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Seriously: If you value it, take/fetch it yourself
Whilst I suspect Chuck didn't think in those terms it did seem to be an example of what @jpfamps was talking about in the OP and backing up my own point on this.
You play these types of songs in this mode and this is the pattern for that mode so if you play that pattern you can play more songs like this.
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I'm sure Metheny uses that note too somewhere in his playing. To be honest, with Metheny, I'm certain he can just hear the notes simultaneously as he's playing them. He doesn't think in scales so much, but in 3rds, 5ths and 7ths and then adds in the gaps.
Check:
Arnold Schoenberg Structural Functions of Harmony.
The Lydian Chromatic System of Organization,
Chord Scale theory (Berklee College).
Start with these:
Berklee Harmony 1
Berklee Harmony 2
Berklee Harmony 3
Berklee Harmony 4
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Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
I try to 'understand' things I stumble across in terms of theory - but actually I can live with just enjoying how it sounds.
Now it's only your tone that's phat.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
I think the ultimate Holy Grail that everyone is searching for is self expression whilst also covering the changing chords tones. I think modes are a false prophet to some extent, in that they make you believe that somehow, by knowing them, you too can capture some of the essence of the best Jazz and Hairmetal guitar players about.
In reality, whilst they may open your eyes up to the tones, they really only give you a 10% lift. The rest is practice, ear and feel and personal imagination. Ear mostly. I'm still struggling to play chords tones. I still struggle with a A-D-E twelve bar blues when I stick to and read the manual. I just don't get it, but then I am not a great guitar player and more rely on whether the amp sounds good or not at the time for inspiration.
I was never very good at music in school and gave it up as early as I could, but I remember the music teacher loved music. He used a much more abstract approach, almost like how you would describe food on your palette to create sounds. I think thinking that way is more useful than learning modes and such. Like this sounds like snowflakes or falling out of a fire escape or being burned by the sun or whatever. I suppose music being another language, you have to learn some basics, but the best poets think outside of the box with their use of vocabulary. They certainly don't inspire and create a vision in your mind by sticking to rhymes and conventional prose and descriptions.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.