This Week on the Guitar Blog...
From Scales to Licks
This weeks GuitarBlog covers how guitar players can move from just playing through scale shapes and start to actually play licks and melodies. Most guitar teachers, books and internet lessons show the scale patterns in tight position layouts (approx. 4-5 frets). And, while some guitar licks are played from those types of closely grouped scale patterns, most are not. If you were to start spending a good deal of time learning licks found in many of the most popular songs, you'd discover that there are a lot of "along the neck" (horizontal) patterns applied to create the licks and solos. On the other side of this idea is thinking musically and being inventive with the various layouts of the scale. In this lesson, we are going to run through a few different methods that you can use to begin breaking away from generic scale shapes and start turning, "Scales into Guitar Licks."Enjoy this weeks lesson!
RELATED VIDEOS for "From Scales to Licks":
Developing Proficiency with Guitar Licks
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July 03, 2015:
Covers ideas to create better melodies on the guitar. Includes harmonic patterns that support the melody. Compares both diatonic and non-diatonic, (non-diatonic chords will be covered using other scales or modes). Also explores repetitive meters. Recurring meter helps a listener better relate to the lead guitar patterns. Watch the video lesson to find out more, and Download the FREE MP3 JamTrack and PDF lesson handout for the practice examples.
Q: Hi Andrew...
I just wanted to say thanks for making your Understanding Music Intervals lesson. You taught me in 15 minutes what my private lesson trombone teacher in school couldn’t teach me in more than 5 years of weekly lessons... just wanted to ask a question about the dim7.
It seems to be an interval only in name since when you play it, it would sound as a major 6? At least taking your example as C to B as a 7th, B flat as a minor 7th and then B double flat as a diminished 7th... effectively that makes the played interval C to A or a Major 6th, if I’m trying to identify the interval by ear.
What context can you use to make the decision on something you’re just listening to, to try to identify? Lastly, I noticed that the symbol you use for double sharp has dots in it but I was never taught a symbol with dots. Is that a Canadian vs. United States difference? I can’t seem to find the symbol you drew on a quick Google search.
A: Hi Nathan...
Thanks, glad that video helped you. The Dim.7 and the Ma6 are what is known of as, Enharmonic. The difference between naming them will come to front and center if you wanted a distance of a 6th or a distance of a 7th.
Generally, this would come up most often when constructing chords, arpeggios, or various scales and you’re using several intervals together. For example, the Ma6 would be applied in the context of constructing a triad or arpeggio of major or minor quality. But, the Dim. 7 would be applied when constructing a Diminished chord, the Diminished arpeggio, or harmonizing the Harmonic Minor scale’s seventh degree, (which would be the Dim. 7 chord).
Keep in mind that although intervals are taught in theory as the distance of one note to another, they are generally used inside of situations where there are more than two notes. So, as you assumed in your question, their names are dependent upon the context in which they are used. As far as simple listening to note distances, (when perhaps analyzing a song by ear), I’d say 9 times out of 10 I’d name this particular distance as a Ma6.
Lastly, in regard to that double-sharp symbol... That type I had drawn was what would be called Manuscript Style. I found it in a Books.Google search for Theory and Technique for Music Notation. The book by Mark McGrain (page 37). Modern software such as Finale does not show the double sharp in that manner, just as an X.
Thanks for writing in. - Andrew Wasson