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aloha

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  1. I like trying to turn my scales into fresh arpeggios when I get bored. It definitely sharpens the brain to find new ways of getting around them. Try finding new arpeggios in each different fingering...
  2. aloha

    Charvel Standard

    Love Love Love... Did I mention that I love this guitar? I love how solid this guitar is and how smooth it plays and sounds. It really is the best combination of quality wood and solid components. Considering that I only paid $500 for this, I feel that I got a fantastic value.
  3. I've been playing for 25 years. I only got really serious about 10 years ago. I have some other guitars: Charvel, Jackson, Fender, Gibson I really like the open and articulate vibe in this guitar. It kind of has a Les Paul/SG living inside it, but with a Fender feel and zing. The 24 fret neck keeps the Gibson comparison from being too obvious and the humbuckers keep the Fender vibe at bay, as well. This guitar really is its own animal. As far as a parting thought: I play without a pick. This guitar is the closest thing I've ever used to feeling like I was playing a classical guitar neck attached to a humbucker electric. I love this guitar.
  4. Yes... I feel like I'm playing a lick from Shakti. It sounds awesome!
  5. Teachers are good. They usually let you have a free introductory lesson in order to see whether you match. I remember when I was at your stage. I actually went to the library (it was close) and I found some great books. I think I got my basic pentatonics from there...those kept me busy for awhile. They kept me busy because, even thought they are simple, they can be applied in so many places. Good luck on your search.
  6. Somebody asked about the Fretboard Logic DVD... I have it, but I don't own the books. I can say that it isn't the most exciting DVD, but the explanations are very clear as to his CAGED system. Everytime I watch it, I glean something new from the experience (as long as I can stay awake). Aloha
  7. This is a great point. Practice needs to be conscious with aspect to muscle control. The secret to muscle control is attention. Attention needs to be brought to speed. Using the metronome to measure speed does wonders for delivering us from our own unconscious bad habits. Have a great weekend.
  8. I liked your metaphor. The picture of the tree colored things in for me. It made your music theory visually accessible. I really liked your discussion of which notes to drop for extended voicings and which are necessary for clarity's sake (3rd, 7th). All in all, I liked the straightforward writing that was clear and direct and stayed away from difficult abstractions. It made your ideas simpler and more accessible. Be sure to let me know if you write anything else. I'd be most interested in looking at it. Z
  9. Three notes per string works really well when using major/minor/etc scales... It sounds more like you are wanting to expand your application of minor pentatonics into major contexts. This is easy as major/minor pentatonics use the same scale shapes, just using different root notes. An excellent book that could really open your eyes on how to expand your use of pentatonics is Steve Khan's "Pentaconcepts". At least, I think that's the name. I've had a lot of fun with my copy. Z
  10. aloha

    Jackson DX6

    I've been playing a long time. Guitars are fun. I could probably live with just one, but it's fun to have a few. If I only had one, though: this would not be it. It's fine and fun, but I don't worry too much about it. It isn't precious. If someone stole it, then I'd be bummed, but I'd get over it. People who steal stuff, though, are serious pieces of {censored}. Stealing a guitar is wrong on so many levels. A guitar is such a personal thing; it's like stealing someone's underwear or socks. Oh well...
  11. There are a bunch of ways to do these things (mutes, etc.)... Have fun with it. Like the other poster said: play along with the recordings. Z
  12. Brudda, You're on the right track. The reason the guy above said that D-F-A was a minor triad is because the F is wrong on this one. The F is wrong because of the W-W-H-W-W-W-H thing. What happens is that the F needs to be F# in order to deal with the half step. Because you wrote F instead of F#, you made a minor triad. The D is the 1; the F# is the 3; the A is the 5. Anytime you have a flatted third, that triad becomes minor. For example, in the C triad, which was C-E-G, the minor would be C-Eflat-G. I hope this helps... Z
  13. I play reggae semi-professionally. Does this qualify me to answer your question? I suspect that when you say rake; you are talking about the skank. The skank is the rhythmic strum that sounds off beat... The trick is that while it sounds "backwards", you don't have to play it with an upstroke (like most newbies think it should be played). You simply have to train yourself to do the downstroke on the off beat. If you have a metronome, try to play opposite the click. This should get you started. As you get more advanced, then you can choose to play double skanks or bubble skanks. The secret is in developing your right hand skills. By the way, I play without a pick. I get much more mileage by using a jazz style comping finger technique/classical method that I've applied with great success. Try it. It may work for you... Good Luck Z
  14. I want to see one too... Bumpity Z
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