#1
Ya like wuts the scale alexi uses in Children of bodom!? THEY R00L


No but seriously. Im getting bored of using the same old scales, which currently are Harmonic Minor, Byzantine, Gypsy, and Diminished.

Any exotic or not-so-used scales that would make for some really scary music? Im thinking dark, everything from horror movie scores to something thats capable of making the blackest black metal ever.

All help appreciated!

I know scale threads are pretty retarded, and never thought Id make one, but it just seems like these scales are too predictable now. Know what I mean?
#2
Maybe Melodic Minor? I don't know. Probably just some chromatic stuff.
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#4
Hmmm....

We seem to be thinking on all corners now aren't we.

How about the Phrygian?
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#5
most bodom stuff is either natural minor, phrygian, or harmonic minor.
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#6
Quote by DougC84
most bodom stuff is either natural minor, phrygian, or harmonic minor.



...What the **** are you even talking about? Did you READ the whole post?
#7
Try playing in 5/4 along with those scales. It will eff up your old hat style of phrasing , because your patterns wont work. That and 7/8 are both quite menacing when used right.

Time to hear the phrasing. Scales can only do so much for you, we both know this. Before you even listen to any music for the day or play any guitar, hear the really dark things in your head that you want to find on guitar. Sing them, get them out of you. Then find that on guitar.

Quick Fix : Whole Tone Scale is quite slinky-ish and you can just vamp on diminished chords.
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#8
Quote by nightwind
Try playing in 5/4 along with those scales. It will eff up your old hat style of phrasing , because your patterns wont work. That and 7/8 are both quite menacing when used right.

Time to hear the phrasing. Scales can only do so much for you, we both know this. Before you even listen to any music for the day or play any guitar, hear the really dark things in your head that you want to find on guitar. Sing them, get them out of you. Then find that on guitar.

Quick Fix : Whole Tone Scale is quite slinky-ish and you can just vamp on diminished chords.



Hm...Now that you mention it, I dont really play in time signatures that have an odd top number...any tips on how I can help myself stay within those odd times?

Also, I rarely get a chance to listen to my phrases before I listen to music or pick up my guitar, mainly because im at work, and usually I hear stuff in my head while at work, but when I sit down to play when I come home, the same old stuff comes out . I guess im gonna have to wake up a few hours earlier, and experiment with that for a bit, since it'd be worth it.
#9
^You could just hum it over and over in your head, or figure something out on the way back from work. Or, when you come back from work, just do it before guitar time!

Tips? Well, Just improvise using quarter notes only at first, and really emphasize the ONE. ONE two three four five ONE two three four five etc. Just kind of mosey around the scale. Then start a lilttle sub division, by changing a quarter note to two eighths. ALWAYS BE COUNTING.

Write down on a sheet of paper some rhythms in 5/4 without playing them first, just making sure they fit into 5/4. It doesnt even have to be sheet music form. Just write numbers 1-5, then little ticks on and between them for when you are going to play a note. Clap this rhythm out over and over, then play it on one note , then many notes.

Simply speaking, we naturally lack a rhythmic library in 5/4 and other odd signatures, so you have to build one up.

Guaranteed you will have a lot of fun playing in these time signatures, especially if you are using diminished arpeggios and things of the like.
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#10
It's probably less to do with the scales you're using and more to do with the choice of chords behind them. Scales and their modes only reveal their full "character" when played over the correct chords. Without them the scale is only a shadow of what it should be feel-wise. You need to play an evil sounding scale over suitably evil sounding chords for it to work best.
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#11
heres some tips for evil scales :

mix scales up , harmonise them , use semitones , horror music cliches all seem to use repetitive motifs , exorcist,halloween .
on the theme of halloween why not try take a motif and transpose it up or down in semitone intervals .
#12
Quote by steven seagull
It's probably less to do with the scales you're using and more to do with the choice of chords behind them. Scales and their modes only reveal their full "character" when played over the correct chords. Without them the scale is only a shadow of what it should be feel-wise. You need to play an evil sounding scale over suitably evil sounding chords for it to work best.


This is what I might recommend... while you may find one scale that does the trick, I find that a more "scary" sound often comes from chord progressions that aren't diatonic. In your case, once you've found this progression, you could just imply it through your note choice when riffing, which could yield more interesting results than just strumming the chords.
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#13
use dissonance to get some pretty evil sounds, like flat fifth chords/powerchords/arpeggios.
#15
He mentioned that he already uses the diminished scales. Pahhhhh.
Don't tell me what can not be done

Don't tell me what can be done, either.



