#1
whats the next logical step after leaning the major and minor pentatonic scales? ive been just using these in my solos for a while and im really not getting any better
Guitars:
Custom les paul copy with sun inlay
Epiphone les paul custom with emg 81/85
Hondo 80's star shape(project)
ESP explorer (project)
Epiphone dr200s
Epiphone ej200
pedals:
mxr doubleshot distortion
amp:
Raven rg100
#5
just use the pentatonic scale but add some accidentals and chromatics.
Guitars
Fender American Standard Strat 2008
Burny late 1980's Super Grade RLG-70 Les Paul
Sterling by Musicman JP50
Fender Classic Series 60's tele
Yamaha FS720S
Amp
Roland Microcube
Fender Blues Junior III Humholdt
#6
go with the major scale, and diatonic chords and learn to play different modes of the major scale over various diatonic chord progressions. easy to learn and lots of fun.

its tough breaking out of pentatonics and blues scales. I've been there, but it really opens up your playing when you do.
Last edited by al112987 at May 25, 2011,
#7
Quote by Fingerboy18
Modes modes modes!

Modes are very much irrelevant in many instances of contemporary music, and offering nothing more than ''modes!'' is just awful advice in the first place. I could say ''elephants!'' and cross my fingers hoping it'll help the threadstarter.

TS: I'm really going to have to advocate against the suggestions of modes, both because they've been incredibly vague and the concept itself won't offer you anything unless you're particularly interested in 16th Century church hymns or modal jazz (or other forms of music particularly focusing on lengthy vamps and drones), which are two completely different schools of thought in themselves.
If you're playing tonal music, they're not applicable.

As for escaping the pentatonic or soling rut: how do you go about applying pentatonic scales to your soloing and overall playing at the moment? Are you aware of the chords you're working with and the respective chord tones of each, and common tones between them? What about extensions upon chords, inversions, and the use of passing and neighbouring tones to navigate between phrases? How do you approach rhythmic phrasing in your playing, whether it be fuller phrases or rests?
Diatonic scales feature two more prescription notes for you to use than a pentatonic, but understanding their place and how to effectively incorporate them within your playing and integrate them within your subconscious mind will come down to understanding the theory, and developing a clear idea, of what you're trying to accomplish.

The more we know about what you're doing now, or have been doing for however long, the more advice we can offer as to how to remedy anything that's causing concern.
Last edited by juckfush at May 26, 2011,
#8
Natural minor is really common and easy to use, and from there it's super easy to go to harmonic minor (raise the 7th) which is exotic and can spice up your solos.
#9
major scales and arpeggios. from those, you can figure out all the modes (which include major, minor and diminished scales)
#10
harmonic minor, phrygian, ionian modes are really helpful
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