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Poparad

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Everything posted by Poparad

  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.
  13. I know they're affiliated with the National Guitar Workshop in some way, but I'm not sure how much. NGW went bankrupt in the spring of 2012.
  14. Boss PS-6 - Like new, velcro on back. $125 http://i50.photobucket.com/albums/f336/poparad/2013-03-31200702_zps909a7f12.jpg Boss TU-2 - Minor scratches, velcro on back. $50 http://i50.photobucket.com/albums/f336/poparad/2013-03-31200818_zps49b2b7e6.jpg Boss NS-2 - Like new, velcro on back. $70 http://i50.photobucket.com/albums/f336/poparad/2013-03-31200746_zps1e28e026.jpg EH Metal Muff - Great shape, no noticeable scratces, velcro on bottom, no box. $50 http://i50.photobucket.com/albums/f336/poparad/2013-03-31202105_zps7f8df53d.jpg PM if interested.
  15. I'm not a classical guitarist, but I read music all the time. I do a lot of musical theatre work, which is some of the most intensive reading gigs out there. I also use the skill to learn music out of books all the time, and also to write down my own songs, especially for playing in bands that aren't guitar-centric.
  16. Same here. I never expect anything, but I always appreciate it when I do receive something. Most often it's gift cards to coffee shops or sometimes chocolates or other holiday treats. Usually nothing expensive or extravagant.
  17. That's the right chord progression. The "extra" thing that you're hearing on the C chord is the electric guitar part playing the arpeggiated chords. The chord voicing in that part is C major, but with an F# add on top (making it Cadd#4, though if you include the 7th, which fits really well here, it's the far more common Cmaj7(#11) chord). The guitar voicing, from low to high, is G C E F#. In a couple spots the F# is bent up to a G and back and forth a few times.
  18. Originally Posted by PhilGould I now want a new guitar...playing Holdsy on an acoustic isn't going to work! I don't know, he manages to still rip on acoustic:
  19. Any scale that you would choose for the melody is completely tied to the scale being used for the chord progression. If the song you're playing over isn't using phrygian for the chords, then you can't use phrygian for the solo. If the chords use phrygian, then you can only use phrygian for the solo to fit the progression. You can't just arbitrarily decide to play a phrygian scale for a lead part if the rest of the song isn't also derived from phyrgian. That's probably a large part of why it doesn't sound right when you use it. Also, both phrygian and phrygian dominant scales involve some very tense notes (the b2 and b6 of the scale) that if played at the wrong time or in the wrong sequence of notes, won't sound right. Another important aspect of the sound you're hearing is not the note choices, but the tone of the instrument itself (a nylon string acoustic guitar) and the rhythms and time signatures used for the grooves that the entire song is built around. Spanish music is full of a wide variety of rhythmic grooves in different time signatures with different accent patterns (and each of with is usually associated with a dance of the same name - i.e. Rumba, bolero, fandango, etc).
  20. Your intro/verse looks pretty good to me. The part at 1:03 to me sounds like: Em, Cadd9, G, D/F#, Asus2/Asus4/Amaj9 (x02200, x02230, x02100), Fmaj7 (xx3210)
  21. String accuracy will definitely come with practice. There's no secret or shortcut to it, you just have to build the muscle memory to always go to the right place. A good way to practice it is to practice music that requires you to do a lot of string skipping. Try taking a chord progression and come up with an apreggio pattern that jumps around a bit, and practice through that. I never have to think about where my pick is at, and I almost never miss the string I'm going for, yet I never practiced any specific exercise or learned any trick to it other than just playing a lot of music that required me to practice a lot.
  22. IOW, the limitations of guitar mean we are forced to use drop voicings sometimes (without knowing it), while others may not be possible. There is not the freedom there is with piano, or groups of horns etc. Also, of course, we are commonly either doubling up some chord tones - to fill extra strings out, for easier playing - or omitting chord tones such as root or 5th (for jazz comping), let alone adding 9ths, 13ths, whatever. I've always though drop voicings are - therefore - of little interest for guitarists (unless they're arranging for other instruments of course). We have other fish to fry... Inversions are another matter, and it's good to know inversions - in various open or close voicings ("drop" or not) - to make chord changes smoother or introduce melodic bass lines. I completely disagree 100%. When you're dealing with any chord beyond 7ths chords, including any voicings with extentions, 99% of the time guitarists in all styles of music (not just jazz and not just people playing chord melody arrangements) are using drop 2 and drop 3 voicings to play these (with the rare closed voicing here and there). To say that they're of little interest to guitar players is like saying barre chords are of little interest to guitarists.
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