Anti-Scales

Re: Anti-Scales

Obsessive Compulsive said:
Do I sound like I don't know what I am doing? That obvious? Lol...

Playing certain modes over a natural major/ minor already makes you sound 'outside'; you are just so accustomed to certain notes they sound 'natural'.

There are 12 notes in a scale, it's a shame to stick to standard notes and risk sounding like everybody else. You want to know how I use it? I use the flatted ninth to create tension as resolving to tonic in V7-I progression (altered dominant scale).
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Yeah but not all music takes well to chromaticism. You have to be smart about how you use it. Jazz is obvious. Metal actually isn't that chromatic and is pretty structured around pentatonic and minor lol!
 
Re: Anti-Scales

Clint 55 said:
Yeah but not all music takes well to chromaticism. You have to be smart about how you use it. Jazz is obvious. Metal actually isn't that chromatic and is pretty structured around pentatonic and minor lol!
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You the authority on metal? Lol..

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Re: Anti-Scales

Modes sound the way they do because of the chords in back of them, and the relationship between the notes and chords. To hear how the lydian mode sounds (and it shouldn't sound dissonant at all), try it over E/B and F#/B chords.
 
Re: Anti-Scales

Living Colour always did some chromatic lead stuff . . . although maybe it was more hard rock than metal.
 
Re: Anti-Scales

Mincer said:
Modes sound the way they do because of the chords in back of them, and the relationship between the notes and chords. To hear how the lydian mode sounds (and it shouldn't sound dissonant at all), try it over E/B and F#/B chords.
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Exactly...the player needs to play the scale(s) that the chord progression dictates...not the other way around. It’s like trying to stuff a square peg into a round home when you do that.
 
Re: Anti-Scales

Clint 55 said:
It's just an opinion of mine that metal isn't that chromatic. With jazz, you can start with 12 tones to your hearts content as long as you relate it melodically and harmonically.
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Actually I didn't mean to chromaticize everything or use all 12 notes, but to NOT stick to the standard form.

There are a lot of metal with chromatics, mainly the progressive ones. Tony Macalpine and Derek Sherenian are good example...and those other Dream Theater derivatives/ associates.
 
Re: Anti-Scales

BTW, there are a ton of mode based blogs here on the SD site for anyone wanting to learn more about them. I wrote them, and tried to explain everything in a very clear way.
 
Re: Anti-Scales

The whole half dimished scale is pretty anti. What the eff chord fits into that? Besides diminished. 1,2,b3,4,b5,#5,6,7.
 
Re: Anti-Scales

I have an understanding of how to use altered scales on dominant chords. The ones I use the most are diminished whole tone aka melodic minor a half step above the root of the dominant chord, or whole tone, in addition to mixolydian which isn't altered. On the list to do is get my diminished scales together. I know how to use the half whole diminished scale over a dominant chord because the scale degrees go 1,b2,b3,3,#4,5,6,b7. Has all the tones of an altered dominant chord. Just thinking about how to use the tonality of the whole half diminished scale since it doesn't fit any usual chords besides diminished. Could stick it on a minor chord for an out sound.
 
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Re: Anti-Scales

Great stuff in this thread!

Finally had time to squeeze a more constructed piece. (Well lead, the only part that incorporates anti-scale idea partially is a messy improvisation but anyway...) Also got to break out my new sm57. Set it up as stereo with my old B&O mic, as it seemed to sound better than just either in mono.

 
Re: Anti-Scales

Mincer said:
BTW, there are a ton of mode based blogs here on the SD site for anyone wanting to learn more about them. I wrote them, and tried to explain everything in a very clear way.
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Believe it or not, not everyone has the wherewithal to study theories, and it is boring eventhough the reward can change your life. Peope would rather talk about new gear, pickup, tone chasing cause it involces purchasing and trying out new stuff.
 
Re: Anti-Scales

Clint 55 said:
Just thinking about how to use the tonality of the whole half diminished scale since it doesn't fit any usual chords besides diminished. Could stick it on a minor chord for an out sound.
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Can you just not use regular minor chord and not worry about every damn note in the scale has to fit the chord tones? Or maybe an augmented slash chord like in the key of F, Eaug/F (E,D#,C) but still there is 5 in the chord so theoretically it is wrong but realistically it works cause it resolves to C.
 
Re: Anti-Scales

Uh huh I thought it sounded good over a tonic minor. I just played it over an F-6.
 
Re: Anti-Scales

Obsessive Compulsive said:
Believe it or not, not everyone has the wherewithal to study theories, and it is boring eventhough the reward can change your life. Peope would rather talk about new gear, pickup, tone chasing cause it involces purchasing and trying out new stuff.
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I actually really like reading theoretical stuff. If I just had a time to really delve in.
 
Re: Anti-Scales

Mincer said:
BTW, there are a ton of mode based blogs here on the SD site for anyone wanting to learn more about them. I wrote them, and tried to explain everything in a very clear way.
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I've read and learned a lot from those articles. Didn't realize that you were the guy writing them Mincer, thanks!
 
Re: Anti-Scales

GuitarStv said:
I've read and learned a lot from those articles. Didn't realize that you were the guy writing them Mincer, thanks!
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Pretty much every music theory article on here is something I wrote. At the time, there was no one else writing about anything like that on here. I am happy they were of some use to you!
 
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