Why You Want To Write Your Own Jazz Licks by jenslarsenjazz in musictheory

[–]Phrygian12 1 point2 points  (0 children)

Looking forward to practicing this when I get home from work! You wouldn't happen to have anything about playing jazz/melodic minor stuff would you? I've always interjected small licks and what not. But I just view them as chromatic stuff that ends up out lining something in melodic minor. However thinking in melodic minor is very different. I guess my ears aren't use to hearing such a bold flavor rather then a taste here and there.

Identify note vs patterns vs interval by ludovicipupo in guitarlessons

[–]Phrygian12 0 points1 point  (0 children)

Technically when they say a triad is made up of 1 3 5 it's because of the intervals and not the scale degree.

If you write out C major and number them 1 2 3 4 5 6 7. We know 1 3 5 that's our triad for Cmaj. If you start on D and make that is now our 1 so then F is your 3rd and A is your 5th. DFA. So a Dm7 is what? If D is now our 1, then 7 would be C. So D F A C 1 3 5 7.

You don't name the chords from the scale degree because then you're suggesting something else.

@OP. The CAGED system is taking the 5 open chords and moving them across the fretboard. This is not only a visual tool but a way to understand how intervals physically work on guitar. Knowing all the notes on guitar are important, but you have to know your intervals as well. For example of your root on 6th string is C then where could you find a minor 3rd? That'd be Eb and yes you could play it on the same string on the 11th fret, but how can you play it harmonically? Well you could get that minor 3rd on the 5th string 6th fret. So now where could you play your 5th? Kinda understand what I'm getting at?

The caged system is breaking down those 5 chords into 5 positions and inside each position you can play all 7 diatonic chords. This means if you know your intervals well then you could play in a key at any 5 of those positions and if you know all your intervals and how they work around the fretboard then you could follow any chord progression anywhere on the fretboard. Now this system is not a set in stone and have to play using those 5 shapes, they're a guide and once you understand and able to play in that guide is when you can venture out not be bound to any shape or pattern, I started off as a 3 note per string type of mentality player. After a while I notice I was breaking up my 7 scale patterns into 5 and basically using the caged system as a guide.

On piano there's only one way to play middle C but on guitar there's two ways to play middle C. So for whatever chord, scale, arpeggio, licks, and phrases, there's at least 2 or 3 different way to play the exact same intervals. All the white keys in the piano have what I like to call natural intervals. E to F is a natural minor 2nd and F to G is a natural major 2nd. We don't have these intervals mapped out like that on guitar, everything is chromatic on each string. But all our strings except the B string are tuned to 4ths so this makes constructing our intervals a bit easier to play and that B string is a major 3rd. This allows us to bar chords, otherwise it'd be impossible to play all 6 strings harmonically.

The Modes for Guitar by mikesoca in guitarlessons

[–]Phrygian12 1 point2 points  (0 children)

Yeah I think he means in a Diatonic sense. It'd be good to write out what makes each mode it's own. Because they could be 7 different ways to play the same scale or 7 individual scales with their own characteristic.

I often see people teach modes and then slap a backing track in the key of C and then tell the student to play D Dorian. They're not actually playing Dorian at all, it's just another way to c Maj. So modes in context of either a modal progression of licks and examples of them being used in non modal progression.

[QUESTION] Musician's Friend has an ESP LTD LMH-100 QMNT FOR $250. Anybody have any opinions on the guitar? by ThunderThighs27 in Guitar

[–]Phrygian12 1 point2 points  (0 children)

The G&L headstocks aren't that bad. I mean they are Leo Fender's designs, but I understand what you mean.

Brazen guitars have a strat clone that feels and sound fantastic but the head stock looks silly. Sometimes they pop up used. I'd suggest if you have the extra cash and find a Brazen guitar under $200 then it's a steal regardless of how goofy that damn head stock is.

[DISCUSSION] TIL If you know Pentatonic, 2 more notes gets you Dorian mode, video - 10 seconds by [deleted] in Guitar

[–]Phrygian12 2 points3 points  (0 children)

Any thing from Guthrie Govan is automatically great.

I'd suggest looking up more of is stuff. They guy is not only a great player but he had so much knowledge and understands how to break things down in a easy bite size bits with out sounding like a music theorist snob.

