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In many cases, the key signature can define the key (obviously) AND the root, even if the mode is not Ionian. In other words, you might write a piece in C, with all the B's as B Flats. ie the piece is based on C mixolydian scale, and every time a B pops up, you give it an accidental. That's perfectly OK, you wouldn't have to write the key sig as though it were in F with one flat. Look at Danny Elfman's sheet music for The Simpsons, which is based on the Lydian scale (actually the overtone scale because it has a flat 7 near the end, but that's beside the by). It has a key signature of no sharps or flats, and it starts off in C. Every time there's an F, it has to have a sharp. Then it modulates through a few keys till it ends up in Db with accidentals all over the place. The key signature defined the start key, despite the piece not being based on that key's ionian scale.
On the other hand, you might decide to use the key sig to minimise the number of accidentals. You might use a key signature as though the piece is based on that key's ionian scale, but actually write the piece based on the mixolydian scale, a 5th up. For example, Debussy's cathedral engloutie, which has no sharps or flats, looks like it's written in C major, but is actually in G with all the F's as F naturals without accidentals, not F sharps. ie it's based on the G mixolydian scale. Check it out.
Obviously the latter is akin to writing a piece in A minor with the key signature of no sharps or flats, which is obviously quite normal. You wouldn't write it in A major with 3 sharps, and then put natural signs in front of every C#, F# and G#!
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
I view the whole fretboard as a modal map. I fuse that with the CAGED system so I can play anywhere I want. From the modes I pick out the notes for pentatonics, chords and arpeggios. The modes have ALL the notes so I start from that full painting and then choose the bits that interest me.
I'm proper memorising the fretboard and all note names now having done many jamplay lessons so far. But I have to say... I'm much more of a "shapes" player. I often find (not always the case!) that with too much technique/theory the emotion can be lost. You know what I'm saying... I definitely focus on the sound and shapes. Especially at speed - it HAS to be pattern based at that point.
I find there's so much to memorise I've barely moved away from the major scale modes. But I'm hoping that as long as I can use them to full effect...
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Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Ringleader of the Cambridge cartel, pedal champ and king of the dirt boxes (down to 21)
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
My YouTube Channel
My YouTube Channel
I would love that kind of knowledge!
I'd think that as long as you know the function of the notes in the scale patterns, you'd be able to figure out most of the popular modes:
Lydian is major with a #4
Mixolydian is a major with a b7
Melodic Minor is a major with a b3
Dorian is a Minor with a natural 6
Phrygian is a Minor with a flat 2
if you think of the enharmonic minor and it's major - it's the same notes A Phrygian =~ C Mixolydian.
But I don't think in that way (and wish I could) so I don't know if I'm saying something that's helpful
Well done Viz.
This link:
http://thefretboard.co.uk/discussion/43139/fretboard-lesson-using-3-notes-per-string
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I know the 3nps, 2nps pentatonics, 4nps, caged, pentatonic, arps and loads of chords - that stuff is easy, there are shit-loads of books about it, youtube videos - but I've been lucky enough to have lessons with Dario Cortese, Lee Hodgson, Seth Govern, Phil Robson and Justin Sandercoe - I know what, why and how.
That is not the problem.
The problem is having time to dedicate to learning sounds, intervals, note functions, where it all overlaps to the extent where I can extemporise it .. at the same time as being a gainfully employed, husband, father, band-member, martial-artist and cross-fit monster and diy pedal tinkerer.
At the same time I'm trying to figure this stuff out, I'm trying to figure out the kata and application of kata for my latest belt, what my diet lacks, what muscles I need to stretch, how to get my youngest to eat more greens and my eldest to do something rewarding during his holidays, how to keep the magic in my marriage alive, how to get to the gym more and keep my boss happy, where the money for my next muay thai class is coming from, and whether the singer settled on 16 bars or 4 for the intro for the new song we jammed last Monday and are playing at a gig tomorrow and whether I'll mod the Rat pedal for that gig.
It's not a case of prioritising, I am the nexus of all those things and will be so for as long as possible, NOW as that person, I can look at young Tigger (as Tom used to be called by some of us ... 12 years ago) and I can admire and be inspired. I don't need constant education and frankly - I resent it
Thank you!
I've been speaking (through jamplay live web sessions) some pros from a range of styles but have yet to get a conclusive answer as the best way to KNOW the fretboard so well you can play anything anywhere immediately. I've got feedback what I'm doing is good though.
Like you say, you know lots... It's just about the application of that knowledge in the heat of the moment.
Impressed at the list of things you do! I'm hoping to get my album out by the end of the year
My YouTube Channel
My YouTube Channel
I can't play over complex rapidly changing chords without resorting to playing the same old licks, so I avoid playing rapidly changing chords.
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Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.