Soul Toy...

Newest inspiration. (Inspiration is what makes or breaks a tune)

The fast section that begins at the 1:28 mark will continue on
beyond what is heard here.

It's not quite finished...as I am having to woodshed a bit for some new
arpeggios. Besides the ones already heard in the fast section, which
I already new.

I'm working on arpeggios with 7th's and 9th's, diminished, and
with what is called "passing tones", which is something I had never
heard of before.

(Very difficult fingering on them. The old repeat until second nature
is the order of the day. Getting smoother every few minutes I practice
them.)

Anyhoo...

Don't ignore the first section. Has a good groove.
Makes you want to dance like a snake...least for me.

Some decent moderato to allegro speed leadwork...and a good eerie
repeating melody.

These are just my opinions of course...your's may differ of course.

I was going for a kind of all-encompassing title and feel for this one.

Soul Toy could mean everything from our souls being in a tug-a-war
by the Gods...both good and evil.

Or it could simply be the guitar itself.

Soul Toy...get it?
mp3 file...run time 1 minute...30+ seconds...3.0 MB
Soul Toy Unfinished symphonnic and harmonic train wreck not quite finished

BTW...I bought a new guitar the other day. An ESP. Nice feel.
Only thing I don't like is the humbucker pups.

Probably put a Seymour Duncan Screamin' Demon in the bridge and let
shriek.

Back to the shed...

Originally Posted by: CW14Sounds cool!

Some interesting scales in there

Try this place for more than just the common everyday pent-up-tonic
or major or minor scale.

http://www.jguitar.com/

They still don't have every scale I have ever seen, but to most players,
they will come as a shock to the ear.

Of course there are no scales here with quarter-step like tones,
(Middle Eastern/Sitar) type stuff, or some of the more obscure ones
out there, Russian-Jewish based scales on old..old folk songs and
things like that....but...

Music is more than a 2-3 word drama.

It's a language, and is constantly evolving. ;)

Good luck. :)

I realy like this, very original approach to the lead parts. Look forward to seeing where you take the rest of the track, I was realy getting into the heavy bit at the end. Post back when you have it finished!

Or...you can learn scales, arps, and other runs as you need them.

As you write the music.

Say you are playing a tune in the predominate key of E or E minor.

You of course want to use scales for leads that are in the key of E.

Always good and expected to play leads over a chord or in a key
that the main backing track is in.

(Now...if you get really INTO music and have listened to more than
just popular music...and want to do something like that music on your
guitar, then there are other possibilities, and things you might try.)

You also want to use scales in the key of E's "partner" keys.

A and D work well with E...in meaning they don't clash like say
say a G# scale would against an E or E minor progression.

You may one day write something that you do want to clash...
who knows?

(Steve Vai is currently getting inspiration from some kind of Bohemian
folk players...strange stuff...but it's NEW and ORIGINAL.)

Throw a major scale against a minor now and then as the resolvences
contrast each other greatly. Diminished scales break up the major
and minor expected seqeunce. Try them as well.

Like for instance in a tune you want to express a moment, make a
phrase that seems to give a feeling of brief hope,
(major=happy/hope...wheeeeeeee...I am so happy)...but then come
back a phrase or two later and put a black cloud of doom on that
Mr Rogers Neigborhood hope. (Minor=Sad...sometimes dark.).

HTH...and as I said...good luck.

Woah...I think you forgot to transition into the key change there...

Originally Posted by: Jolly McJollysonWoah...I think you forgot to transition into the key change there...

The whole thing is in E dude...how can you miss a key when there is only
one key? I think the octaves....which are still E's...threw you.

You have to listen several times and have a good ear.

If you can post some music of your music and show me some stuff...
please do. 8)

Originally Posted by: BMG_SKULKThe whole thing is in E dude...how can you miss a key when there is only
one key? I think the octaves....which are still E's...threw you.

The arps at the end are in a different key, there's a chromatic run into them, which means that at some point, there was something out of the key.

EDIT: Also, how would I be thrown by an octave? It's not like octaves are that tricky...

did you cut out parts of your song or something? the stops in it are really abrupt and off time. you might want to work on that and make it more musical.

anyways. *hands you your kleenex for the wanking*

Originally Posted by: Jolly McJollysonThe arps at the end are in a different key, there's a chromatic run into them, which means that at some point, there was something out of the key.

EDIT: Also, how would I be thrown by an octave? It's not like octaves are that tricky...

It's meant to be dissonant sounding at first and in places in the second
part. I like things that sound strange...eerie...scary or weird.

I hate penta-tonic scales....the "Blues"...*Yaaawwwnnn*

Google for Scriabin...Atonality...transcending...Diminished.

You guys are just not familiar I think with music theory or at least
anything outside the popular, 3 minute, commercial, pop radio realm.

I could be wrong....

Anyhoo...

the song ends abruptly...because if you read the post...I said it's a WIP...