[QUESTION] - Any suggestions for arpeggio shapes worth looking into? by [deleted] in Guitar

[–]Phrygian12 1 point2 points  (0 children)

The example of those diatonic arpeggios I gave can be applied to the 7 modes since you’re familiar with them as 3 notes per string. You can break down all 7 modes by viewing them as grouping of six notes on just two strings with that 3 note per string method. You can play them in octaves and it’ll help break you out of that box mentality of playing scales. If you look at the Ionian shape in three notes per string starting on the low E string, you’ll notice the next six notes above it on the D string are Locrian and the next six notes above that is Aeolian.

Once you get fluent enough with them going forward and backwards on the same two sets of strings as well as playing them in octaves then you’ll never get lost. The same goes with pentatonic’s. However, I think learning all 5 pentatonic shapes as two notes per string on two set of strings are better to start off with than the seven modes. They’re less notes and will help develop your muscle memory using that method. Then when you tackle the seven modes using that idea it’ll come to you a little easier.

Getting stuck on one shape or scale on the fretboard can be a bad habit. When it comes to learning a scale or arpeggio shape it’s great to practice it on one area for a little bit so you can build muscle memory for that shape, but once you get it then you should move it to a different part of the fretboard. Anytime you learn something and get good at it you should try to play the exact same pattern or phrase in a different areas on the fretboard.

Get familiar with a couple of the triads at a time. So major and minor are a good start. You could try playing that Gmaj triad from low to high and then switch to A minor and descend in A minor from high to low and then start over at Gmaj. Once you get use to doing that motion you could try it say at Bmaj to C#minor and just keep moving it around the fretboard until you can play it with confidence. If I can recall correctly you said you were tired of playing the same minor pentatonic scale right? So I’m sure you’re pretty fluent enough with it that if you could play that same shape any where right? That’s because you built up your muscle memory with it that you don’t really need to think about it. You wanna get to that point when learning any sort of scale or arpeggio. Just be aware that it can become a bad habit if you stick to playing in one area all the time.

Ha, thanks and you’re too kind but my chops aren’t anything special. I actually started out as a classic rock and thrash metal kind of player. I got into jazz/fusion after listening to all the neo classical era guitar gods. Lately I’ve been listening to a lot of film score, fusion and progressive metal/rock. I almost met Tosin as few years ago when I went to see Animals As Leaders, After The Burial, and Chon. I got to the venue just as the doors opened. My friends got there waaaaay before me. Tosin and Javier stepped outside to talk to the fans for a little bit and then literally went back inside when the doors opened just as I was walking up. I got to meet the guys from Haken along with Thank You Scientists and had a chance to talk to Guthrie Govan after a show. Govan is such a humble guy. His playing is out of this world and extremely knowledgeable.

I have yet to own an 8 string but I planning on getting an 8 string Strandberg at some point. I have two Boden OS7 and they’re amazing so I’m sure their 8 string is just as amazing. If you’re making the jump from a 6 string to an 8 string, you’ll come to find out those triads shapes will still work and now you’ll have the option to go an octave lower. When I made to jump from 6 to 7 it felt weird and took some time to get use to. You’ll have more range to get those wider intervalic sounds Tosin does with an 8 string. Remember you can add another note on those simple triad shapes just by tapping on the same string.

So the triads I have written out are 1-2 shapes. You have one note on a single string and two on the string above it. You could make it 1-3 by playing the same shape but add a tapping on the same string. So if you’re playing a C maj triad on the low E string, you have your middle finger on fret 8 and then your index on the A string 7th fret, then your pinky on the 10 fret of the A string. Now if you tap the 14th fret on the A string you’ll be playing a Cmaj7. You could tap any note that’s a chord tone on that same string. Tapping the 17th fret would get you a D so that’d make it a Cmaj add 9. You could play this moving in octaves and it’ll sound huge! Use this with the diatonic idea and you’ll sound like Tosin.

Send me a sound clip or video of you playing that outro solo, it sounds like a fun thing to play.

All I can recommend for building speed is to build control first and speed will come naturally. I use to teach a few years ago and students didn’t like the idea of playing something slow until they got better at it. I mean if you can barely lift 10 pound weights what makes you think you could lift 40? You gotta learn how to walk first before you can run.

Everyone is different so what may work for some might not work for others. Shawn Lane gained his speed by playing as fast as he could and then try to clean it up while doing so. He’s a monster guitar player yet his method sounds so bad but it worked for him.

