Guitar Chat (lessons, gear talk and questions)

endlessfuneral2003 · Number of posts: 1480 Registration date: 2007-01-01

I am so dumb when it comes to theory. I don't understand a thing but I know I play some scales. lol

I just can't seem to grasp HOW they are made... :scratch:

Thanks for the the posts though!

_________________
As I breathe anew You are my precious vitality
As I breathe again You are my everlasting source

ENDLESS FUNERAL - A Second Beginning

CD available at http://www.unforsaken.ca/UPOS/main.html
MP3's available at www.soundclick.com/endlessfuneral

RockfortheRock · Master of the Axe Number of posts: 535 Registration date: 2007-04-07

...and everything has finally clicked in to place. You don't know how much this helps.

dOOm&gLOOm · Number of posts: 1477 Age: 23 Registration date: 2007-06-04

RockfortheRock wrote:

...and everything has finally clicked in to place. You don't know how much this helps.

Awesome that my post helped you! cheers

It took me quite a while to figure all that stuff out as well. Itreally
comes down to practicing though (for me). I tend to be the typethat
learns by reading first and applying second. It all seems veryconfusing
at first glance but with practice it all becomes very simple.

@ endy: Scales are formed by placing intervals between notes in the
chromatic scale. In the major scale and all of its modes, they are a
pattern of step and half steps that form the scale. If you take a D-maj
scale, for example:

|---------------------|
|---------------------|
|----------------6-7-|
|---------5-7-9-----|
|-5-7-9-------------|
|---------------------|

and lay it out linearly,

|------------------------------|
|------------------------------|
|------------------------------|
|------------------------------|
|-5-7-9-10-12-14-16-17-|
|------------------------------|

you will see that the scale is formed by playing the following pattern:

root note - step - step - half step - step - step - step - half step(octave)

In the case of the D-maj example above, the scale is: D-E-F#-G-A-B-Db-D(octave)

This pattern is a major scale (ionian mode), no matter what your root
is. The only thing that changes is the names of the notes played. The
same thing applies to all scales. The following is the pattern for a
minor scale (aeolian mode):

root note - step - half step - step - step - half step - step - step(octave)

So a D-min scale would be formed from the notes: D-E-F-G-A-Bb-C-D(octave)

make sense?

_________________
... a chill rises from the soil ...
... and contaminates the air ...
... suddenly ...
... life has new meaning ...

endlessfuneral2003 · Number of posts: 1480 Registration date: 2007-01-01

Thanks for the explanation. That is much clearer to me. I'll try them on my guitar. Smile

_________________
As I breathe anew You are my precious vitality
As I breathe again You are my everlasting source

ENDLESS FUNERAL - A Second Beginning

CD available at http://www.unforsaken.ca/UPOS/main.html
MP3's available at www.soundclick.com/endlessfuneral

dOOm&gLOOm · Number of posts: 1477 Age: 23 Registration date: 2007-06-04

endlessfuneral2003 wrote:

Thanks for the explanation. That is much clearer to me. I'll try them on my guitar. Smile

No problem, bro! pirat

_________________
... a chill rises from the soil ...
... and contaminates the air ...
... suddenly ...
... life has new meaning ...

RockfortheRock · Master of the Axe Number of posts: 535 Registration date: 2007-04-07

A few more questions.

1. What's a diminished chord?

2. What are the modes and what are their significance?

guitarhoops · Number of posts: 553 Age: 38 Registration date: 2007-01-03

RockfortheRock wrote:

A few more questions.

1. What's a diminished chord?

2. What are the modes and what are their significance?

I will step in for as quick answer. For the more detailed explanation I will leave that to dOOm. He is doing a great job on those detailed posts.

I am taking it for granted you understand how a chord is constructed. So for a diminished chord you take a minor chord and flatten the fifth. Simply put. Wink

Modes are Major scales. Depending on where you start on a scale and the coresponding chord played with it will give you a different feel (mood) to the scale.

