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Stuck In Boxes!



 
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CalDMoore
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PostPosted: Thu Mar 08, 2007 7:48 am    Post subject: Stuck In Boxes! Reply with quote

Can anyone help me man? I'am really bored and tired of picking up my guitar everyday and my fingers automatically just keep inside pentatonic positions, I can't get out of playing in boxes its really 'daein' ma heid in' lol
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Strat Man dwight
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PostPosted: Thu Mar 08, 2007 8:07 am    Post subject: Reply with quote

You're doing better than me! Proper grammar: better than I. Shocked

Try different tunings, that'll make you wish you had your boxes back, and possibly some figerpicking, but not necessarily. Tunings would be different enough.
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Stash
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PostPosted: Thu Mar 08, 2007 12:43 pm    Post subject: Re: Stuck In Boxes! Reply with quote

CalDMoore wrote:
Can anyone help me man? I'am really bored and tired of picking up my guitar everyday and my fingers automatically just keep inside pentatonic positions, I can't get out of playing in boxes its really 'daein' ma heid in' lol


can you at least connect all those boxes? another way to mix it up is to add notes outside of the pentatonic scale.

Like for A minor Pentatonic you have A C D E G

add B and F# to that and then you get A Dorian
add B and F to that and then you get A Aeolian
add Bb and F to that and then you get A Phrygian

now of course which notes you add need to fit the progression you're playing over. I think it's helpful to see that the pentatonic scale is sort of a fragment of the minor modes. And you can mix pentatonics with modes also. Like playing over Am G F G (ala All along the watchtower) you can switch between A aeolian for a more melodic sound, and A minor pentatonic for a more rocking sound
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CalDMoore
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PostPosted: Thu Mar 08, 2007 1:13 pm    Post subject: Reply with quote

Cheers guys, To be honest Stash I don't have a clue about modes, I know all my Pentatonics and Blues scales and I can play them all in the different postions in each shape, I usually add one or two notes that aren't in the scale which makes it sound more musical.

I'll be checking up on modes.

Can I ask another question? I have heard blues players play say the A minor pentatonic blues scale and then they will move into A major of the pentatonic is this true?
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Stash
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PostPosted: Thu Mar 08, 2007 2:01 pm    Post subject: Reply with quote

CalDMoore wrote:
Cheers guys, To be honest Stash I don't have a clue about modes, I know all my Pentatonics and Blues scales and I can play them all in the different postions in each shape, I usually add one or two notes that aren't in the scale which makes it sound more musical.

I'll be checking up on modes.

Can I ask another question? I have heard blues players play say the A minor pentatonic blues scale and then they will move into A major of the pentatonic is this true?


Cool, take your time with learning them. Adding notes to the regular pentatonic will indeed lead to some more interesting & less commonly used licks.

As for your other question, basically yes. But I'd say stick to one or the other on any given measure. Blues doesn't really follow any strict theoretical guidelines, it's more about feel, bending, vibrato and phrasing. The major/minor ambiguity is sort of the trademark of the blues sound. So for standard 12 bar blues in A you would have A7 D7 E7 (3 Dominant chords, and no key contains all these chords)
You can play A minor pentatonic & A Blues over the whole progression.
You can also try experimenting with Major pentatonics, Dominant Pentatonics & Mixolydian mode, but typically they don't sound as "bluesy" and you'll have to be more careful with note choices (i.e. playing the right note over the right chord, you cant really use them as a 'blanket' scale to cover the whole progression).

I usually stick with blues/minor pent. over the I chord (A7) in a 12 Bar blues progression, and bend the 3rd degree of the scale up a half step (sticking with A minor pent. scale, that would be the C note bent a half step to be in between C & C# which gives you that major/minor ambiguity that basically screams blues).

Over the IV chord (D7) you can play around with other scales (D dominant pentatonic, D mixolydian)/hit the chord tones of the Chord so hitting an F# (3rd of D7) in sync with that change works well.

