i’m trying to be a luthier!
this is you
I don’t remember that happening, but there’s a picture of it, so…
I wish I had an oni guitar and yes I’m from 777 XD. I play mostly 8 string as well, own an RG2228
EDIT: Wow that Oni is beautiful, the frets look kind crazy.
hey, where can you guys recommend learning scales/modes?
EDIT: FORMATTING RUINED
Well what do you know? If you know the major scale you already technically know all the modes. All they are is playing the scale from a different degree.
They go
Ionian Dorian Phrygian Lydian Mixolydian Aeolian (minor scale) Locrian
1 2 3 4 5 6 7
So C ionian is the C major scale (CDEFGABC) or TTSTTTS (T = tone, S = semitone)
D dorian is DEFGABCD, ie the C major scale, but starting from the 2nd degree.
etc etc, the 6th note in the C major scale is A, that is why C major and A minor have the same key signature.
That is the way I think of modes and the most logical to me, assuming you know the notes of the octave, this will work for any scale.
Another bit of info that makes it even easier.
Ionian TTSTTTS
Dorian TSTTTST
Phrygian STTTSTT
Lydian TTTSTTS
Mixolydian TTSTTST
Aeolian TSTTSTT
Locrian STTSTTT
If I made a mistake there someone correct me, but essentially you just move the sequence along as you go through the modes.
A bit on intervals that helps
Semitones Name
0 Perfect Unison
1 Minor Second
2 Major Second
3 Minor Third (awesome)
4 Major Third
5 Perfect Fourth
6 Tritone or Augmented Fourth or Diminished 5th (also awesome)
7 Perfect Fifth
8 Minor Sixth
9 Major Sixth
10 Minor Seventh (almost as awesome)
11 Major Seventh (awesome if you are using an easternish sounding scale)
12 Octave, or basically Perfect Unison
Furthermore, you can figure out the basic tonality of scales and chords by the 3rd, A minor 3rd (3 semitones) means a generally minor tonality, A major third (4 semitones) means a generally major tonality.
ie.
Major modes = ionian, Lydian, Mixolydian
Minor modes = Dorian*, Phrygian, Aeolian
**Diminished = Locrian
This isn’t a perfect way of figuring out tonality however, for example Dorian is a little ambiguous, sounding minor or major depending or where in the scale you are playing and Locrian really isn’t minor at all, it is actually diminished to due to having a flat fifth, or the infamous tritone.
Hopefully that’s not all too confusing, the easiest way I find to explain things is to bring them back to the base and be as formulaic as possible. When I think and write music, I like to think of everything in terms of semitones.
I tend to think of the modes in relation to the major and minor scales. Those are the ones that get drilled into our brains the most, so it works for me.
For example, I think of mixolydian as a major scale with a lowered seventh. I think of dorian as a minor scale with a raised sixth. Lydian is the major scale with a raised fourth. And so on.
(Locrian is the oddball: a minor scale with both a lowered second and a lowered fifth. It also wins the award for being the hardest to put to use.)
This approach enables me to keep the two common scales in mind, and all their typical fingering patterns, and I only have to make a small adjustment if I want to go modal.
I detect a hint of heavy metal preference in Tomo’s idea of “awesome” as it pertains to musical intervals. The minor third, the tritone, and the major seventh are a recipe for the sinister, dark, and exotic.
Probably everybody raised on a healthy diet of hard rock and metal tilts in that direction, and I’m no exception. It’s something that I’ve recently been trying to get away from, though, just to stay fresh.
Did you guys know that there’s a major third? It’s hard to find, but it’s right in there between the minor third and the perfect fourth. Folks here may have half-fingered this note by accident while practicing the correct combination of notes to summon Satan.
That’s the way I was taught and seems to work for a lot of people, it just always seemed like remembering too many individual circumstances to me. I like thinking of things logically haha.
And yeah, those were basically little jokes lol, I do play mostly metal though. I also play a bit of jazz and I often end up composing a heap of styles for my uni work designing games.
The major third is an elusive interval indeed.
i’m trying to do this exercise…
( capo on 2nd fret )
|---------------------------------5----7|------------------------------------6-----8-|
|----------------------6—8------------|-------------------------7----9-------------|
|--------4—6---6----------------------|--------5----7----9------5----7-----8----|
|----7-------------------4----5----6—|----8----------------------------------------|
|--------------5----7-------------------|-----------------6----8---------------------|
|-4—6---6-----------------------------|-5—7----9--------------------------------|
its supposed to be fig.2 from this video but it doesnt feel like it. What am I doing wrong?
[media=youtube]yaCErlW-3p8[/media]
Looks about right to me, video is kinda bad quality though and my ears suck.
trending video…
[media=youtube]kJmCKY1SR-E[/media]
“Daddy, I want to play with My Little Pony.”
“SHUT UP AND LEARN THIS BORING YNGWIE MALMSTEEN SOLO OR I WILL KILL MY LITTLE PONY WHILE YOU WATCH.”
P.S. Cool video.
Question:
From what I understand, there aren’t any real technical issues in running guitar equipment into a bass cabinet, aside from matching impedance. But how does it affect the sound? Obviously the lower frequencies are going to be much better represented, but would tweeters solve that?
Guitar through bass amp is fine, bass through guitar amp is not fine. You can get a decent sound out of it, at least clean, but good luck if you want any distorted tones.
Tweeter might help, but I don’t know, haven’t tried it.
I’m mainly considering running the amp itself clean, with a guitar distortion pedal. It would be handy to have an amp that I can use with both guitar and bass, but only if it’s going to represent the distortion pedal decently when I use it for guitar.
So, I’m borrowing a Fender PBass from a friend for a few months until I can get my own while I learn. Since this is the beginning, I have a couple of questions:
First, I’m noticing I’m doing a lot of sliding if I have to do something like 4 - 6 - 3 - 8 on a single string. Is this what I should get used to (for lack of a better word) or is there a technique for lifting off without killing the note or buzzing?
Second, did everyone’s fret-hand fingertips hurt this much at the beginning or am I pushing down too hard/sliding too much?
Your fingertips are going to hurt until you’ve played enough to toughen them up. That’s something all beginners have to go through, plus the occasional poor bastard who goes a long time without playing.
On sliding, I’m not totally sure what you’re describing. Are you using one or two fingers for everything and sliding from note to note?
I’m putting a couple guitars together. One of them is a repaint for my girlfriend, but the other one is going to be a total upgrade. I’m starting with just the body (alder Strat shape) and giving it the Guitarfetish.com treatment.
It was originally my first guitar, a Squier Affinity Strat. It’s going to become an EVH '78 copy.
Looking forward to seeing that.
Reading a Xaviere thread on talkbass and getting mad they don’t make lefties.
Ah. Thanks. Yeah, that makes sense. Good to know.
Yeah, that’s basically what’s happening. I’m noticing that when I lift off the strings to get to another fret, in order to not sound stupid, I have to slide from one fret to my destination because if I do lift off, it either buzzes when I land or kills the note.
A general question to the guitar folks: How do you guys motivate yourselves to keep playing/practicing the guitar? I’ve been in a slack mode lately; haven’t touch my acoustic a few months now yet when I take the train to work, I dream of mastering at least 1 damn song from it.
i have a lindo guitar which is pretty much the neck of the guitar without the body. I use it to practice scaling and chords (with the left hand only) on long bus and train journeys.