WIP means Work In Progress...as in not done...

The first slow section is done.

Theory wise...if you are in a key...and the key stays the same...you
can do anything you want to as long as you touch on that key.

You may not resolve anything...
or create a melody...but you don't have to accomplish everything
you want to say in 2 minutes.

There is no law that says I can't make a pretty melody and ripping
solo...then go totally nuts and become a cacophany...then go
back to beauty.

I don't play shred...in fact I hate shred...I don't play metal....R & R,
jazz....I'm developing my own style. You can't or won't be able to
categorize my music most of the time. Some people call it crap...
others have said it's brilliant.

I don't like Britney Spears or Micheal Jackson, but can 1 billion records
be wrong.

Some people...ones I know who
are pro studio musicians or composers understand my music....

They don't always like it...but they know where I am coming from.

That's ok...I write music for me...not anyone else.

Sure it's great if they like it....but if they don't....who cares?

They are not paying me for this s***....:lol:

Check this out you guys...it will give you an idea of the vibe I am
trying to transfer from this type of music to the guitar and any
other modern instrument I can lay my hands on.

Here check this out.

Clips from Alexander Scriabins work

Try some Trevisan as well...

Anyway...hope this helps you a bit...8)

BTW...I'm not b***ching...it's just a pain in the arse to have to
educate people when something isn't John Petrucci, Led Zeppelin
or whoever...

http://www.insaneguitar.com/cgi-bin/yabb/YaBB.pl?board=8;action=display;num=1118286007

I just like to hear...and play as best I can this kind of stuff.

I have listened intensely to all forms of music in my 34 years, and I
always come back to this type.

Often beautiful...sometimes just makes you think...other times you
don't know what to do....

Great stuff! :)

The two poèmes signify a landmark in the composer's stylistic idiom. Starting from op. 57,
Scriabin abandons the obligatory tonal chord at the end of the piece and seems to accepts
a dissonant harmony as an endpoint which does not require resolution. He also drops the key
signature in scores (i.e. adopts the "nominal C major") while the tonal foundations of his
pieces become rather uncertain.
The poèmes share a dreamy, serene character. The first one, still close to being in C major,
suggests a state of somewhat somber rumination or remembrance which suddenly bursts into an
almost desperate flurry of action. The second piece sounds like a play of descending raindrops
which mysteriousy resolve into a spacious arpeggio.

Its companion, the Prelude op. 59 no. 2 (played by D. Stigliani), is a completely atonal, savage wartime

http://www.geocities.com/Vienna/2032/#Piano

I would have phrases that are not known, utterances that are strange, in a new language that has not
been used, free from repetition, not an utterance that has grown stale, which men of old have spoken.

~Egyptian scribe fixed on stone at the very dawn of recorded utterance~

Move -- and a shadow appears.
Be conscious -- and you shall create cold ice.
But those who neither act nor comprehend
unavoidably end up in a wild fox's den.

Tao Te Ching

Originally Posted by: BMG_SKULKIt's meant to be dissonant sounding at first and in places in the second
part. I like things that sound strange...eerie...scary or weird.

I hate penta-tonic scales....the "Blues"...*Yaaawwwnnn*

Google for Scriabin...Atonality...transcending...Diminished.

You guys are just not familiar I think with music theory or at least
anything outside the popular, 3 minute, commercial, pop radio realm.

I could be wrong....

Anyhoo...

the song ends abruptly...because if you read the post...I said it's a WIP...

WIP means Work In Progress...as in not done...

The first slow section is done.

Theory wise...if you are in a key...and the key stays the same...you
can do anything you want to as long as you touch on that key.

You may not resolve anything...
or create a melody...but you don't have to accomplish everything
you want to say in 2 minutes.

There is no law that says I can't make a pretty melody and ripping
solo...then go totally nuts and become a cacophany...then go
back to beauty.

I don't play shred...in fact I hate shred...I don't play metal....R & R,
jazz....I'm developing my own style. You can't or won't be able to
categorize my music most of the time. Some people call it crap...
others have said it's brilliant.

I don't like Britney Spears or Micheal Jackson, but can 1 billion records
be wrong.

Some people...ones I know who
are pro studio musicians or composers understand my music....

They don't always like it...but they know where I am coming from.

That's ok...I write music for me...not anyone else.

Sure it's great if they like it....but if they don't....who cares?

They are not paying me for this s***....:lol:

Check this out you guys...it will give you an idea of the vibe I am
trying to transfer from this type of music to the guitar and any
other modern instrument I can lay my hands on.

Here check this out.

Clips from Alexander Scriabins work

Try some Trevisan as well...

