#1
I always find myself back in the Minor Pentatonic Shapes. I usually play
Shape #1 the most .

Sometimes I get bored with it ..so I started stacking shapes of other modes
on top of it. I used Modal positions that contain most of the same notes as
other scales I play as well.

A combination I really like...is Minor Pentatonic Shape #1 ..and I play notes outside of the scale by adding Mixolydian [edit] lol Shape #4.

So I will play *E* Minor pentatonic Shape 1 ...at fret 12
and....*A* Mixolydian Shape #4 ...................at fret 12

I like to play notes outside of scales...so stacking the shapes helps me.

Are there any non conventional approaches to writing chord progressions that will make stacking these shapes more interesting?

Ive been just using basic pop/rock commercial progressions. Hopefully you guys can help me highlight these outside notes.
I bet Charlie Brown's teacher's name was Mrs.Hammett
Last edited by Washburnd Fretz at Aug 6, 2009,
#2
i have never heard of the "moxolidian" of which you speak...

i also don't quite understand what you're saying.... tell us the actual notes you're using rather than shaped - i have no idea what shapes you are meaning

EDIT: if you think that playing the 4th shape of the mixolydian mode makes the song mixolydian then you need to go back and totally re-think modes, they're more than just starting the major scale on a different note.
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Last edited by doive at Aug 6, 2009,
#3
Well if Iv understood you right than you mean A Mixolydian and E Minor Pentatonic they both have 4 chords in common

Em GM Bm DM

So you could start with using a progression using them.
#4
Ok..I understand that...thanks.

I like that Idea. I can get a really outside sound with it.

I dont mean to sound like I'm just looking at Modes as a few "Extra" notes...

But I like to play notes outside of scales sometimes. I've always liked to throw
in notes that dont belong.

So I figured Maybe I could make some more interesting and complex pieces of music.
I bet Charlie Brown's teacher's name was Mrs.Hammett
Last edited by Washburnd Fretz at Aug 6, 2009,
#5
i'm re-reading this - A mixolydian shape 4 is surely just D major but with a stupidly complex name attached to it. Like calling a train a "several cars stuck together, which are capable of holding large amounts of people and used as a mode of public transport that can only run on prebuilt steel tracks"

Since Em pentatonic contains all the notes of D major - you are in fact just playing the notes D major. However since you seem to be basing your ideas around E minor i think it's probably best to just conclude you are playing in E minor but perhaps including the odd natural 6th (c# as opposed to C).

Most likely though you're just playing in E minor and trying to over complicate the accidentals in your mind.
The only 6 words that can make you a better guitarist:

Learn theory
Practice better
Practice more
#6
e - g - a - b - d ............... E minor Pentatonic

E, F#, G, A, B, C#, D........D Major

E, F♯, G, A, B, C, D, ..... E Minor

Ok...now I see. I have a ton of options....wow.

Now I understand how I can make some really interesting progressions.

Thanks.

I guess now I need to work on merging some shapes that dont have so much in common.

My next project will be using the Dominant notes as bridges...

Its just really weird to think that you are writing a sad piece in D Major...lol
It was because I was adding the C# and F# in the faster Solo sections....I see

Damn..thats weird how you saw it..
I bet Charlie Brown's teacher's name was Mrs.Hammett
Last edited by Washburnd Fretz at Aug 6, 2009,