#3
-Le chromatique fantastique.
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#4
I don't think that there are any weird scales anymore. Even a scale with a b3 and 3 at once, 11 tones at once or 1, b2, 2, #4, b6, b7 or something like that aren't that special anymore. I think now it's time to work on scale progressions more.
^ seconded.

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#5
Quote by Philipp Sobecki
I don't think that there are any weird scales anymore. Even a scale with a b3 and 3 at once, 11 tones at once or 1, b2, 2, #4, b6, b7 or something like that aren't that special anymore. I think now it's time to work on scale progressions more.


at least on chords, when you have both the major and minor third, its usually presented as a minor 3rd and diminshed 4th (11th)

(or did i just mix everything up and is it major 3rd and augmented 9th?)
#6
^ Yeah, it depends on the situation (and in some situations it doesn't really matter).
^ seconded.

Äh, Sie wollen also mit Schlitz.
#9
Quote by CowboyUp
Try Phrygian Dominant.


Phygian Dominant is the same as harmonic minor right?
ALWAYS

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MAKE BELIEV
E WITH YOU,
AND L
IVE IN HARMONY, HARMONY,



OH, LOOVE!
#10
I've been using this one recently, 'tis a combination:

---------------------------------
---------------------------------
---------------------------------
------------------------2--4--5--
-------------2--3--4-------------
--2--3--5------------------------


Someone else can name it for you, too tired to give a ****. It's fun though. My teacher helped me figure this one out, got it out of a riff I wrote.
#11
Quote by SG Man Forever
Phygian Dominant is the same as harmonic minor right?


Kind of. Phrygian Dominant is a mode of Harmonic Minor.
Quote by marmoseti
Mastering your instrument is being able to play whatever you hear in your head, unhindered by inadequate technique. After that, it's all about what you've got to say, so there would be no "best," just a bunch of people saying exactly what they mean.
#12
Quote by Mud Martian
I've been using this one recently, 'tis a combination:

---------------------------------
---------------------------------
---------------------------------
------------------------2--4--5--
-------------2--3--4-------------
--2--3--5------------------------




Hmmm.

1 b2 b3 4 b5 5 b7

So basically this is the blues scale with a b2, kinda making it Phrygianny. Pretty cool really.
Quote by marmoseti
Mastering your instrument is being able to play whatever you hear in your head, unhindered by inadequate technique. After that, it's all about what you've got to say, so there would be no "best," just a bunch of people saying exactly what they mean.
#13
Quote by MadassAlex
Hmmm.

1 b2 b3 4 b5 5 b7

So basically this is the blues scale with a b2, kinda making it Phrygianny. Pretty cool really.


I was in the process of learning some theory and working with modes, and I decided to write a riff based in, I think B minor? I can't remember now. All I remember is showing it to my teacher and he pointed out that I played both a C and C# in the same phrase, albeit not right after or before each other. Together we kinda came up with this scale and I thought, well, hell, for someone who loves playing metal / blues, this is pretty wicked.

Sadly?, It seems every time I pick up the guitar with the intention of working on my theory, I end up creating a new scale or some bizarre chord progression. I can't tell you how many times I've brought a cool new riff or song to my teacher and he's like, "You changed key like three times". Somewhat cool, somewhat frustrating, when you're trying to learn theory...

But theory is somewhat mathematical, and I've a creative mind, so I wind up straying into the wilderness a lot.
#14
Theory's only really a general guide, and if you're laying on the distortion and playing powerchords as backing, key changes are less prominent because as long as you've got the same root and same fifth in there somewhere, it's really just a modal change.

What I'm saying is that you should join a progressive rock band because you seem to be playing it by accident.
Quote by marmoseti
Mastering your instrument is being able to play whatever you hear in your head, unhindered by inadequate technique. After that, it's all about what you've got to say, so there would be no "best," just a bunch of people saying exactly what they mean.
#15
Quote by MadassAlex
Theory's only really a general guide, and if you're laying on the distortion and playing powerchords as backing, key changes are less prominent because as long as you've got the same root and same fifth in there somewhere, it's really just a modal change.

What I'm saying is that you should join a progressive rock band because you seem to be playing it by accident.


Bahaha, you're basically right.

