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Old 04-05-2007, 07:38 PM   #21
Blind In 1 Ear
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try not to stick to one scale when playing. if you hear more notes in your head, play them.

never stop playing. the more you play, the more you will be able to play what you hear in your head. i always play my guitar and always work on making licks and runs and just getting to know the fret board better so when it comes time to jam, ive got a lot of "Stock" phrases, licks, runs and ideas laid out in my head that i can draw from or even add on too if needed.
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Old 04-05-2007, 09:51 PM   #22
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20. Once you get the pentatonics down, don't be lazy! Learn the Melodic Minor and the full Major Scale. It will help you greatly!
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Old 04-05-2007, 11:44 PM   #23
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21. Go bonkers. Really, if you are really stuck, don't be afraid to really play. No need to be embarrassed because you look foolish...in front of yourself.
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Old 04-05-2007, 11:48 PM   #24
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21. Go bonkers. Really, if you are really stuck, don't be afraid to really play. No need to be embarrassed because you look foolish...in front of yourself.


22. Don't be afriad to look foolish in front of others, chances are you aren't Warren Haynes and aren't playing for Warren Haynes. If you are playing for Warren Haynes, play your heart out, he'll probably be compelled to point you to much of the same advice that is in this thread.
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Old 04-06-2007, 12:09 AM   #25
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23. If you do mess up, don't just stop like a deer in headlights. Keep playing and pretend it didin't happen. If it happens while you're playing in front of a lot of people, chances are most of them won't even have noticed.
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Old 04-06-2007, 12:14 AM   #26
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23. If you do mess up, don't just stop like a deer in headlights. Keep playing and pretend it didin't happen. If it happens while you're playing in front of a lot of people, chances are most of them won't even have noticed.


24. Also, if you hit a clam, try not to leap away. That will draw your audience's ears to the mistake. Use your ears and resolve it, if you can. The "right" note is usually only a half step away, and you can just pretend it's a "color" note, instead of a "bad" one.
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Old 04-06-2007, 12:24 AM   #27
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25. Chromatically embelish triads. Passing tones are you friend.

26. While practicing, sing what you hear in your head, than play it.

27. While improvising over a tune, embelish the main theme, subtract or add notes, rhythmic displacement etc, it gives it a sense of direction and continuity.

28. Repeat ideas to add more continuity, but don't over do it.

29. A phrasing in a musical form of "question" and "answer" also helps direction and gives it a sense of resolution
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Old 04-06-2007, 12:26 AM   #28
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30. what helped me a lot was improvising veery slowly and thinking about what effect the next note i was about to play would have on the mood of the melody. try holding down a pedal tone (let your A string ring out) while you try making melodies over it, and really pay attention to the scale degrees. the goal is to become familiar with the relationships between notes so you arent just busting out random licks.. learning all the scales and licks you want still wont make you great. its like Marty Friedman says.. control is the key word here :P watch melodic control, make it your bible!
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Old 04-06-2007, 12:27 AM   #29
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31 Keep things interesting. Don't use too many of a certain technique unless you can make it sound different. It's good to have common themes, but don't play the same solo 20 times.

32. Use speed to build tension.

33. Remember that technique is not a substitute for creativity.

34. (I saw this in John's sig and psy just said it...) Happiness is a half step away.
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Old 04-06-2007, 01:55 AM   #30
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35. Practice with the Twelve Bar Blues. This will help immensely.
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Old 04-06-2007, 07:28 AM   #31
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Theadstarter - update the original post and you will be a legend!
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Old 04-06-2007, 07:48 AM   #32
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36. try using a different scale for each chord i.e Cmajor- Cmajor scale, E min- E lydian. it's difficult but can really make you stand out, this is especially fun using chromatic
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Old 04-06-2007, 09:00 AM   #33
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37. Try and use cool effects like wah and delay to "emphasise" notes and to make them stand out.
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Old 04-06-2007, 09:27 AM   #34
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Theadstarter - update the original post and you will be a legend!


I am a Legend now!!

I will be on vacation for the next week, I will update the orignal post again when I return!

Thanks for your enthusiasm so far guys!

Last edited by Keef-is-king : 04-06-2007 at 09:35 AM.
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Old 04-06-2007, 05:06 PM   #35
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36. try using a different scale for each chord i.e Cmajor- Cmajor scale, E min- E lydian. it's difficult but can really make you stand out, this is especially fun using chromatic


Why would you sue E lydian over E minor? the lydain is a major scale so it would sound bad.

And

38. THis doesn't apply to all genres but don't be afraid to put mental stuff in there : hege bends, dive bombs, whammy bar abuse, pinch harmonic squeals, whammy bar harmomics.... think of hendrix or matt bellmay or steve vai. but again don't get bogged down by doing this, find a good balance
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Old 04-06-2007, 05:11 PM   #36
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IMO this thread should be stickied. T'is really helpful.
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Old 04-06-2007, 05:18 PM   #37
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it's in a quite random order so maybe it could do with a little sorting out, and maybe give credit to contibutors () but yeah i second that
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Old 04-06-2007, 06:33 PM   #38
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http://www.ultimate-guitar.com/colu...or_dummies.html

That lesson and the video Melodic Phrasing by Scott Henderson shouldn't be excluded from a thread like this.

Also...

Repetition is your friend. It's what the listener's ear latches on to. Don't be afraid to repeat things AS MANY TIMES AS YOU LIKE. That's right. You can fill an entire minute if you want repeating a single idea, perhaps embellishing it a bit. It doesn't have to be verbatim.
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Old 04-06-2007, 06:45 PM   #39
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I would sticky it but we have enough stickies already, we should do some space saving soon so maybe.

*Hint* The faster the "Name the Chord" hits 3000 replies the quicker this could be stickied.


EDIT: For now I'll put it in the FAQ sticky.
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Old 04-06-2007, 08:50 PM   #40
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You can play ANY note you want just about ANY time. Sounding good is where skill
comes in. They key ingredient to this is "The strength of the melodic pattern has
a higher priority than the underlying harmonic accompainment" (another way to say
this: if you have a really strong pattern going continuing it through a chord change
can sound really good even if you technically hit "wrong" notes over the current
chord -- but you still really need to know where the "right" notes are ).

Scales are only a structure to work from, not a mandate.
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