Start with the C major scale for example. The notes are C, D, E, F, G, A, B, C. Start the scale on D and have a friend play a Cmajor chord. It still sounds like a Cmajor scale. Now try it again but have your friend play a Dminor chord. All of the sudden the scale sounds different. This is what they call the Dorian mode. Now because there are 7 different notes in a Major scale you can have 7 different modes. Simplest way I could think of explaining it. Very Happy

guitarhoops · Number of posts: 553 Age: 38 Registration date: 2007-01-03

Quote:

Hey hoops ... you mentioned that you had advice about sweep picking. What would you suggest? Personally I have just learned to do it in a certain way that works for me (so far), but I am no shredder when it comes to arpeggios (yet )

Sorry I missed this question. The easiest way to start sweep picking is to forget about picking when you start off. Shocked

When playing the arpeggio for the first time try hammering on the pattern with the right hand. Don't use your left at all. Once you have got the arpeggio smooth in both directions then move on to the right hand. Start with a downward sweep and pick up on the last note. Do this until both hands sink up with each other. Next try an upwards sweep. But pull off on the first note picked. Then continue with the rest of the notes. The last note at the top pick down. Once you have that smooth then put it all together. Very Happy

guitarhoops · Number of posts: 553 Age: 38 Registration date: 2007-01-03

One more post for tonight. Here is some more chord stuff.

Major___R - 3 - 5 ex: G
Minor___R -b3 - 5 ex: Gmi or G-
diminished___R -b3 -b5 ex: Go (pretend "o" is a degree symbol)
augmented___R -#3 -#5 ex G+
Major 7___R - 3 - 5 - 7 ex: Gma7
minor 7___R -b3 - 5 -b7 ex : Gmi7
Dominant 7___R - 3 - 5 -b7 ex : G7
half diminished___R -b3 -b5 -b7 ex : Gmi7(b5)
diminished 7___R -b3 -b5 -bb7 ex : Go7
Augmented 7___R - 3 - #5 - b7 ex G+7
major 6___R - 3 - 5 - 6
minor 6___R -b3 - 5 - 6 (note NOT b6)

RockfortheRock · Master of the Axe Number of posts: 535 Registration date: 2007-04-07

Maybe I should clarify my question more...
I think I wanted to know what the meaning of each mode was (Phrygian, Lydian, Aeolian, etc).

dOOm&gLOOm · Number of posts: 1477 Age: 23 Registration date: 2007-06-04

RockfortheRock wrote:

1. What's a diminished chord?

RockfortheRock: I will answer your first question first, as it will probably be simpler to explain. A diminished chord is, in a major chord progression, the last chord before the progression comes back around to the first major chord. It is a dissonant sounding chord but can add some really cool flavor to a piece of music when used effectively.

As we said earlier, a major chord occurs when there is a two step interval between the root and the third, and a one and a half step interval between the first third and the second third (or the fifth, relative to the root). So, drawing it linearly, a major chord looks like this:

|-R-|---|---|---|-3-|---|---|-5-|

We also said that a minor chord occurs when there is a one and a half step interval between the root and the third, and a two step interval between the third and the fifth, as follows:

|-R-|---|---|-3-|---|---|---|-5-|

As guitarhoops mentioned, in order to form a diminished chord, we make one final adjustment. It occurs when there is a one and a half step interval between the root and the third, AS WELL AS the third and the fifth. Linearly, it looks like this:

|-R-|---|---|-3-|---|---|-5-|---|

So, like we said that a minor chord is a major chord with a flattened third, a diminished chord is a minor chord with a flattened fifth. It could also be said that the diminished chord is a major chord with both a flattened third AND a flattened fifth.

If this isn't makeing sense, let me know. Wink

Anyways, like I said above, the only mode of the major scale that yields a diminished chord is the last mode before the end of the progression. This mode is known as the locrian mode, and it's step pattern looks like this:

root note - half step - step - step - half step - step - step - step

So, for example, if you make a B-locrian scale, it will contain the notes:

B-C-D-E-F-G-A

and the B-dim triad will be: B-D-F

B-locrian in tab form
|-----------------------|
|-----------------------|
|-----------------2-4-|
|---------2-3-5-------|
|-2-3-5---------------|
|-----------------------|

B-dim triad in tab form (with added octave)
|-------------------------------|
|-------------------------------|
|---------4--------------------|
|------3-----------------------|
|-2-5--------OR--2-5-8-14-|
|-------------------------------|

Try playing it, it will sound really awkward! This is because it is the only
mode that does not contain a strong consonance between the root and the fifth, which makes it kind of funny-sounding when played. Here is the two-octave diminished arpeggio shape.

|-1-|---|---|-3-|---|
|---|---|-2-|---|---|
|-1-|---|---|---|---|
|---|---|-2-|---|---|
|---|---|---|---|-4-|
|---|---|---|---|---|

I will answer your second question when I get a few minutes to do some
typing Wink

Peace out, hope this helps you.

