#1
When im improving, I feel constrained. And I feel like this is becuase I dont know much theory. These are the things I do when I improv, I:

-work around a root note
-stick to two positions.


Lets say the progression is E, A C. Then If I know a C is comming up I can play notes in that chord right? What other things are there that I can do so I dont feel restrained like I do? I heard things about relative minor. Can someone give me a link to that?

Thanks.
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#2
i don't have said link but you definately need to learn some theory if your going to be soloing, in fact i recommend it just so you can get better @ chord progression
#5
Quote by bangoodcharlote

That guy is hilarious. Hes sooo monotone. Cool hair though. hah. The video is kind of brief.
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#6
Quote by The Iron Man
That guy is hilarious. Hes sooo monotone. Cool hair though. hah. The video is kind of brief.


haha yeah Marty Friedman cracks me up.
#7
He said that to play the relative minor. You make the chord minor and take it back one and a half steps. Well Hes like to get you a feel of that, heres a D chord. And he started playing in B minor. So im confused.


EDIT : Thanks for that link. Seriously I just tried relative minor and my soloing sounds 2 times better. But im still confused about what I wrote above.
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Last edited by The Iron Man at Jun 22, 2006,
#8
^Key Signatures

there is no harm in learning basic theory , so go for it.
Quote by Jimi Hendrix
The Blues Is Easy To Play But Hard To Feel.

Quote by Chris Impellitteri
I Promise That My Solos Will Only Get Faster.
[Practice Makes Perfect][Hell Yeah]
Last edited by Evil_Empire24-7 at Jun 22, 2006,
#9
Well, if you're stuck in two positions, learn the other 5, that'd be a start!

Also, dont be afraid to make some silly noises and the like. Aside from that, make sure you know te fretboard well enough to play decently all over in common keys. A lot of improv is also practice.

Cas has a huge post in the archives about playing over chords, and while it'll be out of your reach for now, apply what you can from it. Also, i wrote a big article called "Phrasing for Dummies" that'll probably help you.
#10
Quote by Freepower
Well, if you're stuck in two positions, learn the other 5, that'd be a start!

Also, dont be afraid to make some silly noises and the like. Aside from that, make sure you know te fretboard well enough to play decently all over in common keys. A lot of improv is also practice.

Cas has a huge post in the archives about playing over chords, and while it'll be out of your reach for now, apply what you can from it. Also, i wrote a big article called "Phrasing for Dummies" that'll probably help you.

If I know 2, arent there 4 more? Anyways, I dont see a point to learning 4 more because there all the same notes. Maybe Ill learn one more to increase creativity. I read a post on here about someone asking whats the point in learning more then one position. Dont you think I can get by fine with 3 positions?
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#11
hey freepower can you link the phrasing for dummies article, i'm pretty decent but i'm always looking for new ideas !
#12
and to the iron man, no way, there are 7 positions including the root and yes you want to learn all the positions and once you learn them, try them in different positions i.e. Eminor starting on the open low e, then G major, as it is the relative major, starting at the twelfth position, then maybe c major at the 15th fret and so on and so on) if you only get down 2 or 3 positions then you'll only be able to use 2 or 3 positions and even if you don't think you will, isn't it better to have something and not need it, than to need it and not have it? peace out

-z
#13
Quote by z4twenny
and to the iron man, no way, there are 7 positions including the root and yes you want to learn all the positions and once you learn them, try them in different positions i.e. Eminor starting on the open low e, then G major, as it is the relative major, starting at the twelfth position, then maybe c major at the 15th fret and so on and so on) if you only get down 2 or 3 positions then you'll only be able to use 2 or 3 positions and even if you don't think you will, isn't it better to have something and not need it, than to need it and not have it? peace out

-z

Thanks. I still have that question to why He played a D chord and was soling in B minor, if he said what you do it take the key, make it minor, and bring it back one and a half steps. This is regarding relative minor.
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#14
Quote by The Iron Man
Thanks. I still have that question to why He played a D chord and was soling in B minor, if he said what you do it take the key, make it minor, and bring it back one and a half steps. This is regarding relative minor.
Well, no, if he's playing a D major chord then he's soloing in D major. The guitar fingering may look like a B minor scale (perhaps a 7th position natural minor scale), but it is still D major. He does use arpeggios of the relative minor chord though.
#15
yup, bgc's got it, D major is the relative major of B minor so its totally safe to do that, kinda like if its in E minor, a g major would be safe (as would an A aug or a B minor)
#17
Quote by z4twenny
yup, bgc's got it, D major is the relative major of B minor so its totally safe to do that, kinda like if its in E minor, a g major would be safe (as would an A aug or a B minor)

Im just saying that he mentioned that it was relative minor. And I meant D major chord not key. He said you dont have to be in the key of D. Just as long as the D chord is comming up?
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#18
Quote by z4twenny
yup, bgc's got it, D major is the relative major of B minor so its totally safe to do that, kinda like if its in E minor, a g major would be safe (as would an A aug or a B minor)
A aug?

