Conference napalm::guitar

good learning forum indeed, but to read vs. hear,,, things will get
lost, especially when it comes to improv.


I'll post a few visits, but for nwo, I'll have to ponder this..

I wish I *had* 12 hours a day to study theory...

Take a look around this notes file.  There are many notes that have licks,
chord progressions and such.  There's even notes on theory, if you have
any interest in that.  I've found this file to have a wealth of information!

Good luck!

Greg

	The Master's Series article in the September `89 issue of GP
	(it has Pete Townsend w/Tele on the cover). The article is
	called "Power Practicing - getting the most from your practice
	time". It shows how to squeeze all 12 major scales out of a
	single 6-fret wide playing position. After learning the fingering
	I'm now able to play any major scale anywhere on the neck.

	That's come in handy for the next part which has been the study
	of the modes and how they are applied to chord construction and
	improvising over chord changes.

                                  
    I was playing away last night, working hard on getting artificial
    harmonics down pat.       
                       
    Anyway, it was coming along quite well when I went a little bit
    mad with the 'catching the string with the side of the thumb' tech
    and I sliced a piece of skin off my thumb with the high E string. 
    Anyway, I said words to the effect of 'oh dear didn't that heard?'
    (generally in loud four letter words). I tried to continue to play 
    but there was this piece of skin hanging off and it was picking the 
    string directly above the one I used the pick on - so I had a second 
    pick 8^). (great for country playing but a bit of a mess 8^) ).
    
    Anyway, that got too painful (duhh!!) so I packed it in sharpish, and 
    quickly decided that I wasn't going to be doing on work using my right 
    thumb (so I can't use a plectrum, or pick with the thumb).
                                              
    Anyway, to cut a long story short I started working on pull-offs,
    something I've never been exactly good at, and was amazed at
    the results I got. I always had a problem with quick wide runs on
    the E,A and D strings, with just hammers and pulloffs but after
    last night its really coming along well.       
                      
    What I did was, played the following, without picking a single note
    (not even the first - remember, my thumb was kinda sore! 8^) :-
                                                     
       h p h p h p h p                               
    E 3-7-3-5-3-7-3-5-3- (high E)                    
                                                     
    Then move it to the B string, but arch your left hand more, 
    (move your left elbow down slightly, this helps the arching).
                                                                
    Keep moving up the strings - eachtime, slight lowering your left
    elbow so you can really PULL the notes off, as apposed to just light
    them slide off, which was always my old mistake). Try it with these
    patterns :-                               
                                              
      h h p h p h p h p      h h p h p h p h p     h h p h p h p h p     
    E|-5-8-5-7-5-8-5-7-5   E|-5-8-5-6-5-8-5-6-5  E|-5-7-5-6-5-7-5-6-5
                                          
    After you've worked on these try and play this simple lick :-
    
    (fast as possible)
                                                          
      h h p h p h p h p h p h p h p h p h p h p h p h p h    
    E|-5-8-5-7-5-8-5-7-5-8-5-7-5-8-5-7-5-------------------------------
    B|-----------------------------------8-5-7-5-----------------------      
    G|-------------------------------------------8-5-7-5---------------     
    D|---------------------------------------------------7-(wide vib)--
                                                          
                                                          
    See how easy it is ?
    
    Do it on all strings and this will really get you around the fingerboard.
    Even when you have a band aid on your thumb 8^)                   
                                              
    -Tony                                 
                                          

    Speaking of learning the fretboard, There is an excellent 'quick and
    diry' guide to modes in Scott Hendersons column in last months issue
    of Guitar world. It really helped me. Henderson explains that you don't
    have to know out all the theory of modes ect. to use them, its how you
    sound thats inportant. Of course its good to know all that stuff, but
    i'm not that interested.
    Basically (I'm sure most of you guys know this!) Henderson says that
    a mode is a Major scale starting on a different note. Certain modes are
    valid over certain chords. For example, To use a Lydian (?) mode,
    which goes with a Maj7 #11 chord. you play a major scale starting
    on G (the 5th). If its a A maj7 #11, you would play a E major scale.
    Or over a Min7 chord, you could do the same thing starting a minor 3d
    above the root, for example a Amin7, play a C major scale. 
    His article really cleared that stuff up and provided a short cut for
    my limited playing. He also lists all the modes and chord combinations.
    
    jay
    

	Note from a major scale with a different start - I wouldn't
	have attempted to begin modes without approaching it that
	way. Sitting down to learn F mixo would be a drag if I couldn't
	cheat with G minor or Bb major.

	Once I get the notes down I go hunting for chord forms that
	line up with the notes - add#11 being one of my favorite IV
	chord forms. I'm starting to be able to know what mode to use
	by the chord and that's a great feeling.

	I'll poke around for that issue. There's also an issue - GW from
	maybe June `89 (Vito Bratta on cover) with a "Heavy Metal
	Workshop" in the back that covers modes.

    The issue with this mode stuff is the Guitar World with Ozzie's guitar
    player on the front, Wylde? He has a bulls eye painted on his Les Paul. 
    
    P.S. what sounds like a neat scale (i haven't tried it) is over a 
    min7 w/ flatted 5th you start the major scale 1/2 step up from the root.
    I think thats the chord.

	That's a good tonic chord in locrian - the mode you get if
	you play a major pattern but use the maj7 as the root. And 
	you're right - a lot of the other guys already know this stuff 
	cold & we're just moving in a different wave.

	I posted a note some time ago about mapping the modes to days
	of the week and saturating yourself in it. Check out 1840.13.
	If ya had yer analogical wheaties this morning take a poke at
	1862.0. There are several earlier notes on modes as well.

	ccb

    I was told a LONG time ago a simple fact...
    
    	"all the notes you need are on that fretboard...
    	   the trick is to hit the right ones at the right time".
    
    
    	What a wise guy huh?
    
    		Fred (who can't be serious all the time)

    Re: .9
    
    Sounds like the first paragraph in the Les Paul Guitar Method book 
    8^)  8^)  8^)

    >   "all the notes you need are on that fretboard...
    >    the trick is to hit the right ones at the right time".
    
    That's why these days I'm playing primarily keyboards.
    
    On guitar, you can only play six at a time.
    
    On my piano, I can hit 88 at a time, so I have a much better chance
    at hitting the "right ones".
    
    	db