famous beagle
Well-known member
gusfmm said:
Ok, now I've officially wasted too much time with this. My name is Chad Johnson. Search my name on halleonard.com to see my books. I don't see what it has to do with anything though.
Ok, now I've officially wasted too much time with this. My name is Chad Johnson. Search my name on halleonard.com to see my books. I don't see what it has to do with anything though.
mshilarious
Banned
Timothy Lawler said:
No, I mean Steve Vai played the classical part (Paganini, I recall) that defeated his character. Ry Cooder played the Ralph Macchio blues parts.
famous beagle
Well-known member
gusfmm said:
Again, what does any of this have to do with this thread? When did atonality or 12-tone rows come into the discussion? Why are you mentioning it (honestly), other than to try to sound more intelligent or legitimate?
By the way, if you want to hear a sample of my playing (that's taken from one of books on pentatonic scales (which is what this thread is supposed to be about), you can do so here:
http://www.soundclick.com/bands/8/chadjohnsonmusic.htm
The first one is a vocal song, but all the rest are shorter instrumental excerpts from the book. Feel free to listen to them. If you still feel that I don't know what I'm talking about, musically, then by all means let me know.
mshilarious
Banned
famous beagle said:
Mmmmm, Nirvana and RHCP. Cool stuff
Guitar tapping, I dunno . . . you redeem yourself with Chet Atkins 
famous beagle
Well-known member
mshilarious said:
oh yeah! that was kind of funny and ironic.
famous beagle
Well-known member
mshilarious said:Mmmmm, Nirvana and RHCP. Cool stuff
yeah the tapping book was commissioned. I didn't choose that one; they just asked if I wanted to write it. I have to pay the bills!
Chet was a monster.
mshilarious
Banned
famous beagle said:
To be fair I believe I first mentioned Schoenberg as I was hoping that by listening to atonal music, guitarists might not worry so much about picking the 'correct' scale. Heck, most people can't even stay in a room with Pierrot Lunaire playing. That comes in handy with guests that have stayed too long
I don't think there's much value in a rock musician following the strict rules of twelve-tone. Rock isn't good at rules.
mshilarious
Banned
famous beagle said:
Hey man, it beats the hell out of what I do for a living.
famous beagle
Well-known member
mshilarious said:To be fair I believe I first mentioned Schoenberg as I was hoping that by listening to atonal music, guitarists might not worry so much about picking the 'correct' scale. Heck, most people can't even stay in a room with Pierrot Lunaire playing. That comes in handy with guests that have stayed too long
I don't think there's much value in a rock musician following the strict rules of twelve-tone. Rock isn't good at rules.
Oh ok. I thought gusfmm had mentioned his book first. Regardless, my apogies to gus on that one if I was wrong.
X
XLR
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Yeah, I know, I know... Well OK mshilarious, you've contradicted my posts one too many times and I challenge you to a guitar duel. Meet me in the mp3 mixing clinic to be cast into musical oblivion. We'll see who's EVIL and who's good. And I know some Paganini.
Tim
mshilarious
Banned
Timothy Lawler said:
You're on! I'm going for an Albert Collins style one-note wonder!
X
XLR
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Yeah... well I've got a Kenny G circular breathing transcription for guitar that'll kick your Albert Collins one-note wonder's butt.
Tim
Tim
mshilarious
Banned
Timothy Lawler said:
In that case, I'm breaking out the digeridoo!
Follow me over to this post:
http://www.homerecording.com/bbs/showthread.php?t=154757
X
XLR
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OK mshilarious, after I musically break a folding metal chair over your head, I suggest a tag-team grudge match. I get famous beagle on my side. I've heard his mp3's.
Tim
Tim
mshilarious
Banned
Timothy Lawler said:
Then you'd heard him tell you to go to hell!
X
XLR
______
Yeah, that was a good song, but I mean his solo playing.
Tim
Tim
foo
Active member
cordura21 said:
Because it sounds good!
foo
Active member
Cordura - before this got into a pissing contest, you seemed to be concerned about what notes to play where.
The bottom line is - if it sounds good, it is good.
The way you organize the information and use it is not important.
For me, the modes work really well. It's really simple, and easy to remember.
For other guys, pentatonics work really well. They're really simple, and easy to remember.
For other guys, playing arpeggios right off the chord changes works really well. They're really simple, and (for me) not so easy to remember.
We all use substitutions, too. For example, a flat V substitute.
That is:
Play Dmin7 for two bars, then G7 for two bars then CMaj7 for four bars and repeat. This is a very simple chord progression called a II V I in the key of C.
Over the Dmin7, play a Dmin7 arpeggio (D, F, A, C)
Over the G7 first time around, play a G7 arpeggio (G, B, D, F)
Over the CMaj7, play a CMaj7 Arpeggio (C, E, G, B)
The second time through, instead of the G7 arpeggio, play a Db7 arpeggio (Db, F, Ab, B) You will notice that two of the notes are the same as the G7 arpeggio, and the other two are a half-step away. The 'other' two notes are going to give you a really gentle 'outside' sound. They are actually the b5 and b9 of the G7 chord - you can't sit on them but you can hit them in passing to give you a 'jazzy' sound.
[Someone is going to post something about enharmonic equivalents here, but ignore that, they're just being pedantic].
No method is better or worse than the others - it's what works for you that is important.
Jeff Beck routinely bends that minor third into the major third and it sounds great. Not because it's a minor third/major third bend, but because it sounds good.
Don't get too caught up in the theory - it's nice to know, but no one method is better than any other. As long as it works for you, it works for you and that's what's important.
The bottom line is - if it sounds good, it is good.
The way you organize the information and use it is not important.
For me, the modes work really well. It's really simple, and easy to remember.
For other guys, pentatonics work really well. They're really simple, and easy to remember.
For other guys, playing arpeggios right off the chord changes works really well. They're really simple, and (for me) not so easy to remember.
We all use substitutions, too. For example, a flat V substitute.
That is:
Play Dmin7 for two bars, then G7 for two bars then CMaj7 for four bars and repeat. This is a very simple chord progression called a II V I in the key of C.
Over the Dmin7, play a Dmin7 arpeggio (D, F, A, C)
Over the G7 first time around, play a G7 arpeggio (G, B, D, F)
Over the CMaj7, play a CMaj7 Arpeggio (C, E, G, B)
The second time through, instead of the G7 arpeggio, play a Db7 arpeggio (Db, F, Ab, B) You will notice that two of the notes are the same as the G7 arpeggio, and the other two are a half-step away. The 'other' two notes are going to give you a really gentle 'outside' sound. They are actually the b5 and b9 of the G7 chord - you can't sit on them but you can hit them in passing to give you a 'jazzy' sound.
[Someone is going to post something about enharmonic equivalents here, but ignore that, they're just being pedantic].
No method is better or worse than the others - it's what works for you that is important.
Jeff Beck routinely bends that minor third into the major third and it sounds great. Not because it's a minor third/major third bend, but because it sounds good.
Don't get too caught up in the theory - it's nice to know, but no one method is better than any other. As long as it works for you, it works for you and that's what's important.
famous beagle
Well-known member
foo said:
This is very true. The best method is to learn what you can, let it soak in, forget about it, and play.
X
XLR
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Well said Foo.
Tim