A Guitar Scale Excerpt Workbook
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In a preview excerpt from Feeding Back, MusicRadar presents an interview Todd conducted with John Frusciante in June of 2009, six months before the guitarist announced his departure from the Red Hot Chili Peppers.
\"If guitar players don't know the modes, for instance, it takes them a while to figure out which notes they can play, whereas somebody who's practiced those scales knows immediately what notes apply. So for me, theory has always opened things up to where I can walk into a room and just by hearing something I know exactly where to go on the guitar. I have a better time playing because I have a variety of colors to bring to the table.
\"To me, it kind of makes sense that so many people end up resorting to the physical part of guitar playing. People want to do something that they can conceive of, you know Like, 'Oh, I'll practice scales all day and I'll be able to play really fast and impress people.' It's a real cut-and-dried, straight-ahead way to learn something.
Here's a great excerpt from a Barry Harris workshop where he introduces an interesting diminished concept, which he (jokingly) calls his \"personal scale\". It produces a very cool jazz sound by a quite unexpected means. The video is a bit piano-focussed so I thought it might help some guitar players to have a summary from our point of view of the main idea.
More exotically, you could think of this as Harmonic Major with an added natural 6. You may think this is perverse, since the other way is clearly simpler, but in fact that b6 contributes a very strong Harmonic Major sound. You can find full guitar fingerings for this scale on page 298 of the current version of Scale and Arpeggio Resources -- if it's not there, search for the interval map \"t, t, s, t, s, s, t, s\" and you'll find it.
This time we can think of this as a Melodic Minor with an added #5 or b6, or as a Harmonic Minor with an added natural 6. Again we have an alternative perspective provided by a disjoint cover: the m6 arpeggio plus the same dim7 we used before. So this rule suggests that we can use this dim7 superimposition idea over minor chords as well as major! You can find full guitar fingerings for this scale on page 298 of the current version of Scale and Arpeggio Resources -- if it's not there, search for the interval map \"t, s, t, t, s, s, t, s\" and you'll find it.
Leonardo Lospennato is the author of a 250 page book focused entirely on electric guitar design. Checkout his great book and work at lospennatoguitars.com. This article is a short excerpt that will help with a common uncertainness when designing an electric guitar or bass.
Brass Excerpts - A wonderful website for all the brasses. It contains not only the horn parts of famous excerpts but also the orchestral score, wondrous to say, and all downloadable. Nobel prize! You can download the whole package of \"Lexcerpts\" in pdf form. But wait, there's more! There is also \"Horn Solos\", which offers recordings of many horn solos from the central repertoire, from Alla Caccia to Wilder Sonata No. 3. There are also etude recordings: Gallay's entire Op. 57 12 etudes (Jeff Snedeker!), and all 40 Kling Characteristic etudes (Stephen Hager). Not done: there also recordings of chamber music, like the Malcolm Arnold Brass Quintet No. 1 (whole thing by 4 different quintets) and the Ewald BQ No. 1 (4 groups). Still not done: one more thing: There is a downloadable set of scales and arpeggios - in 4 formats, no less: MIDI, MusceScore, MXL, and pdf. These are not just your basic vanilla scales: there are all kinds: bebop scales, Dorian, jazz minor, Locrian, Lydian, Octatonic, and many more. Really, folks: our cornucopia runneth over with this website. Go - what are you waiting for 59ce067264
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