I love you all no matter what.
#16
Quote by insideac
Normal scales aren't evil enough for me. Like, how can I be more evil lol




As it's already been said, just humming desirable tones is a great way to find what you are looking for.

Personally for evil stuff I love the sound of Phrygian Dominant.
#17
Quote by nightwind
Try playing in 5/4 along with those scales. It will eff up your old hat style of phrasing , because your patterns wont work. That and 7/8 are both quite menacing when used right.

Time to hear the phrasing. Scales can only do so much for you, we both know this. Before you even listen to any music for the day or play any guitar, hear the really dark things in your head that you want to find on guitar. Sing them, get them out of you. Then find that on guitar.

Quick Fix : Whole Tone Scale is quite slinky-ish and you can just vamp on diminished chords.

i love u... no srsly tho hes right 5/4s give things a way more awsum sound than yr boring 4/4 i find
#18
1 b2 3 #4 #5 #6 7 1

So in the key of C...

C Db E F# G# A# B C

The bassline for the Halloween theme comes from this scale, the enigmatic scale, or maybe the other way around.
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#20
Im having ALOT of trouble trying to work in 5/4, because when I think I have something, as soon as I replay it, it defaults back to 4/4 or 6/8 or something and im like DAMN IT .... I guess its just practice and the like. Ill look into the phrygian dominant and the whole tone, thanks! keep em coming
#21
Locrian perhaps? I can't remember the specific ones but, it has 2 or 3 wholeteps dropped to halves. (as opposed to 1 or 2)
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#22
Locrian, indeed. Flatted seconds and fifths.I LOVE this mode.
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#24
When used right the Locrian mode is probably the most evil sound of all. A lot of people don't know how to put it into use the right way.

it's ideal for a desperate tension filled sound.

Check out the Locrian lesson and licks on Fastfingers site for a good idea of how it sounds.
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Last edited by Silky Smooth at Oct 12, 2007,
#25
i will teach you some stuff later

i saw the title and started laughing at another idiot kid, put cursor over the title and laughed at the mispellings

then i checked the name

for a second i didnt think you were joking man...
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#26
Quote by insideac
...What the **** are you even talking about? Did you READ the whole post?

that aint fair man, you did ask what alexi played afterall.
#27
Tritone harmonization just sounds evil itself. Chromatic is probably the most evil scale you could do. I could tell you that the most evil song I've ever heard is probably The Weak Willed by All That Remains. Wonderful use of Chromatic and Tritone. Dissonance in general sounds evil.
#28
Alright guys, good job reviving a year old thread to tell me that I actually want to play like Alexi (guit-airman).

Tritone and chromatics are nice.
#29
Quote by nightwind
Whole Tone Scale is quite slinky-ish and you can just vamp on diminished chords.


I would vamp on augmented chords with the wholetone scale. There aren't any diminished chords that you can get out of the wholetone scale, since no two notes form a minor third with eachother.

TS, also try using the augmented scales, which alternate augmented and minor seconds.

C Db E F G# A
C D# E Fx G# Ax

If you have trouble playing 5/4 try playing along to a drum machine that plays time, with pronounced accents XxxXx.
#30
If you can get hold of some sheet music of James Newton Howard's stuff, that should help you. He did the scores for almost all (if not all) of M. Night Shamayalan's films, which as you probably know are mostly horror films.

Oh, and if you do find some if you could PM me a link... I've been unsuccessful so far.
#31
The melodic minor is definately a pain in the @$$ due to having two different scales in one, the ascending, then it kicks into the natural minor decending which gets real confusing if your a beginner
#33
Quote by dfisher_18
The melodic minor is definately a pain in the @$$ due to having two different scales in one, the ascending, then it kicks into the natural minor decending which gets real confusing if your a beginner


Nobody enforces any rules in music. If you want to use the same scale up and down, that's fine. That's actually the jazz way of using it. The different ascending and descending scales are basically a classical convention.
#36
Quote by griffRG7321
Why did you bump this thread?

Celli and double bass playing in parallel major 6ths low as ****.

#38
This is actually the second bump in this thread's life.

I'm gonna put it down.
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