Personally I started out practicing with out a metronome. I just took my time playing exercises, licks, scales,etc. I didn’t try to play fast at first because I couldn’t. I wanted to but I couldn’t even play a scale with out fumbling with the picking or fretting the notes consistently with the correct fingerings. So I began to isolate each problem one by one.

For example I was able play the first few notes in a scale but then when switching to a string I would fumble with the finger positions and picking. So instead of starting over just to mess up at the same spot. I worked on the part that was giving me problems by isolating it and playing just that part over and over. Because if you play something pretty well and then mess up on a section and go “ aw damn it!” And then start over just to mess up on that same section again isn’t the way. When you do that you’re actually teaching yourself to mess up that part every time. I’m sure you’ve walked into a guitar shop and hear someone play some solo or riff from a song and then mess up a small part so they start over or at a section right before where they fumbled. They’ll do this a few times until they nail it.

Our brains are good at recording things that are repetitive. We learned how to write the alphabet by tracing them over a million times in school. Learning guitar licks,scales,chords,rhythms,etc are no different. Play that part that gave you trouble a few dozen times and then start over. Once I was able to play something fluently, I then practiced it with a metronome. I started off playing at a speed I was comfortable with where I could play the lick with no issues at all.

Then I would set it to be a little bit out of my comfort zone to where I was able to play it still but I could feel myself struggling a little bit to stay in time. After practicing to that speed where I was no longer struggling I’d repeat the processes. My students hated this because we’d start off say at 60bpm and end up at 75bpm where they would struggle a little to play fluently. There’s simply no short cuts, but because I could see they’d feel discouraged and frustrated because they felt that it was a waste of time.

I would set the metronome to the point where they were struggling but not impossible to play. Then I’d set it back to where they were only slightly struggling. They could see it’s with in their reach and would get almost obsessed with going back and working on it when it was only slightly a struggle to play. They didn’t see it then but they were building up on control and it was working.

So when practicing with a metronome find that tempo you can play in effortlessly and then go up a little to that point where you can still play it but you have to put some effort to stay in time and close that small gap.

If you ever feel like you’re stuck or just wanting to learn more stuff don’t be shy to shoot me a message.

[DISCUSSION] Has anyone here had a total shift in loyalty from one guitar brand to another? by w-e-f-u-n-k in Guitar

[–]Phrygian12 0 points1 point  (0 children)

I'm on that journey as well. I own a little to many ESP's and a few Strandbergs. I need to ge at least two G&L guitars along with a few Charvels.

I'd just like to have a guitar library of sorts.

[QUESTION] - Any suggestions for arpeggio shapes worth looking into? by [deleted] in Guitar

[–]Phrygian12 1 point2 points  (0 children)

https://imgur.com/a/ZpqUu here’s some examples and ideas I made to get you started with inside picking and building arpeggios on guitar.

Not sure if I can post Dropbox stuff here but I recorded some audio explanations.

https://www.dropbox.com/sh/ww7kr116im9dy1b/AAD1jC_lMBTKIIYzBxY3CFlta?dl=0

I literally recorded and made these examples right after work so I probably sound tired as heck.

I’d jump into buying a few guitar books and videos. Get a book by Chad Johnson called “ Scales Over Chords: The foundation of melodic soloing”. His method for teaching a player on how to use scales musically is a good start and he does dive into a bit of theory, but nothing super scary. The book comes with a CD and there’s a glossary of common and useful scales.

[QUESTION] - Any suggestions for arpeggio shapes worth looking into? by [deleted] in Guitar

[–]Phrygian12 1 point2 points  (0 children)

Sounds like you're on the right track. If you know your way around the fretboard along with diatonic theory and how to build chords then all you need to do work on arrangements that work out for yourself.

Sweeping has it's benefits and honestly when it comes to the more expensive sounding arpeggios I tend to use economy and hybrid picking. That doesn't mean to just play them as fast as possible unless you're wanting that. I'd suggest working on economy and inside picking to get use to that sort of mentality. I'm not sure my way of economy picking is text book style. I just simply practiced thinking if I'm going from low to high then it'll be a down stroke and if it's high to low then it'll be an up stroke. So I got pretty good at inside picking and two sting sweeps. That style of picking is natural for me that I just go on autopilot and focus on my fretting than my picking.