_________________
... a chill rises from the soil ...
... and contaminates the air ...
... suddenly ...
... life has new meaning ...

RockfortheRock · Master of the Axe Number of posts: 535 Registration date: 2007-04-07

Yup, thanks guys.

**exo** · Number of posts: 8671 Age: 34 Registration date: 2007-04-07

guitarhoops wrote:

Sorry I missed this question. The easiest way to start sweep picking is to forget about picking when you start off. Shocked

When playing the arpeggio for the first time try hammering on the pattern with the right hand. Don't use your left at all. Once you have got the arpeggio smooth in both directions then move on to the right hand. Start with a downward sweep and pick up on the last note. Do this until both hands sink up with each other. Next try an upwards sweep. But pull off on the first note picked. Then continue with the rest of the notes. The last note at the top pick down. Once you have that smooth then put it all together. Very Happy

Thanks, hoops....this is a method I have not yet tried, maybe it will help...lol

13 years, and I still can't play a lead....lol.....

_________________
Obama is no more the Anti-Christ than George Bush is Sauron, sending his armies into Iraq searching for the One Ring.....

Dwarven gravitational theory states that enough ale will make anything fall down.

Madness does not always howl. Sometimes, it is the quiet voice at the end of the day saying, "Hey, is there room in your head for one more?"

guitarhoops · Number of posts: 553 Age: 38 Registration date: 2007-01-03

Quote:

Thanks, hoops....this is a method I have not yet tried, maybe it will help...lol

No problem. Wink

Quote:

Maybe I should clarify my question more...
I think I wanted to know what the meaning of each mode was (Phrygian, Lydian, Aeolian, etc).

I'm not going to go into a big description but this will help the others who may want to know how modes affect the sound of a piece of music. I once again will leave the details to dOOm.

Ionian is the major scale. It is happy sounding. An uplifting mode.

The dorian scale works well with minor chords, minor 7th chords and power chords. Carlos Santana and Tommi Iommi (Black Sabbath) often use dorian mode in their solos. If you listen to Irish music in minor keys, it will probably be in dorian mode.

I think of phrygian mode mainly as a flamenco scale. "Pure" phrygian should have a minor root chord. It is also used in Metal. Can be very dark sounding.

You may use the mixolydian scale to play over a standard blues progression. It will give you more of a major sound, compared to the pentatonic minor or the blues scale. But it still sound bluesy. B.B. King often play the mixolydian blues. It is also the basis for a lot of rock music.

Lydian mode is one of the modes that some of my favorite guitar players use. If you want to hear lydian listen to Joe Satriani's songs. Vai also uses lydian as well. The best example is Joe's "Flying in a blue dream".

Aeolian is a minor scale. It is used alot in metal. But as aeolian it is a relative minor.

To try to make a harmonic structure based on the locrian mode does not make very much sense. It is unlikely that you will ever use it or hear it. I know this sounds weird but I can't think of any pieces of music using this mode.

RockfortheRock · Master of the Axe Number of posts: 535 Registration date: 2007-04-07

Okay that made more sense, thanks man.

dOOm&gLOOm · Number of posts: 1477 Age: 23 Registration date: 2007-06-04

RockfortheRock: As for modes ... OK. This will probably be a long post ... but I think it will help you. Let me know man!

There are 7 steps to the major scale, right? You probably already know that the C-major scale is the only major scale with all natural notes (no sharps or flats). So for simplicity's sake, we will use the C-major scale for this example. To make sure we're on the same page, the C-maj scale contains the notes:

C-D-E-F-G-A-B

Basically a mode is created by using the same interval pattern but a different root. You can use any note in the major scale as a root, and since there are 7 notes, that means 7 modes … get it?

