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Old 06-10-2005, 03:36 PM   #21
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Harmonizing artificial harmonics. Their is a classical piece I came across, where this ocurrs. ****ing beautiful.

For acoustic or classical players, slap the body of the guitar while you play a rhythm. Make sure it's a jumpy fast one, and it always gets your groove going.

Learn how to strum without using a pick. I don't mean like, strumming with your fingers as if they were holding a pick, I mean upstrokes with the thumb, and down with the fingers. If you can get a decent rasgueado going, you'll have a great time playing rhythm this way.



Rasgueado
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Old 06-10-2005, 04:19 PM   #22
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Hey Pavan, if you could post those Indian scales then that would be helpful for me. Thanks

Oh and Slash_620, Morello uses an Allen Rench for that track. Druing the verse he scratches the strings to create a B/C type pitch if you get me.
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Old 06-11-2005, 04:49 AM   #23
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this thread is slowly slipping into oblivion! i think you should start a similar thread in the shred forum. you'll get way more ideas and replies there.

Shanando, I will. I am making up a list. will do it sometime soon.
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Old 06-11-2005, 11:08 AM   #24
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Cool, cheers Pavan.
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Old 06-11-2005, 06:13 PM   #25
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One day I was just sitting around with my eletric and I grabbed a capo and starting sliding it across the strings like you would with a violen bow. It sounded kind of like space ship from a sci-fi movie.
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Old 06-11-2005, 06:14 PM   #26
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Using the entire arpeggio as the pedal point (posted by Freepower in first post) is fantastic... Just using it now, and its amazing.
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Old 06-12-2005, 06:21 AM   #27
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^ why thank you! Bloody hell, i better not see you on TV shredding your ass off with my fave idea.

If you want something to do, use a small part of the arp, say, the 3 notes, and add onto the end of it each time you use it.

Start with a 3 string sweep, then a 5, then a 6, then a 6 and tap, then a four octave monster to finish off. Thats my dream lick!
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Old 06-12-2005, 08:39 AM   #28
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Alright, to really appreciate why I love this so much, you probably need to hear it... so I threw it up on my dmusic site as Cool Scuff.

We were playing a show up in malibu, and during the sound check my lead guitarist palmed over the neck with her left hand, and started drumming on the neck of the guitar, two handed. Came up with a very percussive sound... was the first time I'd ever seen anybody do this.

I was lucky enough to have a recorder on the channel at the time, and I like dove across the control room to hit record, nothing was set and we weren't really ready, so the levels aren't great (you might need to turn it up a bit).

In the recording she ****s up right about the 50s mark... but still pretty incredible. You can barely hear it in the recording, but the high noise is her lining up harmonics on her left as she's playing this rhythm.

So, I couldn't get the levels right, and ended up not recording the actual show. She played this as a fill (and nailed it) over a drum solo to end the show. When she had the distortion on... very crazy, very ****ing cool. Absolutely incredible.

I'm not sure drumming on your neck is exactly good for your guitar... but wtf, it sounds cool.

Edit: In retrospect--this would probably be even cooler in an open tuning.
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Old 06-12-2005, 09:39 AM   #29
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check out www.freakguitar.com this guy is my favourite guitarist and he's a master of this kind of thing, especially his impresive work with harmonics
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Old 06-12-2005, 09:59 AM   #30
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Cor, i think shes a bettencourt fan, thats pretty nice - he does it slightly better, does a great horse impersonation!


Lessee, heres one i've been using today, find fingerings for chords entirely made of harmonics.
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Old 06-12-2005, 10:07 AM   #31
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Heres what I was doind w/ your crazy idea:
Code:
4/4 Gtr I |-17-16-17-13-17-12-17----17----17-------------------------------------------| |----------------------15----13----------15----17-15-17-13-17----17----17----| |----------------------------------16-17----17----------------16----14-------| |----------------------------------------------------------------------------| |----------------------------------------------------------------------------| |----------------------------------------------------------------------------| 7/8 |-------------------------------------------------------------12----| |----17----------------------------------------------------13-------| |-13-------------16-17-16-17-14-17-13-17----17----17----14----------| |-------16----18-------------------------16----15----14-------------| |----------19-------------------------------------------------------| |-------------------------------------------------------------------| 4/4 |-13-------12-13----------12-13----------------12----16-----------------12----| |-------13-------13----13-------13----------12----12----12-----------12-------| |----14-------------14-------------14----13----------------13-----13----------| |-------------------------------------14----------------------14--------------| |-----------------------------------------------------------------------------| |-----------------------------------------------------------------------------|

120bpm, tripelets throughout.