Quote by The Iron Man
Im just saying that he mentioned that it was relative minor. And I meant D major chord not key. He said you dont have to be in the key of D. Just as long as the D chord is comming up?
Well you are kind of changing the key every time there is a new chord, but that's a jazz thing and not real important to rock.
#19
Switch back and forth between conjunct and disjunct melodies. If you just keep playing scales people get bored.
Quote by yellowfrizbee
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#20
Quote by Ace88
Switch back and forth between conjunct and disjunct melodies. If you just keep playing scales people get bored.
Care to explain what that means?
#21
Quote by Freepower
Well, if you're stuck in two positions, learn the other 5, that'd be a start!

Also, dont be afraid to make some silly noises and the like. Aside from that, make sure you know te fretboard well enough to play decently all over in common keys. A lot of improv is also practice.

Cas has a huge post in the archives about playing over chords, and while it'll be out of your reach for now, apply what you can from it. Also, i wrote a big article called "Phrasing for Dummies" that'll probably help you.

Brilliant lesson on phrasing BTW.
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#22
Care to explain what that means?


A conjunct melody is when you play notes in a stepping fashion, like up and down scales and arpeggiating triads. Disjunct is when you skip multiple notes, for example making big jumps between notes in a scale. Mixing the two up keeps the audience on their toes and makes for a more interesting solo. A good example of this kind of solo would be something like Comfortably Numb by Pink Floyd.
Quote by yellowfrizbee
What does a girl have to do to get it in the butt thats all I ever wanted from you. Why, Ace? Why? I clean my asshole every night hoping and wishing and it never happens.
Bitches be Crazy.

▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
#23
^ thanks.

Quote by The Iron Man
Anyways, I dont see a point to learning 4 more because there all the same notes. Maybe Ill learn one more to increase creativity. I read a post on here about someone asking whats the point in learning more then one position. Dont you think I can get by fine with 3 positions?


You'll learn one to increase creativity? What, 7 positions too many good ideas to handle?

Unless you can actually melodically make sense all over the neck, 3 memorised positions is not enough. Also, a lot of sucky soloing is simply to do with trying too hard and listening to yourself too little - i was just doing it a second ago, sloppy sweeps and bad timing, all because i thought i was the most important instrument playing.
#24
yeah i would throw an a augmented in there as a passing chord between G major and b minor in a solo rooted in E minor (assuming of course i was just using chord shapes to ascend/descend or resolve to something)
#25
Quote by Ace88
A conjunct melody is when you play notes in a stepping fashion, like up and down scales and arpeggiating triads. Disjunct is when you skip multiple notes, for example making big jumps between notes in a scale. Mixing the two up keeps the audience on their toes and makes for a more interesting solo. A good example of this kind of solo would be something like Comfortably Numb by Pink Floyd.
I'm glad you explained that. I thought it meant something completely different!
#26
Haha no problem. And what'd you think it meant?
Quote by yellowfrizbee
What does a girl have to do to get it in the butt thats all I ever wanted from you. Why, Ace? Why? I clean my asshole every night hoping and wishing and it never happens.
Bitches be Crazy.

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#27
Alright guys. Relative minor is pretty sweet to add to the soloing. Also Ill learn more positions. I still have to think a bit where the 2nd position is of a certain key during the improv, So it will be a while before im comfortable with even 4 positions. What else shoul I add to the soloing?
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#28
Other things you can add are arpeggios and legato runs (think Satch's Cool#9).

Quote by Ace88
Haha no problem. And what'd you think it meant?
Consonance and dissonance.
#29
Alright. Time for lots and lots of hours of experimenting. Im the lead guitarist in my band. Were folk rock. This will help a lot. Those links in my sig are just simple improv we did if your wondering.
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