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Theory...

Discussion in 'Steve Smyth' started by carvedones, Jan 26, 2008.

  1. carvedones

    carvedones Member

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    Today i finally started to understand theory. For instance i had no idea how the CO5's worked. Now finally i do. I never understood how to determine key sigs and always just played scales/modes by there relative shapes, without knowing how to construct them myself.

    Now to start using this new info:headbang:

    I know its pretty bad since i have been playing for around 15 years:erk:. But i have alot of trouble with that type thing because im dyslexic.
     
  2. carvedones

    carvedones Member

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    Ok a few things to make sure i got this shit right...

    If i play a song in say G (major) then the solo can be any of the following:

    G - Ionian
    A - Dorian
    B - Phrygian
    C - Lydian
    D - Mixolydian
    E - Aeolian
    F# - Locrian

    (Not including Harmonic/Melodic minor here) And all are constructed from the same note, you just start from a different one depending on what type of sound your going for.

    Correct?
     
  3. flying_whale

    flying_whale Rome 64 C.E.

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    that is correct if you want to play in G major/E minor. However you can use whatever scale or non tonal doodle you want over the G major chord. Although it is the 'guidline' that whatever solo idea you are playing gravitates towards the notes of a g major chord, but you can solo in F# melodic minor if you wish over that and if you think it fits, however it is not guaranteed to please many people:p
    Over a G major the following scales would sound good too, and more interesting than the standard g major. G mixolydian (aka A minor) for example will sound amazing on top of that. It contains the same notes as the chord: G A B C D E F. THe bolded notes are the ones contained by a G major chord in any voicing. Another example is G lydian: G A B C# D E F# G This will give you a nice twist to the melody over it.
    If you really want to spice it up, you can use G phrygian domminant, fifth mode of C harmonic minor over the G major chord. this will yeld a Spanish effect. Take a look at the notes of this scales and that of the G maj chord:
    G Ab B C D Eb F

    Another example of a scale that contains the notes as Gmaj chord, is the 4th mode of the melodic minor. I forgot its text name, but it sounds pretty much AMAZING.

    You can also use the chromatic and the whole tone scale if you focus on the root, fifth, and third of the G maj chord when you are using them.

    If you want this thing to make much more sense, i really recommend Steve's online lessons, theory started making much more sense after taking lessons from the man!
    (the lessons will also convert you into a Smyth-minion, who does the whoring for the lessons on boards for Steve:p:p :lol:)-as you can see I'm a bit dislexic too...
     
  4. carvedones

    carvedones Member

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    Thanks for the help man. I really appreciate it. I would love to get lessons from steve but its just not possible at present. I have a wife and 3 kids to support on my income so i just cant spare the money.

    I am getting into theory though. So i will continue the journey and see where it goes...

    P.S How does everyone learn there scales. By memorizing the actual notes or by the patterns. I use the patterns at present. I really need to learn the notes on the fretboard properly.
     
  5. carvedones

    carvedones Member

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    Is there any comprehensive online resources that can help me with all this?
     

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