Then the V chord (E7), you can also try E mixo, E Dominant Pentatonic, or just use some turnarounds that bring you back to the A chord.

and of course you could just stick with A minor/blues scale and just kind of highlight the changes. Most blues greats wouldn't look at the progressions so analytically


phew, that's one way to look at it. Basically it comes down to feel and phrasing, and figuring out which licks work over what chords. Like Eric Clapton talks about how he has go to licks over each of the I IV & V chords.
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CalDMoore
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PostPosted: Thu Mar 08, 2007 2:18 pm    Post subject: Reply with quote

Cheers Stash thats cool of you to answer that thanks very much mate, That'll do me nicelly! Very Happy
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Coronianblues
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PostPosted: Tue Mar 27, 2007 2:30 pm    Post subject: Reply with quote

ive found that doing different stuff with your picking hand makes for some nice variety and new sounds.

try pinch harmonics( where you hit the string with the pick then hit it with your thumb in the same motion to create a harmonic),

strum up while the strings are muted then hit your desired note(srv does this in little wing and several other songs)

and pick close to the neck for a warm sweet sounds, then get pick close to the bridge for cleaner, more define sounds.
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tonyd135
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PostPosted: Fri Apr 20, 2007 9:12 am    Post subject: Reply with quote

http://www.ultimate-guitar.com/lessons/guitar_techniques/hopscotch_method_part_1.html

This helped me get out of the box a little. They are still all the same notes of the scale but it helps to open things up.
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jamesron41
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PostPosted: Fri Apr 20, 2007 3:43 pm    Post subject: Reply with quote

Yeah, look at what Tony posted. Connect all the pentonic boxes together + add a few notes here and there, and you will be in good shape.
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Herb
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PostPosted: Fri Apr 20, 2007 10:21 pm    Post subject: Reply with quote

Simplest method - practice simple major scales and start using them in your solos. Also practice simple major arpeggios and use them, too.
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Last edited by Herb on Sat Jul 14, 2007 10:08 pm; edited 1 time in total
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Patrick Curley
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PostPosted: Fri Apr 27, 2007 11:23 pm    Post subject: Reply with quote

This is a common problem, we rely so much on shapes because we have this convenient two-dimensional map to work around with and we don't learn aurally as much as other musicians. We tend to play the shapes that make sense rather than the sounds that make sense.

I think it's also got a lot to do with why guitarists are such notoriously bad readers. We have this whole other notation almost (I'm not talking about tab although tab illustrates the point I think) that is based on images.

There are two ways of learning - linear and non-linear (network). Non-linear is more visual - you can see connections better where linear is more aural - one sound follows another one. People tend to be better at one than the other but most of us can learn to do both. I think if we concentrate less on scales, that keep us in that box mentality, and more on playing through changes, being aware of each notes relationship to the particular chord it's playing over, we're moving along linearly with the tune and the fingerboard becomes a whole other beast.
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Midiman57
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PostPosted: Fri Apr 27, 2007 11:52 pm    Post subject: Reply with quote

Patrick Curley wrote:
I think if we concentrate less on scales, that keep us in that box mentality, and more on playing through changes, being aware of each notes relationship to the particular chord it's playing over, we're moving along linearly with the tune and the fingerboard becomes a whole other beast.


But... those scales you'ld have us not concentrate on are the very basis... the foudation of western music and the source of our ability to explain/communicate/harmonize and understand the melody/chord relationships. It the basis for the very structure of a chord. It all starts with the major scale. To not understand it and it's relationships is to pretty much not understand anything.
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Patrick Curley
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PostPosted: Sat Apr 28, 2007 12:23 am    Post subject: Reply with quote

That's the common view, it's a valid one obviously and most people, including me, would agree with you pretty much. I wouldn't go so far as to say they are the "source of our ability to explain/communicate/harmonize", I'm not exactly sure where that source is but that's another matter.
Scales are obviously important, they do form much of the foundation of western music and I'm not suggesting they be ignored. Guitarists however tend to learn scales as shapes and patterns first and logical musical structures second. One way to get out of this is to forget about scales, for a little while at least, and find another way to learn to play. You never abandon them completely, playing chord tones or extensions over changes is still playing in the scale of the chord, it's just coming at it from a different angle.
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Twist Of Fate
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PostPosted: Sat Jul 14, 2007 2:21 pm    Post subject: Reply with quote

Get into new styles of playing
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Jake D
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PostPosted: Thu Sep 27, 2007 1:38 pm    Post subject: Reply with quote

This is one of the best threads I've read on here. The link to the hopscotch is brilliant. I totally had one of the "lightbulb" moments that James refers to.

So here ya go! Bump for a Idea Exclamation
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