I'm quite the experimental type. I play with straight up power chords of course, but one of my favorite chords are inverted fifths with an octave or the third included. Now, my terminology might be a little ... wrong, so I'll use tab for example:

------------
------------
---5----7---
------------
---3----5---
---3----5---


and ...

------------
---5----7---
------------
------------
---3----5---
---3----5---


I like 'em and they add flavor, in my opinion at least.
#16
whole tone
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#17
Quote by Mud Martian
stuff


I experimented with those when I had only 4 strings on my guitar for a while (both my D string and high E snapped and I had no spares ).
They're really nifty, almost airy but rather nondescript in such a way that you could use the same chord progression in a pop song and a black metal song and get away with it. In other words, I find those chords really creepy and I love it.
When it comes to power chords, I've become rather fond of the b6 and 6 thrown in there. Kind of like Angra's "Time"

e|---------------------------------------|
B|-3-------3--3--3------3--3--3----------|
G|-2-------2--2--3------3--3--4----------|
D|-0---0000-00-00---0000-00-00---/7--5--2|
A|---------------------------------------|
E|---------------------------------------|
Quote by marmoseti
Mastering your instrument is being able to play whatever you hear in your head, unhindered by inadequate technique. After that, it's all about what you've got to say, so there would be no "best," just a bunch of people saying exactly what they mean.
#18
Quote by phatsack
whole tone


Yeah. Depending on how you use this one, it can either be really ugly or really pretty.
Quote by dudetheman
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#19
I've had the Thesaurus of Scales and Melodic Patterns by Nicolas Slonimsky for about 10 years and haven't come close to exhausting all the weird scales it contains. You might consider giving it a try.
All things are difficult before they are easy.
- Dr. Thomas Fuller (British physician, 1654-1734)
Quote by Freepower
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#20
Quote by SG Man Forever
Phygian Dominant is the same as harmonic minor right?



Maybe.

The phrygian dominant has a b2, b6, and b7. It sounds exotic because of the b2. It forms a minor second with the root; the m2 being the most dissonant interval.
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#21
Phrygian Dominant (it has a lot of other names as well) is the fifth mode of the Harmonic Minor.
Quote by dudetheman
So what? I wasted like 5 minutes watching DaddyTwoFoot's avatar.


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#22
The In-Sen scale is pretty cool

1 b2 4 5 b7

Its real oriental sounding.
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#23
For me the weirdest-sounding are the augmented and diminished cycles. I just love stacking minor 3rds endlessly – sounds dodgy as hell with loads of delay and compression, yet in a good way... major 3rds the same but perhaps less in a good way; gets a bit too extreme for the ears.

Whole tone is weird, too. I can never get bored of it. It has this need to resolve when you're soloing in it, but not in as much a hurry as dim/aug. You can stay in it and still make somewhat of a song from it if you're creative enough (not me, sadly!), despite how "wrong" it sounds.

Chromatic irritates me to no end, though. A lot. It may sound "weird", but only in a cheesy and clichéd way. If I had to, I'd rather make an entire solo comprising min/maj 3rds instead of pure chromatics.
#24
^ What do you mean by 'stacking' minor 3rds?
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#25
As in, I take a note and add in all other notes as minor 3rds above that, and keep going from there. I suppose they're called dimished triads and whatnot but, since I like to do it beyond three notes as a linear run, I just call it "stacking":


|---------------------------12-15-18-|
|------------------------------------|
|------------------12-15-18----------|
|------------11-14-------------------|
|------10-13-------------------------|
|-9-12-------------------------------|


(Loads of other ways to finger it, but that's the one that comes to mind first.)


With delay it sounds really... unnerving. I sometimes call it the 'all minor 3rds scale' for lack of a better term for it!
#26
Quote by DaFjory
As in, I take a note and add in all other notes as minor 3rds above that, and keep going from there. I suppose they're called dimished triads and whatnot but, since I like to do it beyond three notes as a linear run, I just call it "stacking":


|---------------------------12-15-18-|
|------------------------------------|
|------------------12-15-18----------|
|------------11-14-------------------|
|------10-13-------------------------|
|-9-12-------------------------------|


(Loads of other ways to finger it, but that's the one that comes to mind first.)


With delay it sounds really... unnerving. I sometimes call it the 'all minor 3rds scale' for lack of a better term for it!

If you called it a diminished arpeggio, you'd be correct.