means to be symmetrical. There are two uses for the diminished scale: The w-h version for dim7 chords and the h-w version for altered dominant chords. If you look up stuff online about the use in jazz playing, you'll find lots of stuff about the diminished scale, as it's a widely used favorite. For more of a blues slant, listen to Oz Noy. He makes great use of jazz sounds in a blues context, and diminished is a sound he uses a lot.
  5. Because the diminished scale is symmetrical (built on a repeating pattern of two notes), there is really only one position of the scale (well, technically two, but the second one is far less comfortable to play). The whole-half diminished scale is really easy to visualize on the guitar. If we play an A w-h diminished scale, start on your low E string on the 5th fret and play A B C on frets 5, 7, and 8. Then on the 5th string play D Eb F on frets 5, 6, and 8. That two string pattern is the whole thing for guitar. Take that two string pattern, and on the 4th and 3rd strings, move over to the 4th fret and play the same shape. Then stay in the 4th position and play it again for the 2nd and 1st strings. That's it. Every pattern on the guitar is identical to that, just 3 frets higher or lower. If you move up to C on the 8th fret and start over, it's the same scale. Move up to Eb on the 11th fret, again, the same scale. F# on the 2nd or 14th frets, and then back to A on the 5th or 17th frets.
  6. I've already warned you about mocking people about the music they're interested in. Any more of this and I'm banning you.
  7. The point of the Lesson Loft is to share information to help other people, not to belittle people because they like to play styles of music you don't care for. The attitude here should be constructive, not destructive.
  8. Man, there's some awful advice in this thread. Whenever you're trying to write within a style, you have to have a solid understanding of how the style works. Learn as many lead parts as you can from other songs, but don't just learn the lead parts. Learn the rhythm guitar/bass parts that happen underneath those lead lines and compare them to see how they fit. What key are they in? When the rhythm is playing an Am chord (or implying it with power chords or a riff), which notes does the lead part use? Which notes happen at the beginning of measures or are held out longer? Which ones are just used quickly? Which scale notes are just skipped over entirely? What rhythms are used, and are they repeated? Identically or with variation? This is the process to absorbing ideas from any style and making it your own.
  9. There's not always just one correct way to pick something. Most of the time it depends on what your aim is, musically, or the type of lick you're playing, or even just the tempo that you're playing it at. That said, the author's picking most likely has a reason and logic to it. He wouldn't have put the time into notating all the picking if it were random. I'd go with what's in the book, but keep in mind that it's not an absolute "this is the only correct answer" thing, but rather, one good solution that will work. Typically, in most reading books, the picking it based upon the rhythm. For music where the 8th note is the smallest subdivision, downstrokes are for notes on downbeats, and upstrokes are for notes on upbeats. For music where 16th notes are the smallest subdivision, the picking follows the subdivision - 1 e + a = down up down up. Where/when the note falls in the measure dictates whether it's an up or a down. That's one main picking approach. The other is economy picking, which is simple in principle, but complicated in application, where the picking can break the above listed rules depending on how you're changing strings. This approach is compatible with strict alternating as mentioned above, and can be blended in as "exceptions" to the rule, on a case-by-case basis. Again, I'd go with what's in the book for simplicity, but keeping in mind it's not the only solution. Ideally, you should be comfortable picking things in a number of ways, if need be.
  10. This should get you a lot of mileage: 1) To expand your basic vocabulary, study simple triads, mainly on strings 1-3 and 2-4, although all string groups is best. However, the top two sets are the ones you'd use most when being "melodic." Learn to play all three inversions (root, 1st, and 2nd), and be able to play all 7 chords in a key with these simple shapes. 2) For 7th chords, look up "drop 2" and "drop 3" voicings. There's a lot written about them all over the internet. There are more drop types than this, but these two types are the bulk of what most people use, and you'll get very far just learning these two. The inversions of drop 2 are very useful, although the inversions of drop 3 aren't so much. Ultimately good to know, but you can put them a little further down the list of priorities. 3) Lastly, take both of the above two and simply change the top notes of each. Move the highest not up one note in the key or scale you're playing it. Move it one note down. This is the real secret to being melodic with your rhythm guitar playing. It's not about knowing a million shapes, but being able to manipulate a few shapes very well.
  11. I hear the low open E string, maybe one other note, possibly the higher E on the 7th fret of the 5th string (from the previous octave played). The low E is really sharp, from hitting it really hard with the pick. Add that to a more in tune higher E and some heavy fuzz and the result is something that sounds more complex than just a slightly out of tune octave.
  12. I use Tapatalk on my phone. Mark's forum is one that I view regularly with it. Which has me wondering, how is Mark posting in this thread in the office, if he's not an admin/mod? We also have a flood of spam posts in here that should obviously not be here since general users don't (shouldn't?) have access.
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