-P.S. I would like to send someone a clip of my playing in order to obtain some sort of critique on my skills.
Im still having trouble...
What kinds of picking, pull off, tapping, ad nauseum...patterns, in anyone's opinion, soud best with modes over a chord progression and really give it that shredding "melt your face" solo?
-P.S. I would like to send someone a clip of my playing in order to obtain some sort of critique on my skills.
-P.S. I would like to send someone a clip of my playing in order to obtain some sort of critique on my skills.
# 1
Originally Posted by: shogun_marcusWhat kinds of picking, pull off, tapping, ad nauseum...patterns, in anyone's opinion, soud best with modes over a chord progression and really give it that shredding "melt your face" solo?
-P.S. I would like to send someone a clip of my playing in order to obtain some sort of critique on my skills.
Well, it depends on the progression. If you want to know what Techniques I think define sort of "shred" music, I'd just say alternate picking 3 notes per string, with the Natural or Harmonic Minor scale, and throw in some tapping, I don't know. Strange question. :D
# 2
:cool: It is certainly questionable whether certain techniques "sound" better with, hmmm... modes over a chord progression? O.K.
I think I understand what you're attempting to convey but perhaps a quick primer on playing "modaly" might prove beneficial. Lets start with the old standby, namely the well known and much overplayed D Dorian. Cool sound if you happen to be Carlos or any number of others but there's much more to it than meets the eye.
Mainly the associated chord construction for each scale degree.
One " on the spot " solution that puts it in the pocket is vamping with chords built in 4th's. These voicings are at once modern enough to add a hot horseradish to the mix and make for killer sequences that can pick up a solo right to (and way over) the top.
Try building 4 note chords in fourths( always being careful with the B string) and work them to the second, third, fourth, flat fifth. and V7 degrees etc.
The tonalities resulting from the use of Quatral harmony suddenly seem free of the inherent restrictions of playing everything with the more common thirds approuch that everybody and their brothers band uses.
Not to say playing thirds isn't sweet sounding but the judiciuos use of 4ths might add a super cool device/sound to your bag of tricks.
And, it makes your ear tuning process take a step forward in a hurry.
Remember even with advanced acceleration concepts the only thing left standing at the end is the sound you produce. Knowing what the intended sounds actually sound like is key to everything so listen, and play, out of the box.
Hope this helps somewhat. Play with everything you got and when that ain't enough, get some more!!
I think I understand what you're attempting to convey but perhaps a quick primer on playing "modaly" might prove beneficial. Lets start with the old standby, namely the well known and much overplayed D Dorian. Cool sound if you happen to be Carlos or any number of others but there's much more to it than meets the eye.
Mainly the associated chord construction for each scale degree.
One " on the spot " solution that puts it in the pocket is vamping with chords built in 4th's. These voicings are at once modern enough to add a hot horseradish to the mix and make for killer sequences that can pick up a solo right to (and way over) the top.
Try building 4 note chords in fourths( always being careful with the B string) and work them to the second, third, fourth, flat fifth. and V7 degrees etc.
The tonalities resulting from the use of Quatral harmony suddenly seem free of the inherent restrictions of playing everything with the more common thirds approuch that everybody and their brothers band uses.
Not to say playing thirds isn't sweet sounding but the judiciuos use of 4ths might add a super cool device/sound to your bag of tricks.
And, it makes your ear tuning process take a step forward in a hurry.
Remember even with advanced acceleration concepts the only thing left standing at the end is the sound you produce. Knowing what the intended sounds actually sound like is key to everything so listen, and play, out of the box.
Hope this helps somewhat. Play with everything you got and when that ain't enough, get some more!!
# 3
Alrighty...
Give me some more information on the song, the progression, and I will be glad to help you out. If you want to send me an MP3, send it to scotriani*at*gmail.com and I'll check it out. There's alot of variables and the real fact of the matter is, there's much more to the shred sound than just picking a mode and going bonkers with it. There's the feel, the technique involved, and the general mood that you want to achieve.
That being said, whenever I want to Yngwie out, harmonic minor and super locrian tend to be at the forefront of the bag of tricks. Thanks!
Scott
Give me some more information on the song, the progression, and I will be glad to help you out. If you want to send me an MP3, send it to scotriani*at*gmail.com and I'll check it out. There's alot of variables and the real fact of the matter is, there's much more to the shred sound than just picking a mode and going bonkers with it. There's the feel, the technique involved, and the general mood that you want to achieve.
That being said, whenever I want to Yngwie out, harmonic minor and super locrian tend to be at the forefront of the bag of tricks. Thanks!
Scott
~~~~~~~~~~~~~~~~~
Scott Evans :cool:
Guitartricks.com instructor
Scott's Guitar Tricks
scott@guitartricks.com
scotriani*at*gmail*dot*com
Scott Evans :cool:
Guitartricks.com instructor
Scott's Guitar Tricks
scott@guitartricks.com
scotriani*at*gmail*dot*com
# 4
Awesome, I'll start on the super locrian and ill mess around with that. As for a song it might be a little bit since my home computer is down but i'll send it to you as soon as possible. Thanks again.
-Phil Lach
-Phil Lach
# 5