#1
Well not exactly.

I've tried using lessons on scales and soloing but never really understood a word of it. I can play most of the scales the have in the lessons, but I have no idea in how to apply them to soloing.

I'll read how people make their own solos for songs instead of playing the ones tabbed out, but I can't do this because I have no idea what to do

I just looked a lesson up, they had small boxes with the scales in there, all of which I can play, but when I read solos from songs they go all over the fretboard not in the small boxed area.

I also recall seeing in a lesson fret three to about 10 (not exactly sure) and it had all the notes you could play and still have it sound good, what is this?

Sorry if this is really confusing, but if you understood the things I'm asking, I'd much appreciate it if you replied to me as if I was an idiot.
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#3
i posted this in another thread but i will post it for you.

scale are all over the neck so don't think of them as box positions. just the same notes everywhere

ok i'll start but i am only doing major

you start wi the major scale

you make it by counting tones W= whole tone H= half tone

a whole tone is 2 frets

a half tone is 1 fret

the formula to make the major scale is :

WWHWWWH

we will use C maj for simplicity. the bold is the scale

C Db D Eb E F Gb G Ab A Bb B C
WWHWWWH

or
C C# D D# E F F# G G# A A# B C
WWHWWWH

so the Cmaj scale is CDEFGABC

this is what is know as a diatonic scale. meaning there is 7 notes and each note must be a different letter. there are only 7 different letters but 19 notes in the cromatic scale

intervals

intervals represent a note. and define what is hapening to a note within a scale.

the intervals for the major scale are

CDEFGABC
1234567

when speaking in proper terms we would call these the following

C-1-perfect prime
D-2-major second
E-3-major third
F-4-perfect fourth
G-5-perfect fifth
A-6-major sixth
B-7-major seventh
C-8-perfect octave

and octave is the same note played 1 pitch(i think that is the right word) higher

sometime we augement (sharpen, #) or diminish (flatten, b or bb) various notes to make chords or fit the scale to a chord

C = perfect prime or diminshed second
C#/Db =augmented prime or minor second
D = major second or diminished third
D#/Eb = augmented second or minor third
E/Fb = major third or diminished fourth
E#/F = augmented third or perfect fourth
F#/Gb = augmented fourth or diminished fifth
G= perfect fifth or diminished sixth
G#/Ab = augmented fifth or minor sixth
A = major sixth or diminished seventh
A#/Bb = augmented sixth or minor seventh
B/Cb = major seventh or diminished octave
C = perfect octave or diminished ninth

these intervals continue over and over technically

you will notice the perfect intervals 1 4 5 8 are only flattened(b) once to become diminished where as the major intervals 2 3 6 7 are flattened(bb) twice to become diminished

there is a general rule that you do not double augment an interval. it is ok for a note such as F# to becaome aumented or sharpend to F## but we do not want it to be F###

general chords for a mojor progression are

Major(M) always capital when writing
minor(m) always lower case when writing
diminished(dim0) always lower and supposed to be followed by a degrese symbol but my comp can' do that


now for chords

this is how you form the simple triad chords we will be using staying wiht the key of C

Major intervals 1 3 5
minor intervals 1 b3 5
diminished 1 b3 b5

you must remember that when making a chord in the key of Cmajor only a C chord will use the C major scale. if you wanted Dmin for example you would need to forn the chord with the intervals listed above from the Dmaj scale, b3 giving it the minor tonality


to stay in key with Cmaj we must use the same notes as Cmaj in all our chords(for now cause we are just learning)

there is also a formula to stay in key in a major progression it is

Major minor minor Major Major minor diminished

so to stay in key we would use the chords

CMaj Dmin Emin Fmaj GMaj Amin Bdim0

so using these chords resolving back to Cmaj you would use the Cmaj scale

i hope that helps a little
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#4
I don't really know how much theory you know, but you need to have some sort of knowledge for intervals, and chord progressions, and ofcourse that the scales that are used in a solo are not in the box you learn. You need the notes of the scale not the box. You might wanna go slowly with the theory, get some music theory books and start learning stuff.
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#5
There are many different ways to play scales. How many different combinations can you think of that include the notes C D E F G A B C ? A bunch.

But even with all the positions memorised, creating solos in my opinion is one of those things that take a bunch of practice and time.
#6
you need to know you chord know the notes in them use a scale accordingly

you also need to learn phrasing that will help out alot
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#7
All you have to do in a song to make up your own solo is use a scale that goes with the chords of the song and start having fun. oh and like when a chord switches from like C to A, make sure you move up and start and stay around the a note of that scale until it changes chords
Last edited by Sadbutrue62 at Jun 1, 2008,
#8
They possibly they use the same notes as in the box, but just play them on different strings; Say you have the A minor pentatonic scale and you want to play 5th fret hammer on 7th fret on the G string, you could just do 1st fret hammer on 3d fret on the B string, or 10th fret hammer on 12 on the D string.
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#9
if you shift the scale an octave or two up, it will still be the same scale

same applies shifting down an octave
#10
I think you're talking about improvisation and the notes in a key?
It's really complex, I'd start with the key of E- you'll want to learn about the circle of fifths. You can learn the basics or you can really dive in and get complex with it.

Of course, that's the way I would do it, you can also just make up a chord progression, record it, loop it, then play around and memorize what notes sound good with other notes, and over what chords.
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