In order to understand modes, you need to see how the different modes in the same key overlap. The diatonic major scale is the simplest mode, and it is known as the Ionian mode. Next is the Dorian mode. The dorian mode is created by using the SECOND INTERVAL of the major scale (Ionian mode) as the root, in essence moving every note in the scale back one space. So the key of C-major is also = to the D dorian scale, as follows:

C-Ionian: C-D-E-F-G-A-B
D-dorian: D-E-F-G-A-B-C

Get it?

So, where the C-ionian scale looks like this:

|-----------------------|
|-----------------------|
|-----------------4-5-|
|---------3-5-7-------|
|-3-5-7---------------|
|-----------------------|

The D-dorian scale looks like this:

|---------------------------------------------|
|---------------------------------------------|
|-------------4-5-7---------------------5-7-|
|------3-5-7---------------------5-7-9------|
|-5-7----------------OR--5-7-8-------------|
|---------------------------------------------|

You see how it’s the same scale but you start and stop at a different place? This creates a different impression and sound to a piece of music. Thus, the step pattern for the dorian mode is as follows:

root – step – half step – step – step – step – half step – step(octave)

Here are the rest of the modes, in order:

Phrygian Mode: starting on the 3rd interval of the major scale
root – half - step – step – step – step – half step – step - step(octave)

phrygian mode one octave diagram
|---|---|---|---|---|
|---|---|---|---|---|
|---|---|---|---|---|
|-o-|---|-x-|---|---|
|-o-|---|-o-|-o-|---|
|-x-|-o-|---|-o-|---|

Lydian Mode: starting on the 4th interval of the major scale
root – step – step – step – half step – step – step – half step(octave)

lydian mode one octave diagram
|---|---|---|---|---|
|---|---|---|---|---|
|---|---|---|---|---|
|---|-o-|-x-|---|---|
|---|-o-|-o-|---|-o-|
|-x-|---|-o-|---|-o-|

Mixolydian Mode: starting on the 5th interval of the major scale
root – step – step – half step – step – step – half step – step(octave)

mixolydian mode one octave diagram
|---|---|---|---|---|
|---|---|---|---|---|
|---|---|---|---|---|
|-o-|---|-x-|---|---|
|-o-|---|-o-|---|-o-|
|-x-|---|-o-|---|-o-|

Aeolian Mode: starting on the 6th interval of the major scale. **you will probably recognize this one, it is also known as the diatonic minor scale or simply—the minor scale. It is the scale from which we derive the pentatonic scale, blues scale, and MOST of heavy metal and rock music worldwide.
Root – step – half step – step – step – half step – step – step(octave)

aeolian mode one octave diagram
|---|---|---|---|---|
|---|---|---|---|---|
|---|---|---|---|---|
|-o-|---|-x-|---|---|
|-o-|---|-o-|-o-|---|
|-x-|---|-o-|-o-|---|

Locrian Mode: starting on the 7th interval of the major scale. This is the
funny sounding one we talked about earlier and is the only mode of the major scale which yields a diminished chord. Notice in the diagram that a power chord in the locrian mode is a very dissonant power chord.
root – half step – step – step – half step – step – step – step(octave)

locrian mode one octave diagram
|---|---|---|---|---|
|---|---|---|---|---|
|---|---|---|---|---|
|-o-|---|-x-|---|---|
|-o-|-o-|---|-o-|---|
|-x-|-o-|---|-o-|---|

Note that I am typing this stuff up pretty quickly and there is a 95% chance that there is a mistake somewhere in this post. So if you’re reading through and something just doesn’t make sense, get back to me and I will either correct my post or explain myself.

