littleknowitall

trick if your soloing, and im pretty sure this works, i forget sometimes. if you find the key your playing in and say you can't solo in pentatonic very well (in which case your probably lost already) move 3 semi-tones down (3 frets) from the root note (the first note of the pentatonic scale you'd usually play in) and you've found a relative minor of the key your in, playing the major scale in that position with the exeption of the first note should work the same as the pentatonic. this might be wrong but last time i checked it worked.

the modal system was invented by the romans, and im not 100% but i think they named each scale after their greatest philosiphers, they're just scales with **** names, learn 'em and use them.

im quite partial to the caged system, ill explain-

we'll be simple and use c major as an example, using the notes in the open chord c will obviously work out if you wanted to solo in c major but that restricts you to the bottom of the neck so you use 'caged' (you can start with any chord). slide up to the highest note you we're playing and bar then imagine that bar was the top of your neck, use your other fingers to play a basic 'a' chord, thats c major again, slide up to the furthest note again, bar, do the same and play a 'g' chord over the bar and continue this on obviously after d you just go back to 'c'. every note you've played there works if you want to solo in c major, and there are many more if you know the major scales for each shape. then you can go on to learn the theory behind chords, say you learnt how to apply a major 7th, and you were soloing over a major 7th chord, simply aply the rule to all 5 chord shapes and solo, adding and removing notes that make those chords major 7ths.

learn your chord theory and this systems pretty worth while, plus it's great if you can't be arsed to learn your modes.

realistically if you know all your chord theory then you know every note for every key on the fretboard and the modes are just pointless scales that close in these notes so you can use them differently, and they have ****ty names...

draxus

No, a fill is when a drummre makes a beat or rythem that sounds similer to the guitar part but has a lot of different beats in it. Like you cant even hear the drums b/c they sound too much like the guitar, see, its that simple

littleknowitall

ummm in some cases thats right i suppose, but thats not necessarily true, infact hate to break it to ya but in most cases thats not true, a drummer doesn't create a fill to mimic the guitars, a fill is generally played in an intersection between two sections of a song e.g verse/bridge, usually on the last bar the drummer will stray off the steady beat they've been playing and usually with the use of the toms, the snare or sometimes the double bass, rim shots and various other features, hell even the cow bell, will play along the lines of something out of the ordinary, lets say for instance a drum roll on the snare, that would be a fill.

when a drummer mimics the guitar part i suppose if one is directly after the other it can be classed as a fill, and you'd probably call it 'call and response'.

i think im doing ok so far, but someone stop me if i start screwing up, this thread makes it really easy for you to make an ass of yourself if you haven't brushed up enough on your theory...

draxus

I suppose thats true, a fill would be something like a short solo or something to FILL in the silent parts or quiet parts in a song. Other then that, i agree, and for the record, you only make an ass of yourself when you dont get what your saying, i knew what i was talking about, but the words didnt come out as i had planned

littleknowitall

i know what im trying to say, its wether or not im mistaken or i don't get my point across is what im trying to desperately avoid.

Merkaba

So I've been mucking around with this acoustic guitar I'm borrowing and I don't know how to move from one note to another without screwing the sound up.

I'm starting really simple and trying to do the WS - Seven Nation Army tune.

E [ ---5-5-8-5-----------3-1--0---

As soon as I leave 5th fret for the 8th fret the sound goes either vibratey/open string/sound completely stops or a mixture of all 3, and the same goes for every other transition also. How the hell do you make a smooth transition?

And second thing

-------------
----3--------
-------------
-------------
----0--------
-------------

^ Is there any proper way of plucking those two strings without it being insanely difficult to not hit the other strings in between? Also is there any proper way of actually doing them both at the same time cause if you pluck string A, how do you then be plucking B at the same time?

Or is there something I don't know



*would not be suprised*

__________________
She thinks I'm a reclusive genius, she's going to be very disappointed when she finds out i'm a reclusive wanker

littleknowitall

i'd assume you either pluck one with your thumb and one with your firs finger...at the same time ofcourse, or mute the strings in between.

Blackheart

From what I know about time signatures (which isn't much) the top = number of beats and then the bottom is how the bar is set up. So like 7/8 would be counted 1+2+3+4 then 11/8 would be counted 1+2+3+4+5+6 thats all I think. Like 4/2 would be 1 3 5 7 I think, (but you would still have a 2 in there just play stuff on those numbers)
Then with drum fills? Ummmmm it just fills time, if you hear a 1 minute fill, they are filling 1 minute of time.

thebassistX

solos are also good on the mixolydian of a key minor or major

Macstevey

I just play my instrument and like the noise it makes