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Old 07-15-2012, 01:16 PM   #281
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Originally Posted by Wretched_Spawn
Of all the alt picking songs that are listed, what would people recommend as one to look at as I'm recently getting back into guitar playing more?


One you know and like would be a good place to start...
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Old 07-23-2012, 08:27 AM   #282
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For hybrid picking try paganini's 2nd caprice, didn't try it myself, but that's some crazy sh*t
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Old 07-24-2012, 10:24 AM   #283
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24'th caprice. to improve your epicness
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Old 07-24-2012, 10:28 AM   #284
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24'th caprice. to improve your epicness


x2
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Old 07-25-2012, 03:44 AM   #285
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Could we put The Trooper by Iron Maiden under Legato? There are several trills and pull-offs (haven't heard a hammer-on yet).
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Old 08-02-2012, 05:46 PM   #286
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Can anyone recommend me some challenging Gohtic Doom Metal songs? I currently play a lot Theatre of Tragedy, Paradise Lost but it's not very challenging from a technical way because of super easy riffs and slow chords.
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Old 08-07-2012, 05:05 PM   #287
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Great pages! i found also some great manuals where you can learn how to play guitar. I am a slef learner so that the best way for me now cause i donīt have time to visit guitar school
check:
http://big.learningguitarreviews.com/
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Old 08-09-2012, 03:42 AM   #288
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Originally Posted by Gulumok
Can anyone recommend me some challenging Gohtic Doom Metal songs? I currently play a lot Theatre of Tragedy, Paradise Lost but it's not very challenging from a technical way because of super easy riffs and slow chords.


It's kind of the nature of doom for it to be physically quite simple, I think of you want something in that genre that's physically hard your best bet would be to write it yourself.
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Old 09-25-2012, 11:50 AM   #289
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Thaks a lot!

For alternate picking there is 'Burn It Down' by Andy James
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Old 10-17-2012, 02:54 AM   #290
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How would one develop your first sweep picking run? I mean there's just putting 3 chords in a row like C, E, then G... but that doesn't sound like your typical sweep run you know? Like what you might hear Yngwie or Satch do... I know their's aren't necessarily anything for a beginner, but um... You get my point... How does one put together an "interesting" first swept run using basic chords n other such basic brick-a-brack.
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Old 10-17-2012, 06:12 AM   #291
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Well, an interesting chord progression is the most important thing. If you have an interesting chord progression, most likely the arpeggios will sound good too. Do you know any chord progressions you really like?
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Old 10-17-2012, 12:41 PM   #292
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Nope... I do know I IV V I.
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Old 10-17-2012, 12:43 PM   #293
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Well, there's a lot more chord progressions out there, get researching.

Personally I don't think you can beat i-VI-III-VII in a minor key. >.>
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Old 10-18-2012, 01:19 AM   #294
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bwa... huh..wa... oi.

First off, Can someone tell me how to write sweep runs, and for that matter, here's another question; how do I write legato runs? or runs at all, there's more to it than just going chord, chord, chord... A little baby stepping here would be nice... instead of just throwing me in the deep end lol.

Google is no help here apparently...

=-------------------=

Er, ah, uh... what I meant to say here was:

1 4 5 is definatly a cool thing to learn, but just going through the "core" notes of each chord (the nucleus if you will) one at a time say... E G B A C E B D F# then E again isn't ... shall we say, interesting. (The same goes for any progression)

Yet I don't want to get tooo complicated and start going into Em11add15+ or something lol. I'm just trying to figure out something that keeps to say E minor (for now) that doesn't switch up to E Harmonic or Melodic minor, and still stays cool, interesting, and above all Simple. (or C major heh)
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Old 10-18-2012, 05:53 AM   #295
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Well, what chords are in E minor?

And as for an interesting pattern to play the notes of the chord in - sweeping is most useful for going straight up and down chord tones (at least with triads), if you want to break it up then you're using the wrong technique.

To write simple legato runs, take a sequence and move it through the scale until you land on a screaming bend.
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Old 10-19-2012, 01:25 AM   #296
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Well I mean, when I listen to say... Steve Vai for instance... I doubt that's just sweeping quite litterally straight up and/or down chords, and/or running through a scale... there's paterns, forumulii, and a great deal of experimentation... but sans the experimentation... there's got to be a set of those paterns and formulii that allow one to put together the chord progressions without being so... boring... I mean something that sais if you are going from E to G then these notes are what creat this effect, while these other notes create this other effect, and still more of these other notes way over here create yet another thing all together.

I know that there are scales, and each scale has a certain set of emotions that are generally tied to them, but I mean take E minor... ok, Let's run through Em Am Bm... I IV V... if you sweep up and down that not much going on you know? How do you make it interesting sans a good flowing rhythm?

As for what's in E minor? E F# G A B C D E Which when harmonized becomes Em F#dim G Am Bm C D Eminor if I remember correctly, it's late.
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Old 10-19-2012, 06:57 AM   #297
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Quote:
How do you make it interesting sans a good flowing rhythm?


Well, if you like Steve Vai's sweeps - go check em out. Steal the rhythm and change the notes around. One thing you can do is just figure out which patterns change chord on the beat and which you like, there's lots of different ways to do it.

The other thing is that there are many, many rhythms out there that can create interest, one of the most common is grouping the 8 8th notes of a bar into a group of 3, a group of 3, and a group of 2. Try this with your chord sequence and see if you like it.
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Old 10-19-2012, 11:03 AM   #298
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Ah, was going to get into something like that today.

I've noticed a lot of soloing, and generally this is everywhere not just in solos:

3 note groupings


I mean like say a person is playing a blistering solo, and he's just "legatoing" all over the board at a million miles an hour. They almost predominately go for grouping the notes in 3's. Like Say on preaty much anything Joe Stump did heh, he goes off on a tangent and groups em in 3's a lot hehe. Though the same could be said of most any good guitarist.


When they go for that sort of grouping, is it mostly just running through 3 or 4 chords (give or take a few chords) straight up/down, with some experimentation? Or is it like I'm trying to get at that there's some other thing going on? Like when I play a 12 bar blues on guitar pro as a backing track of sorts, i can go through chord arpegiations, but they don't seem to have anywhere near the same effect, even at speed as these shredder's licks when they go for em. (e.g. Midnight - Satch)

I'm curious if this is just generally due to the nature of scales having 3 notes per string (generally) when going across? Or is it a rhythmic device? Or hell, both?
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Old 10-20-2012, 02:52 PM   #299
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^ it can be a rhythmic device, it can be because of the scale fingering... it's just an effective way to generate a lot of musical material that sounds decent from easy scale shapes. What's important is when you use those runs and what you finish them with.
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Old 11-01-2012, 01:40 PM   #300
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Cool, I will play through these.
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