In order to understand teh concept of modes a little better, try playing through them in order, like this:

|-C-IONIAN-------------------------D-DORIAN-----------------------E-PHRYGIAN------------------------------
|--------------------------------------------------------------------------------------------------------------------
|---------------4-5-4-----------------------------5-7-5--------------------------------7-9-7---------------------
|--------3-5-7--------7-5-3---------------5-7-9--------9-7-5----------------7-9-10--------10-9-7-------------
|-3-5-7----------------------7-5-3-5-7-8----------------------8-7-5-7-8-10------------------------10-8-7-…--
|--------------------------------------------------------------------------------------------------------------------

-F-LYDIAN-------------------------------------G-MIXOLYDIAN------------------------------------------
------------------------------------------------------------------------------------------------------------
---------------------9-10-9-------------------------------------------10-12-10--------------------------
-----------9-10-12---------12-10-9----------------------10-12-14------------14-12-10---------------
-8-10-12-----------------------------12-10-8-10-12-14----------------------------------14-12-10-…-
--------------------------------------------------------------------------------------------------------------------

-A-AEOLIAN---------------------------------------------B-LOCRIAN------------------------------------------------
-----------------------------------------------------------------------------------------------------------------------
-------------------------12-14-12----------------------------------------------14-16-14---------------------------
-------------12-14-15-------------15-14-12-----------------------14-15-17-------------17-15-14---------------
-12-14-15------------------------------------15-14-12-14-15-17-----------------------------------17-15-14-…-
-----------------------------------------------------------------------------------------------------------------------

-C-IONIAN-(OCTAVE)------------------------------------|
------------------------------------------------------------|
-------------------------16-17-16-------------------------|
-------------15-17-19-------------19-17-15-------------|
-15-17-19-------------------------------------19-17-15-|
------------------------------------------------------------|

This may seem like a lot to learn right now, but trust me, once you know the major scale in its entirely, the rest is just practice (since you already know all the patterns).

The bestway to learn all the modes for now is probably to learn the major scale all over the fretboard. And the best way to do that is to practice using the various major scale patterns. Learn one at a time, then move to the next, then the next, until you know all 7 of them. Use practice exercises (I tend to like various hopscotch exercises for this sort of thing) to learn how they all fit together. The more you do this, the more it will all become one big shape and then you will be able to visualize modes and arpeggios more and more as time goes on.

If you don’t know the seven major scale patterns, just post here and ask me for them, it should take all of 5 minutes to type them all up and post them. Also if you’re looking for practice exercises to help you with this (seemingly daunting) task, just let me know.

_________________
... a chill rises from the soil ...
... and contaminates the air ...
... suddenly ...
... life has new meaning ...

RockfortheRock · Master of the Axe Number of posts: 535 Registration date: 2007-04-07

1. That helped alot. Thanks man.

2. I don't know the seven major scale patterns, haha, it would be nice if I did.

dOOm&gLOOm · Number of posts: 1477 Age: 23 Registration date: 2007-06-04

Sure dude, I'll post them either later on today or tomorrow. Just check back Wink

For now you can try out playing that one octave up n' down exercise I posted. Try it out and let me know how it goes!

_________________
... a chill rises from the soil ...
... and contaminates the air ...
... suddenly ...
... life has new meaning ...

dOOm&gLOOm · Number of posts: 1477 Age: 23 Registration date: 2007-06-04

Ok, there are a number of different ways to lay out these patterns, but probably the best way to do it for a metal player (and the way I like to do it) is to lay them out 3 notes per string.

Same as always - an "x" is a major root and an "o" is one of the 6 other notes in the major scale. Try playing these up and down for beginning purposes, and seriously, don't let yourself get overwhelmed by all this stuff. It seems like a lot, but even after a couple of years of practice it has just gotten easier and more enjoyable with every passing day.

Ok, these are the 7 shapes in order. Notice how they fit over top of each other like puzzle peices. In order to illustrate, I will indicate how far up the neck we have gone udnerneath each diagram.