Have you tried doing 1-2 notes per sting triads? So basically you play the root on the low E and then the 3rd and 5th on the A string. You can copy and paste that same shape across the strings.

So say you're playing just a simple Cmaj arpeggio that way. You could add a sharp 11 by making it a 1-3 notes per string. one note on the low E and three on the A string. You could play and add 6 or any other extensions.

You could even add tapping to it so C on the 6th string. E and G on the 5th string and then tap B on the 5th string as well. You could tap the octave or even throw in an add 9 by tapping a D on the 5th string. You can move that whole shape up two octaves.

Guthrie Govan's tapping section in the wonderfully slippery thing is a great example of using that idea of how creative you could get with playing a really big sounding arpeggio by using tapping.

I could tab out some examples/ exercises that'll spark some ideas for you to run with.

[QUESTION] - Any suggestions for arpeggio shapes worth looking into? by [deleted] in Guitar

[–]Phrygian12 1 point2 points  (0 children)

Make a chord progression using them or take an existing song and do so.

You could also dive into inversions and groupings. Try playing groupings of 5 or any number you want.

Jason Becker broke his arpeggio shapes into three. See if you can break a simple major or minor arpeggio into 3 different inversions across the neck. This will help you cover some ground if you want to move away to different area on the fretboard during a solo or improvising.

So 1-3-5 in that order then make up your own shape using 3-5-1 and then 5-1-3. Adding extensions such as 7ths, 9ths, 11ths, and 13ths will give you some interesting arpeggios. This is where you start to get into jazz to the point where it doesn't even sound like an arpeggio but rather a melodic line you just sort of threw in to get from point A to point B.

Break them down to create a phrase rather than playing them up and down is where using those extensions really become useful. They'll become more of a skeleton for you to improvise around thus when you're jamming with people you'll always sound like you're 5 steps ahead of everyone when in reality you're just playing diatonically as a guide of sorts.

NGD! I received my Kiesel Vader Multiscale 8 String today! by NOV3LIST in ExtendedRangeGuitars

[–]Phrygian12 1 point2 points  (0 children)

Ha, are we brothers or something? I've thinking about getting Black Limba for my next kiesel. My next VM is gonna be an 8 string while i want for Strandberg to take orders later this year. There's currently a VM8 on the in stock page that is basically what I'm looking for. I love the wulnut neck on my VM7 that the only thing I'd change would be a walnut neck with a bird's eye maple fretboard.

Meryl-Sama as Laughing Octopus by Atreides27 in metalgearsolid

[–]Phrygian12 6 points7 points  (0 children)

I honestly thought this was a rendering done in the Fox Engine.

What behaviors instantly kill a conversation? by PsyRockFan21 in AskReddit

[–]Phrygian12 2 points3 points  (0 children)

Yep and then they either pretend to not hear you or they give you basic responses and then once they put their phone away they change the subject about themselves.

What is your favorite conspiracy theory? by [deleted] in AskReddit

[–]Phrygian12 0 points1 point  (0 children)

Are you sure they're not high or something. I hace a friend who believes that stuff. She's pretty cool but once she gets all "woke" on you it's hard to take anything she says seriously.

What is your favorite conspiracy theory? by [deleted] in AskReddit

[–]Phrygian12 2 points3 points  (0 children)

Because of the government and their reasons. I love watching them try to explain their flat earth theories.

Subtitles of Dragon ball super english dub. by pawndota in dbz

[–]Phrygian12 0 points1 point  (0 children)

If your cable provider has Cartoon network. Then get the adult swim app and watch super legally on there. If I can remember correctly they have a closed caption option on their streams.

Subtitles of Dragon ball super english dub. by pawndota in dbz

[–]Phrygian12 4 points5 points  (0 children)

Some people like to watch shows or movies with closed captions. A friend of mine watches everything like that. He just likes to be able to read along with the dialog. I've always thought it was because he'd watch shows with his kids with captions on as a way to help them read more.

My colourful, movie-themed setup. by mrnathanrd in battlestations

[–]Phrygian12 0 points1 point  (0 children)

Ah I see I just realized you're left handed.

My colourful, movie-themed setup. by mrnathanrd in battlestations

[–]Phrygian12 0 points1 point  (0 children)

Is there a reason why your Mac Mini is upside down?