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John Busbee

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    Lindsay Kaye; I lubs her.

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  1. Though a double sharp is used in the key of F# often enough, it is not necessary to discuss the F# major scale (F#, G#, A#, B, C#, D#, E#); maybe that is where the x is coming from, a double sharp you saw related to the key? For example when writing in D# harmonic minor (the relative harmonic minor key to F# major) you would notate the raised 7th as a C double sharp using an x, rather than notate it as a D (its enharmonic equivalent). The classical system does really write these notes based upon the key, and enharmonic notes will be counted as incorrect if you take a theory test in college! Thus a D would not be a C double sharp for the musicologist, though would be played, and sound, the same on the guitar. I figured it was something like that...E# to F# should be a whole step...to me.
  2. F# G# A# B C# D# E# F# It's a 7 note scale. Not sure where your X is coming from. Mike, I'm going full ****** here...the half step from the 7 to the octave...what am I not getting? Playing through the scale, I keep getting E#, F, F#...but I know that is wrong, spelling wise.
  3. I guess some enharmonic thing? F#, G#, A#, B, C#, D#, E#, X, F#. What am I doing wrong?
  4. John Busbee

    5150 CREW!!!

    Another 6505 clip for your enjoyment. With my BKP's. http://dl.dropbox.com/u/4998086/pwd_6505.mp3 Let me know what you think! that's metal.
  5. awesome...I covered that as a drummer. Are you using a Dean or the Washburn? Your tone is really close to Warren's on the vid.
  6. John, are you talking about phrasing, coming up with catchy licks or following the chord progression? not so much phrasing as following the progression...when the chords change, where should I be playing melody/solo over. It's really hit and miss as far as being exactly right. I'm generally in key, but not on the tonic of the chord/ progression.
  7. The epiphany will come on a day when all of a sudden you realize you're doing stuff you couldn't do before. It will creep up on you as long as you keep at it. Jeremy's advice is good - just keep playing. Improvising or creating good/interesting melodies is as much as separate skill as picking technique or practicing scales, and takes time. I forget who said it, but "Practice, practice, practice... then forget all that and just play." Not sure if this is at all what you're asking, but how about this for an exercise. Take a simple chord progression, maybe a I-IV-V, and listen to how it sounds when you start and end a melodic line on different scale degrees. You can start to isolate what builds tension, what sounds "natural" and what fits but sounds a little outside the box. I noticed a lot of melodies I like start on the V (Jessica by the A-Bros, for example, but there are millions). Ending a bluesy line on the 2nd sounds kind of cool on the V chord (the 2nd of the root in any key is the V of the V of that key - so in A, the 2nd is a B, the V of the E). Stuff like that. You can start to hear what leads into the next chord - this is especially true if the key changes throughout a progression. that's close, and both of you give good advice...but I want to do it NOW.
  8. Not to be a goof John (tough love brother) but why are you waiting for someone to show you? You really want to learn this on more than just an intellectual level - get in there and start lifting songs yourself then analyze them. Seriously Tab IS {censored}ty. Its like fast food for guitar. Used properly in a balanced diet some use is fine. There is NO teacher like ones-self. Put down the books and start playing. I'm really frustrated; I can hit notes without thinking or searching a lot, I seem to jam in key (soloing over songs, commercials, music in general...and I use the term "solo" with tongue in check, it's really single note stuff strung together), but I just can't put it together. When comes to movements, I have trouble just going to the resolve or next part of the progression as a reflex. I keep thinking, "any time, it will click", but it doesn't. I expect an epiphany.
  9. It just dawned on me, no one has ever put together theory and practice. If they have, please show me where it is. I have tons of books on theory. I understand it it well enough. Why is there no book that says " This is the Key of X, These are the Chords in the key of X. They are derived from the scale of X. When this progression occurs, play these scales based off this position and mode. These are some alternatives when doing so...this is a parallel key, etc. The Circle of 4ths/5ths is applied by....It could take a popular song and break it down. Guitar Player/World used to break songs down like this and I took it for granted. Now all you get is {censored}ty tab, which I loathe. I could learn a lot faster with something structured like this, than trying to put it all together from different books of different types. I mean I have books on theory, books on scales, books on chords, books on progressions, but none of them put it all together. Thousands of dollars on resources and I'm still a fairly {censored}ty player. I'm honestly tired of looking.
  10. It just dawned on me, no one has ever put together theory and practice. If they have, please show me where it is. I have tons of books on theory. I understand it it well enough. Why is there no book that says " This is the Key of X, These are the Chords in the key of X. They are derived from the scale of X. When this progression occurs, play these scales based off this position and mode. These are some alternatives when doing so...this is a parallel key, etc. The Circle of 4ths/5ths is applied by.... I could learn a lot faster with something structure like this, than trying to put it all together from different books of different types. I mean I have books on theory, books on scales, books on chords, books on progressions, but none of them put it all together. Thousands of dollars on resources and I'm still a fairly {censored}ty player. I'm honestly tired of looking.
  11. old clip is old...sounds great. My guitar player has an M90, but I can't fap over it like he does...sounds good and will record awesome, but in the room or playing drums to it, it is really dark. I played with it for about 20 minutes and just couldn't get it to cut. He is going to pair it with the DSL and I think it will be great. I much prefer the Marshall to it, one on one.
  12. total bull{censored}....great playing is great regardless of what it is played through...Page and his {censored}ty little Supro... .38 Special and {censored}ty little solid state Peavey combos. Go on youtube and hear all the millions of great unknown players using {censored}ty Line 6 Spiders and sounding awesome.
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