I used as part of a solo for one of my songs

EDIT: Fixed somewhat, but the bars need to be shown too!
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Old 06-12-2005, 10:14 AM   #32
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slash, clean up the bloody tab!

Free, which bettencourt?
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Old 06-12-2005, 10:17 AM   #33
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^Ouch. Will do.

He might be talking about Nuno? I wouldnt know
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Old 06-12-2005, 12:47 PM   #34
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lol, "Hi, im Nuno. Bettencourt, in case you get confused with all those other nunos out there..."

Great line from the man himself.

Anyway, was just playing there, can i stress playing in altered tuning should be essential for all guitarists? Just playing in drop D, got some nice heavy prog metal, got a beautiful japanese piece, did a little bach, then moved on to Van Halen style 80s cheese.

Who says its just for punks and slipknot wannabes?

Another thing, dont ignore other instruments! Watching Mike Portnoys "Progressive Drum Concepts" gave me all kinds of ideas - even if i cant do a 32nd note filll alternating feet and hands, im sure that if i alternated left hand and right when playing touchstyle i could (once i get my touchstyle chops of doom ).

Hence, slap guitar - Cor's lead drummer/guitarist, all that stuff.
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Old 06-12-2005, 12:52 PM   #35
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i just read somehwere that you could make your power-chords thicker by adding a 2nd to them...... and they do !
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Last edited by pavan : 06-12-2005 at 12:57 PM.
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Old 06-12-2005, 12:56 PM   #36
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^sus2?

While playing a D5 open in drop D and moving around chords underneath w/ mucho distortion you get a nice wall of sound

Code:
D D5 E11 Dsus2 D7sus2 Dm Dm6 Dmaj7 |---------------------------------14----| |-7--10--9--10-----5-----10--12---14----| |-7---7--9---9-----5-----10--10---14----| |-0---0--0---0-----0------0---0---12----| |-0---0--0---0-----0------0---0----0----| |-0---0--0---0-----0------0---0----0----|
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Old 06-13-2005, 09:09 AM   #37
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Something to try again, tonewise, try really, really extreme distortion, its a lot of fun, and as long as you keep things simple, the riffs can be awesome....

And try and get new flavours out of old scales - i wrote "little birdy" i my dmusic using mostly the pentatonic minor - does it sound traditional? **** no! In fact, if you look closely, you'll hear plenty of harmonics as pedal tones and some weird harmonic arps.
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Old 06-13-2005, 12:31 PM   #38
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Try extreme distortion, this time tune your 6th and 4th to a low C and 5th to F.
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Old 06-17-2005, 11:49 AM   #39
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Anything that involves quartal harmony... It concentrates on the P4, P5, m7, M2 intervals... the term "quintal harmony" is sometimes applied to music favoring the P5.

Major and minor triads are used to a far smaller degree...

Intervals of higher dissonance-- m2, M7, m9, tritone... are not part of pure quartal harmony; in works that feature quartal harmony they appear in places where a higher level of tension is required.

Quartal sounds can be dervied from a pent. scale obtained by stacking fourths and fifth-- for example, B-E-A-D-G.

What does this yield? The third mode of the major pentatonic scale.

There's a few tips if you're into Asian or Middle Eastern music.
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Old 06-17-2005, 11:59 AM   #40
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One more nifty thing about notes themselves:

Try making weird cells... like these:

1. ascending semitone followed by descending tone
2. ascending tone followed by descending semitone
3. descending tone followed by ascending semitone
4. descending semitone followed by ascending tone

All nifty...
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