I’m on the left with my Ibanez Artcore AS-73 Semi-Hollow body that I got for like $100 at the Guitar Center’s Labor Day sale a few years ago…I’m playing through some cheap bass practice amp I got my son for his bass and I use a BOSS Mega Distortion.
My acoustic is some sort of Yamaha my sister gave me a few years ago. I also have a pretty sweet 3/4 size Santa Rosa acoustic I got for my kids.
[quote]boyscout wrote:
sen say wrote:
boyscout wrote:
HOWEVER, if you want to “sound” modal, you simply treat the tonic chord (I) as if it’s a different chord. So if I wanted to play with a lydian sound over something in E, I would play B major. Treat E as IV in the key of B.
Wait…I’m confused…I never really got this…
We’re in the key of E…so…major scale is: E F# G# A B C# D#
B major scale is: B, C#, D#, E, F#, G#, and A#
I’m believing that lydian starts 4 tones above tonic…so why wouldn’t A major be the lydian of E? I see what you’re doing with saying B would be lydian because E is the 4th…but…why do we choose the 4th of the new key?
Hope this makes sense.
Thanks.
A lydian would be the lydian mode of E major, yes. But here’s the deal: what makes lydian SOUDN lydian? the #4 (lydian is a major scale with a raised fourth scale degree). You can see that by comparing the scales you wrote above. The only difference is A#.
To get a lydian sound over a given key area, we have to the mode we want with the root on the key. In this case, we’d need to play E lydian to get a lydian sound, not the fourth mode of E–A lydian.
E lydian = b major.
[/quote]
To help sen say, technically the E based Lydian starts on the A, not B. Playing a Lydian starting on B in the key of E is technically Bmaj7. Doing this would be considered an altered mode, which is cool, but not technically an E major based Lydian.
Having said that, this is how modes get totally sick, playing a mode in a different location than it normally would be in that key. Nice!
[quote]boyscout wrote:
dg401 wrote:
dg401 wrote:
And here’s the song I wrote. It’s kind of sloppily played, but whatever.
Bumping my song cause I want some feedback and uploaded it for this thread.
Play it cleaner and you have something–especially the LH tapping at the beginning and the end. It’s very repetitive, though, so 6 mins. is kind of stretching it. I like the riff around 1:20ish that comes back several times.
Why switch the LH to over top? It seems like you could get the stuff playing normally.
What tuning? [/quote]
Thanks for the input, yours especially (since you seem to be pretty knowledgeable about the music I’m looking to play). The time is usually shorter by a few minutes. The reason I recorded the vid is because my good friend wanted to write lyrics to it.
So, I kind of imagined it as a song with lyrics that weren’t being sung I guess you could say.
I switched the LH on top cause it gets kind of cramped tapping normally. I really got into tapping over top from playing mckee/hedges/trace bundy stuff.
The tuning is DADGAD. I play a lot of alternate tunings and that’s probably my favorite. Though a lot of it sounds the same if I don’t use a capo, which I do. I also really like the tuning DADEAA, the double A strings make for a really cool sound IMO.
Thanks again for the input.
And hey I just watched your youtube vid. Good job regardless of mistakes. I tell you I’ve played on stage quite a bit with bands and by myself. I’m never nervous with other people on stage.
But when it’s just me and my guitar, oh boy do I get the shits.
[quote]dg401 wrote:
Thanks again for the input.
[/quote]
Cool song. I liked it. You should call the song Sun After A Rainy Morning…or maybe I’m just thinking that because it’s 2:30 in the morning and somehow my air conditioning got turned up to 80 and it’s effing hot.
[quote]boyscout wrote:
http://www.myspace.com/christopherguitar
The youtube video is from over two year ago now, and there’s some wonderful mistakes on there. The vid was shot at a masterclass with Christopher Parkening in Bozeman, Montana.
Everything on the myspace page was recorded at recitals (junior and senior, 1.5 and .5 years ago respectively).
Enjoy![/quote]
Sounds like there’s a lot of people in the audience for the youtube vid. I’ve played in bars for maybe 500 - 1,000 people and not gotten nervous (beer helps), but I know from playing classical piano when I was younger that that kind of setting makes me really nervous.
Your playing sounds great.
You guys’d better be listening to this!
[quote]Erasmus wrote:
You guys’d better be listening to this!
[/quote]
You’re George Benson?
[quote]duffyj2 wrote:
Erasmus wrote:
You guys’d better be listening to this!
You’re George Benson?[/quote]
I’m his white identical twin brother
[quote]sen say wrote:
Wow…I really, really learned something today. Wish I could go home and play my guitar.
thanks boyscout !
[/quote]
I’m glad I could help. Just remember that you can use whatever mode you want for the most part. The three major modes (Ionian, Lydian and Mixolydian) will work over almost any major key area–just what mixolydian, it doesn’t sound the best. Aeolian, Dorian and Phrygian can work over any minor key area.
[quote]sen say wrote:
boyscout wrote:
http://www.myspace.com/christopherguitar
The youtube video is from over two year ago now, and there’s some wonderful mistakes on there. The vid was shot at a masterclass with Christopher Parkening in Bozeman, Montana.
Everything on the myspace page was recorded at recitals (junior and senior, 1.5 and .5 years ago respectively).
Enjoy!
Sounds like there’s a lot of people in the audience for the youtube vid. I’ve played in bars for maybe 500 - 1,000 people and not gotten nervous (beer helps), but I know from playing classical piano when I was younger that that kind of setting makes me really nervous.
Your playing sounds great.[/quote]
probably around 200 people in the audience. I don’t get crazy nervous too much anymore, but I know what to expect and how to deal with it. The best part about that rectial: I nailed the first piece when I played it for Christopher Parkening (the guy that was running the masterclass, and sort of a big deal. intimidating), but managed to screw up on the recital.
Ah well.
[quote]dg401 wrote:
So, I kind of imagined it as a song with lyrics that weren’t being sung I guess you could say.
[/quote]
I kind of got that vibe from listening to it. As you write more acoustic stuff, try to approach it more like a classical composition. Almost all popular music is vocal oriented. This dates back a while. The first music we have records of, chant, is vocal. Secular and sacred music up to the renaissance was chiefly vocal.
But instrumental music is strikingly different. There’s no words to change, but there is themes to develop, etc. It’s just a different sort of approach.
In the interest of keeping this great thread going what kind of practise regimes do you guys have?
Right now I’m trying to improve my technique on guitar. As such everything else is taking a back seat. I am currently working out of Troy Stetina’s “Speed Mechanics for lead guitar”. This is intended as a stepping stone to Andrew Green’s “Jazz guitar technique”.
After a brief technical warm-up I generally choose one line out of the book and get crackin’ with the metronome. Anyone who does this often knows that it is the height of monotony. As such I break it up with bouts of ear training, chordal studies and fuckin’ around time.
The second half of my practise session usually takes place at a different time. It involes a little work on berklee’s “A modern method for guitar” and a shit-load of brow-furrowing ass-clenching time spent decoding whatever cunt of a piece I’ve decied to learn at the moment. This week’s is four-on-six.
I hardly ever make slow and steady progress in anything. My life is characterised by months of mediocrity followed by moments of epiphany.