| T O P I C R E V I E W |
| Zack |
Posted - 01/10/2005 : 11:17:16 PM
Hey guys, got a quick scale question. Can anyone tell me what kind of scales id be lookin for for minor, suspended, and diminished chords? For example, what would a harmonic scale be good for solo'n over? I was just wonderin if anyone could provide some basic list of some jazzy chord types (not the tabbed chords, just the type, like diminished, ect) with some corresponding good soundin scales (different ones, like harmonic, blues, whatever). I just wanna know exactly what scale type goes with what chord type. Thatd be great if i get any suggestions (anything at all man!). Thanks |
| 8 L A T E S T R E P L I E S (Newest First) |
| dan p. |
Posted - 01/16/2005 : 1:30:02 PM
bach was the man. |
| Zachmozach |
Posted - 01/15/2005 : 10:57:38 PM
Ya and remember that a big part of any good theory program is aural skills. Learn to sing intervals and recognize them. Train your ear on your instrument and with your voice even if your a shitty singer like me. I've always listened to guys like coltrane and really conected with what they where doing, but had no idea how the hell he did or even exactly what he was doing. I'm just starting to get to the point where I can look at a transcription of something he has played and say ok I see what he's doing. Still can't play stuff like that, but at least I'm starting to get how he constructed lines like that.
And for the record Bach is definitely a badass. I mean he dictated chromatic fantasy on his deathbed. Even just before he died he was kicking some serious ass just by telling someone else what to write. |
| Arthen |
Posted - 01/15/2005 : 10:51:04 PM
Bach was a badass. |
| dan p. |
Posted - 01/15/2005 : 10:29:58 PM
true. theory is just a tool. but it's a powerful tool. it's how music works. you wouldn't try to craft a watch without knowing how a watch works, would you? but ultimately it is the sound that matters. music isn't ink on a page, and knowing theory doesn't make you a good musician. it is, however, a great help. it's just important to remember that music created theory, not the other way around. bach didn't sit around fretting about theory. he just made absurdly incredible music. he did what his ear told him. then everyone else analyzed it and made the rules he seemed to follow. the flipside to that coin, though, is you can't effectively break rules until you know them. i guess there has to be a balance of knowledge and emotion, of mind and heart. or ear, as it were. |
| guitarisPIMP |
Posted - 01/15/2005 : 9:57:54 PM
All this information is wonderful and greatly appreciated, but in my opinion theory is only a piece of the puzzle to learning to play well. Getting bogged down in theory can really hinder your playing if you don't have an ear for what you're playing, otherwise you may as well be doing math with letters rather than playing music. Jimmy Bruno played just that way. I remember going to a guitar workshop-type thing with Jimmy teaching, and someone asked him a similar question, and he said "it depends on where you came from, and where you're going." His point is that he doesn't concern himself with alot of this stuff, and just plays how he hears the music, and that's how he's always learned to play. In the end, the entertainment comes from sound, not theory, so just keep that in mind as you use all of this stuff. |
| Zachmozach |
Posted - 01/15/2005 : 1:42:04 PM
I just wanted to let everyone know that there is the greatest book avvailable with tons of info on improvising and such. Jazz theory by Mark Levine. It has all sorts of info on what you can play on what and uses examples from solos. It also has tons about theory and such. |
| Zack |
Posted - 01/14/2005 : 8:24:22 PM
thanks alot bro, nice work...its muchly appreciated, and im sure others are glad u posted it too |
| Poparad |
Posted - 01/14/2005 : 12:18:20 AM
Major:
- Major Scale (Ionian)
- Lydian
- Major Pentatonic from root
- Major Pentatonic from 5th
- Major Pentatonic from 2nd
Minor:
- Natural Minor (Aeolian
- Dorian
- Melodic Minor
- Harmonic Minor
- Phrygian
- Minor Pentatonic from root
- Minor Pentatonic from 5th
- Minor Pentatonic from 2nd
Suspended:
- Major Scale
- Major Pentatonic from 4th
Half-Diminished (m7b5):
- Locrian
- 6th mode of Melodic Minor
Diminished 7th:
- Whole/Half Diminished Scale
Dominant 7th:
- Mixolydian
- Lydian Dominant (4th mode Melodic Minor)
- Blues
- Major Pentatonic from root
- Major Pentatonic from b7
- Major Pentatonic from 4th
- Whole Tone Scale
- Inverted Diminished (Half/Whole)
- Phrygian Dominant (5th mode Harmonic Minor)
- Altered, aka Super Locrian (7th mode Melodic Minor)
Chord Types:
Major: Major triad, Maj7, Maj9, Maj7(#11), Maj6/9, Maj6, Maj13, etc.
Minor: Minor triad, m7, m9, m11, m13, min-maj7
Dominant: dom7, dom9, dom13, dom13(#11), dom7sus4, dom7(#9), dom7(b9), dom7(#5), dom7(b5), dom13(b9), dom7(b9, #9), etc.
Half diminished: m7b5
Diminished 7: dim7 |
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