|---|---|-o-|---|-o-|-o-|
|---|---|-o-|---|-o-|-x-|
|---|-o-|-o-|---|-o-|---|
|---|-o-|-x-|---|-o-|---|
|-o-|---|-o-|---|-o-|---|
|-x-|---|-o-|---|-o-|---|
N=whichever note you start on

|---|---|-o-|-o-|---|-o-|
|---|---|-o-|-x-|---|-o-|
|-o-|---|-o-|---|-o-|---|
|-x-|---|-o-|---|-o-|---|
|-o-|---|-o-|---|-o-|---|
|-o-|---|-o-|-o-|---|---|
N+2 frets

|---|-o-|---|-o-|---|-o-|
|---|-x-|---|-o-|---|-o-|
|-o-|---|-o-|---|-o-|---|
|-o-|---|-o-|-o-|---|---|
|-o-|---|-o-|-x-|---|---|
|-o-|-o-|---|-o-|---|---|
N+4 frets

|---|---|-o-|---|-o-|---|-o-|
|---|---|-o-|---|-o-|-o-|---|
|---|-o-|---|-o-|-x-|---|---|
|---|-o-|-o-|---|-o-|---|---|
|---|-o-|-x-|---|-o-|---|---|
|-o-|---|-o-|---|-o-|---|---|
N+5 frets

|---|---|-o-|---|-o-|-x-|
|---|---|-o-|-o-|---|-o-|
|---|-o-|-x-|---|-o-|---|
|-o-|---|-o-|---|-o-|---|
|-x-|---|-o-|---|-o-|---|
|-o-|---|-o-|---|-o-|---|
N+7 frets

|---|---|-o-|-x-|---|-o-|
|---|-o-|---|-o-|---|-o-|
|-x-|---|-o-|---|-o-|---|
|-o-|---|-o-|---|-o-|---|
|-o-|---|-o-|-o-|---|---|
|-o-|---|-o-|-x-|---|---|
N+9 frets

|---|-x-|---|-o-|---|-o-|
|---|-o-|---|-o-|---|-o-|
|-o-|---|-o-|-o-|---|---|
|-o-|---|-o-|-x-|---|---|
|-o-|-o-|---|-o-|---|---|
|-o-|-x-|---|-o-|---|---|
N+11 frets

And then N+12 frets would be the same pattern as the first one, but 12 frets up (since 12 frets are an octave).

Kapish???

For starters I'd recommend, like I said, start with the first pattern and learn that one well. Then move to the next, and so on and so forth. Here are some practice exercises to get you moving. But there are endless possibilities, so feel free to make up your own and post them here.

Pick a key and play it up and down:

for example, in the key of G:

First, memorize the shape by playing it up and down a few times:
|------------------------------------5-7-8-7-5--------------------------------------|
|-----------------------------5-7-8-------------8-7-5-------------------------------|
|----------------------4-5-7---------------------------7-5-4------------------------|
|---------------4-5-7-----------------------------------------7-5-4-----------------|
|--------3-5-7--------------------------------------------------------7-5-3---------|
|-3-5-7-----------------------------------------------------------------------7-5-3-|

Then try doing some string exercises:

I call this “two steps forward, one step back” Smile

|---------------------------------------------------------------------------------5-7-8-|
|------------------------------------------------------------5-7-8--------5-7-8--------|
|--------------------------------------4-5-7--------4-5-7---------4-5-7---------------|
|---------------4-5-7---------4-5-7---------4-5-7-------------------------------------|
|--------3-5-7--------3-5-7------------------------------------------------------------|
|-3-5-7---------------------------------------------------------------------------------|
& don’t forget to go back down.

As well as string skipping:
|---------------------------------------------------5-7-8---------------------------------|
|-------------------------------------5-7-8-----------------------------------------------|
|----------------------4-5-7----------------4-5-7-----------------------------------------|
|--------4-5-7---------------4-5-7-------------------------------------------------------|
|---------------3-5-7--------------------------------------------------------------------|
|-3-5-7----------------------------------------------------------------------------------|
& back down in reverse

Double string skipping for a little more challenge:
|------------------------------------5-7-8------------------------------------------------|
|----------------------5-7-8--------------------------------------------------------------|
|--------4-5-7----------------------------------------------------------------------------|
|-----------------------------4-5-7-------------------------------------------------------|
|---------------3-5-7---------------------------------------------------------------------|
|-3-5-7-----------------------------------------------------------------------------------|
& back down

Now some more tricky note exercises:

Again, two steps forward, one step back, but do it with individual notes this time:
|------------------------------------------------------------------------------------------------------5---5-7-5-7-8-|
|--------------------------------------------------------------------------------5---5-7-5-7-8-7-8---8-------------|
|----------------------------------------------------------4---4-5-4-5-7-5-7---7-----------------------------------|
|------------------------------------4---4-5-4-5-7-5-7---7---------------------------------------------------------|
|--------------3---3-5-3-5-7-5-7---7-------------------------------------------------------------------------------|
|-3-5-7-5-7---7-----------------------------------------------------------------------------------------------------|
& reverse it back down

Lastly, instead of string skipping, try NOTE skipping
|---------------------------------------------------------------------5---7-5-8-7-------------------|
|------------------------------------------------------5---7-5-8-7---8------------------------------|
|---------------------------------------4---5-4-7-5---7--------------------------------------------|
|------------------------4---5-4-7-5---7----------------------------------------------------------|
|---------3---5-3-7-5---7------------------------------------------------------------------------|
|-3-7-5---7-----------------------------------------------------------------------------------|
and back down

Oh, and for the record, I flat out STOLE these exercises from Mr. Jon Hooper back in the days of the old CMR thread. So he gets the credit for all this stuff!

Practice these 6 exercises for 10-20 minutes per day (on top of the regular practicing you do) … and you’ll be able to murder this scale pattern within no time! Then move on to the next one, but remember to STAY IN KEY! So, if you’re playing in the key of G major, and you’re playing the 2nd pattern, don’t forget to start on the 5th fret, since this is where that pattern belongs in that key. The next one starts on the 7th fret and so on. It will take some time, so like I said, be patient and never stop having fun while doing this. Frustration is the surest enemy of learning.

If you have any questions, feel free to post here, as usual. And R4tR: keep me posted on your practicing man! Let me know how you're doing.

_________________
... a chill rises from the soil ...
... and contaminates the air ...
... suddenly ...
... life has new meaning ...

dOOm&gLOOm · Number of posts: 1477 Age: 23 Registration date: 2007-06-04

Tue Jul 10, 2007

Hey RockfortheRock: since you’re into arpeggios and sweep picking, here’s an exercise that will get you more acquainted with the major scale. This is a major chord progression in the key of C that is entirely composed of arpeggios. Notice how the distance between the root note of all the chords here is the same pattern as a regular major scale. Notice how each arpeggio played here overlaps the modes in the key of C that I posted above. Also notice the difference in sound between a minor chord and a major chord. I have also indicated the name of the chord you are playing above the arpeggio itself. Remember that just a note name indicates a major chord, and a small “m” means it’s a minor chord.

|-C------------Dm-----------Em-------------F--------------------G---------------------Am--------------------|
|-----------------------------------------------------------------------------------------------------------------|
|----------5-------------7--------------9-----------------10--------------------12--------------------14--------|
|-------5---5--------7---7----------9---9-----------10-----10------------12-----12------------14-----14-----|
|-3-7--------7-5-8--------8-7-10--------10-8-12------------12-10-14------------14-12-15-------------15-|
|-----------------------------------------------------------------------------------------------------------------|

|-B*---------------------C--------------------B*------------------Am------------------G----------------------|
|----------------------------------------------------------------------------------------------------------------|
|---------------16-------------------17-------------------16-------------------14-------------------12---------|
|----------15-----15------------17----17------------15----15------------14----14------------12-----12-----|
|-14-17-------------17-15-19-----------19-14-17-----------17-12-15-----------15-10-14-------------14-|
|----------------------------------------------------------------------------------------------------------------|

|-F--------------------Em-------------Dm----------C-------------------------------------------------|
|-------------------------------------------------------------------------------------------------------|
|-------------10-----------------9--------------6-------------5-----------------------------------------|
|--------10-----10-----------9---9---------6----6--------5---5---------------------------------------|
|-8-12------------12-7-10--------10-5-8--------8-3-7--------7-3-~~~~~~~~~~~~~~~~-|
|-------------------------------------------------------------------------------------------------------|

**And be sure to finish it all off by making your best metal face and slamming a C-major chord as hard as you can!!!

_________________
... a chill rises from the soil ...
... and contaminates the air ...
... suddenly ...
... life has new meaning ...