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you could do some kansas

and probably cant play them yet but Charlie Daniels is always cool

stairway of course

umm hells bells isnt hard

most rolling stones is easy

do you want harder or softer CR

thought it was pretty cool

ive always been intreagued(sp?) by that neoclassical stuff

not trying to advertise but i suggest you check out the rondo music website

they sell incredibly high quality but incredibly cheap guitars

or you could just go on and judge

it means its in double drop d

tune both of the e strings to D

<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>strocksb wrote on Fri, 15 September 2006 02&#58;57</b></td></tr><tr><td class="quote">
You are talking about playing scales that fit over specific chords.  How do you know which scales fit over which chords?  Is there somewhere I can go online to see this?  I would love to learn the scales and the circumstances under which the scales are applicable, but have no idea where to begin.  Any ideas?
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allright

learn the major scale

the major scale can be played over any major scale chord progressions

the minor scale can be played over any minor scale progression and can be used with the major scale for bluesy feal

use the Ionian(major scale),or Lydian over major 7th chords

use the dorian, phygarian, or aeloian(minor scale) over minor 7th chords

use the mixolydian over dominant 7th chords

use locrian over minor7th flat 5th chords

Pink Rose in a Plain Bouquet

free birds always fly away

too curious to just sit and stay

but deep down they long for a tighter chain

they say the early bird gets the worm oh but you never know

there might be a better prize on the other side

but i think itd be to hard to go

be

a different color in a plain white field

dont try to fit in

strive for something different but dont forget to buckle up

cus its bound to be a tough ride

you say dont slip away but im slipping any way

why should i stay here when all my hopes and dreams

all the things i want to see are just over there

oh

be unbalenced but stay the course

it wont be easy trust me

youll love it ifen only you take my words and see

theres rough roads ahead

and ugly turrain

but just over the mountain

are blue skies and no rain

solo

dont compromise to stay inside the lines

If you want to live you gotta learn how not to give up

you say dont slip away but im slipping any way

why should i stay here when all my hopes and dreams

all the things i want to see are just over there

oh

personnally i see green day as a bunch of anti american fags who are extremely untalented

<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>JeffroFiddlemaster wrote on Mon, 04 September 2006 03&#58;38</b></td></tr><tr><td class="quote">
First of all, apologies in advance to anyone who will be offended by this post. You all who have responded are so off the mark. Let me begin by saying that i am a professional player with over 30 years of experience. I play every week, usually 3-4 nights, I have a crack band that performs over 600 songs. (www.theconvertiblesband.net). I also teach both classical violin and rock guitar. So here's the real deal:

First of all, those posters who suggested learning theory are absolutely right. Scales and arpeggios are the basic building blocks. Scale patterns and little fragments of melodies are advanced building blocks. You guys who claim to practice "improv" are full of crap. You cannot improvise if you don't know what you are playing. It is partially true that it "doesn't have to be in the scale to sound good"....but who is to say what sounds good? Some composers in the 20th century thought that if you sat down on the piano keyboard and simultaneously struck 30 adjacent keys that cacophony sounded "good".

The key is to play melodies, melodic content. Raw improv usually sounds like garbage...sorry if you spend 5 hours a day making up crap. I probably shouldn't say that because if you truly spend 30 -35 hours a week you are bound to come up with SOME good stuff. But it's like the analogy of 100 monkeys sitting at typewriters randomly typing...eventually they are going to type the Gettysburg address.

Melodies are made up of scales, arpeggios and other compositional techniques...inversions, reversals, elongations and truncations of little melodic ideas....

Scales are very useful in learning how notes function with regard to each other and how they fit over a chord progression, but don't over simplify the word "scale". You must remember (here'a a bit of theory): Each scale has 7 MODES affiliated with it, and each mode is a scale and a "key center" unto itself. Each mode has a "flavor"...each mode conveys a "mood".

The legendary players DO play what they "feel", and they are able to do this because their technique is superior and they DO know what notes will fit over a certain chord. Part of this is the result of hours of practicing, and part is connection with what we call "the muse"....the creative force of the universe that infiltrates those of us who call upon it. (Sounds goofy and corny..but it is true.) However, you can hum the most coolest melody, the most awesome riffs that you hear in your head and FEEL, but without the technique to bring them to life, you are dead in the water.

I encourage all my students (24 in all) to practice with records they like - learn other people's licks, learn the signature licks to your favorite songs, to practice with a metronome (time keeper) so they can start slowly and day by day crank up the speed.

Playing music is like telling a story. You have to have a good vocabulary to tell a good story. Imagine if you only knew 15 words. What kind of a story could you tell? NOT MUCH. And those of you who think you are "improvising" and making stuff up, try making up words that don't exist and see what kind of story you can tell....

There is only one way to get better....PRACTICE PRACTICE PRACTICE.

Good Luck to you.

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when i was talking about playing notes that break the rules or dont fit in the scale i was talking about jsut using the scales as a base.

I mean look at EVH what are most of his songs

you got it minor pentatonic with a bunch of random accidentals thrown in that sound incredible

im not saying that he put them there randomly no but you got to remember EVH said often times hed sit on his bed and practice from 7pm till 3am instead of going and partying with his brother so maybe he was just playing a lot of shit that turned out sounding good but i doubt that.

i may have only been playing for oh idk 8 months but my teacher tought me before id been playing 2 months how to use the scales and how to use the notes outside the scales with them

in music rules are there to be broken

learn your theory

then learn how to break the rules

learn how to play things that shouldnt work that do

cus those are the ones that sound the best

also i play improv like 5 hours a day.

i mainly do a blues mixed with major scale impov

i doesnt have to be in the scale to sound good the scales are just there to be guidelines

<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>upyerkilt wrote on Tue, 29 August 2006 10&#58;58</b></td></tr><tr><td class="quote">
what is that all about spammy?

ken
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its pretty cool game i found yesterday

if you sign up through my link i get special stuff