Anyway...hope this helps you a bit...8)

BTW...I'm not b***ching...it's just a pain in the arse to have to
educate people when something isn't John Petrucci, Led Zeppelin
or whoever...

i think i've sorted through all your pompous jackassery to the bottom line of this whole thing...i'll try to put it in layman's terms because not all of us worship yngwie or his moronic attitude. basically from what you've said, the song is chopped up and there are different parts completed but it isn't completely filled in...is that about right?

not for your attitude problem:

quit stroking your ego, dude. i was writing 12-tone charts in high school for homework and writing atonal counterpoint charts for fun. i understood much more modern and much more atonal works than the wankfest you're claiming is greatness. so shut it and put your ego in check and quit with the aloof writing because you're not above us.

get back to me when you're done analyzing george crumb's black angels and then we can talk about atonality.

personally, i don't hear anything really out of it other than the parts that cut to other parts like at 0:40 and 1:24 and 2:05 where it just all of a sudden cuts to something different without any sort of rhyme or reason. oh yeah, and don't give me the bull about atonality, your stuff is as tonal as it gets.

Dude...get a life or a grip on yourself. No one is forcing you to listen.

So if everything upsets you that much...

You take it easy now...and have a good day. :cool:

Originally Posted by: tehplatypusi think i've sorted through all your pompous jackassery to the bottom line of this whole thing...i'll try to put it in layman's terms because not all of us worship yngwie or his moronic attitude. basically from what you've said, the song is chopped up and there are different parts completed but it isn't completely filled in...is that about right?

not for your attitude problem:

quit stroking your ego, dude. i was writing 12-tone charts in high school for homework and writing atonal counterpoint charts for fun. i understood much more modern and much more atonal works than the wankfest you're claiming is greatness. so shut it and put your ego in check and quit with the aloof writing because you're not above us.

get back to me when you're done analyzing george crumb's black angels and then we can talk about atonality.

personally, i don't hear anything really out of it other than the parts that cut to other parts like at 0:40 and 1:24 and 2:05 where it just all of a sudden cuts to something different without any sort of rhyme or reason. oh yeah, and don't give me the bull about atonality, your stuff is as tonal as it gets.

That's your ASS-umption.

Petrucci and Led Zeppelin were merely generalizations.

I could have just as well said...Mozart...or Aerosmith...or...

I happen to favor generally lesser known musicians.

Not because they are lesser known...but because their music is not
in the mainstream. It has unexpected topics and tones and attitudes.
It's just what my mind, ears, and soul want to hear.

To me it's just cooler.

If you don't like what I say...my view of music...just ignore me.
Is that hard for you?

This is the internet...it means nada....zilch in the grand scheme of things.

PLEASE...don't go away mad...just go away...

Originally Posted by: AkiraSo the assumption is that people who listen to John Petrucci, Led Zeppelin or whoever aren't educated in the theory of guitar? Or that John Petrucci and Led Zeppelin themselves are not educated?

Although the intention may not have been there, I thought that post came across as very arrogant. You are fairly new on the boards, and so you do not have the position to judge how knowedgable people on here are.

Originally Posted by: BMG_SKULKIt's meant to be dissonant sounding at first and in places in the second
part. I like things that sound strange...eerie...scary or weird.

I hate penta-tonic scales....the "Blues"...*Yaaawwwnnn*

Google for Scriabin...Atonality...transcending...Diminished.

You guys are just not familiar I think with music theory or at least
anything outside the popular, 3 minute, commercial, pop radio realm.

I could be wrong....

Anyhoo...

the song ends abruptly...because if you read the post...I said it's a WIP...

WIP means Work In Progress...as in not done...

The first slow section is done.

Theory wise...if you are in a key...and the key stays the same...you
can do anything you want to as long as you touch on that key.

You may not resolve anything...
or create a melody...but you don't have to accomplish everything
you want to say in 2 minutes.

There is no law that says I can't make a pretty melody and ripping
solo...then go totally nuts and become a cacophany...then go
back to beauty.

I don't play shred...in fact I hate shred...I don't play metal....R & R,
jazz....I'm developing my own style. You can't or won't be able to
categorize my music most of the time. Some people call it crap...
others have said it's brilliant.

I don't like Britney Spears or Micheal Jackson, but can 1 billion records
be wrong.

Some people...ones I know who
are pro studio musicians or composers understand my music....

They don't always like it...but they know where I am coming from.

That's ok...I write music for me...not anyone else.

Sure it's great if they like it....but if they don't....who cares?

They are not paying me for this s***....:lol:

Check this out you guys...it will give you an idea of the vibe I am
trying to transfer from this type of music to the guitar and any
other modern instrument I can lay my hands on.

Here check this out.

Clips from Alexander Scriabins work

Try some Trevisan as well...

Anyway...hope this helps you a bit...8)

BTW...I'm not b***ching...it's just a pain in the arse to have to
educate people when something isn't John Petrucci, Led Zeppelin
or whoever...

Yeah, you don't need to educate me. I'm well versed in music theory. Besides, I don't think anyone should be telling other people they "don't know theory" if he didn't know what a passing tone was until very recently. I don't really want to argue with someone whose arrogance clearly dwarfs his knowledge.