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What to do once all major scale positions are memorized

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  • #16
    The issue with always using backing tracks is that you don't get the experience of playing interesting chords to solo over. The chords and scales are 2 sides to the same coin.
    Administrator of the SDUGF

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    • #17
      Id suggest studying the CAGED system if you really want to understand how they all fit together.
      Memorizing scale patters is great but if you don’t have a basis of how to effectively apply them it’s all for naught.

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      • #18
        Wait, you learned all the Minor pentatonic? then your done! start collecting bowling shirts and guitars!


        I kid

        Similar to Brian's recommendation above -I suggest learning to work patterns and scales up the fret board from the first fret up to 22/24 instead of working laterally from string 6 to 1 -its a much more rhythmic bouncing and fun way to play and start working in open strings. CAGED is a great example

        Then I would pick a few modes and chromatic things to work on
        “For me, when everything goes wrong – that’s when adventure starts.” Yvonne Chouinard

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        • #19
          Originally posted by GuitarStv View Post
          Think of your phrasing as a sentence. Most of your words are going to come from the pentatonic scale, with the occasional odd word from a major scale. If you want a sentence that's very conclusive, then you end on the root or sometimes 3rd or 5th. If you want a less finished sounding sentence, then end on one of the notes from the major scale that's not contained in the pentatonic. Stuff like that.
          This! I like to think of improvising as "resolving notes you've already played." String some random notes together, and just try to find which notes you could play next to make the whole phrase sound intentional. Most of the notes in that phrase likely all coexist in some scale, and there are a lot of online tools to help you identify scales, keys, and chords based on the notes being played. Writing leads and melodies is typically just improvising, then taking the phrases that you really like, and stringing them together in a way that sounds coherent and intentional.

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          • #20
            Well, ideally, improvising isn't just stringing licks together. I mean, that is the way most rock players do it, but it isn't quite improvising in the way I think of it.
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            • #21
              Originally posted by NegativeEase View Post
              Similar to Brian's recommendation above -I suggest learning to work patterns and scales up the fret board from the first fret up to 22/24 instead of working laterally from string 6 to 1 -its a much more rhythmic bouncing and fun way to play and start working in open strings.
              This right here. The difference between lil guys and good players is you're ability to solo diagonally across the neck.
              You will never understand How it feels to live your life With no meaning or control And with nowhere left to go You are amazed that they exist And they burn so bright
              Whilst you can only wonder why

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              • #22
                Originally posted by Chistopher View Post

                This right here. The difference between lil guys and good players is you're ability to solo diagonally across the neck.
                And target chord tones at will.


                Easier said than done

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                • #23
                  Originally posted by Securb View Post

                  It is funny I will be learning something overly technical and overthinking it and it hits me more often than not "Hey that is just a blues lick".
                  Same for me. My favorite Satch and Vai licks are when they throw a blues lick in the middle of their solo.
                  Oh no.....


                  Oh Yeah!

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                  • #24
                    Sorry I haven't been able to get back to respond to this, but I have been reading your responses and have found them helpful in transforming musically acceptable sounds into music.

                    Just a side note, what do the mode names come from? Did they at one point mean something?

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                    • #25
                      I believe they were named after regions in ancient Greece. The trick with the modes is to use them over the right chords. Only then you can hear what they actually sound like.
                      Administrator of the SDUGF

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                      • #26
                        Well, have you mastered the modes?
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                        • #27
                          I'm a particular fan of Mixolydian and Locrian.

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                          • #28
                            I mean, if you know the major scale you know the modes. You just need to understand how it works but it’s the same notes.

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                            • #29
                              Originally posted by Blille View Post
                              I mean, if you know the major scale you know the modes. You just need to understand how it works but it’s the same notes.
                              I kinda hate when people say this. The modes are the same fretboard patterns. Radically different note relationships to each other. You need to understand exactly what that relationship is in order to use them properly . . . otherwise you don't get modal sounds.
                              Join me in the fight against muscular atrophy!

                              Originally posted by Douglas Adams
                              This planet has - or rather had - a problem, which was this: most of the people living on it were unhappy for pretty much of the time. Many solutions were suggested for this problem, but most of these were largely concerned with the movements of small green pieces of paper, which is odd because on the whole it wasn't the small green pieces of paper that were unhappy.

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                              • #30
                                Originally posted by GuitarStv View Post

                                I kinda hate when people say this. The modes are the same fretboard patterns. Radically different note relationships to each other. You need to understand exactly what that relationship is in order to use them properly . . . otherwise you don't get modal sounds.
                                Lol

                                Well, today I learned that you have a pretty low threshold for hate

                                We said the same except that I said same notes and you said same fretboard patterns, right?

                                B Locrian is B C D E F G A B
                                C Ionian is C D E F G A B

                                Same notes AND fretboard pattern, right? Can we be friends again?

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