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#1
O.K. that was an overstatement but I played some notes in ascending order and they sound trippy. Can anyone please tell me what scale this is?
E--------------------------------------------5--7--5-------------------------------------------------
B---------------------------------------5-----------------5------------------------------------------
G------------------------------6--7----------------------------7--6--------------------------------
D----------------------6--7------------------------------------------7--6--------------------------
A--------------6--7-------------------------------------------------------7--6---------------------
E----5----7----------------------------------------------------------------------7--5---------------
#4
A-B-C#-D-Eb-Fb-G#-A... Eb Spanish Phyrgian? Or at least some variation on it.

Edit: Can't be pentatonic, there are 7 separate notes. Makes it a variation on a major scale .

EDIT2: Ohhh, now I see where you're getting the A lydian. Did it in powertab (because it's 11:30 at night) and the Eb E natural (the way pte showed it) threw me off.
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Last edited by theacousticpunk at Jun 18, 2008,
#6
Sounds familiar, cant put my finger on it, but I've played it before.
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#7
Doesn't it depend on where he's playing the root? Otherwise, couldn't it be one of several possible?
#8
It's like a mix of lydian and ionian.
The degrees of the scale in the order you have them in (based off the major scale) are like this:

1 2 #4 5 7 1 3 4 5 1 2 and then back down again.
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#9
You don't play every note in every octave, so it isn't a scale. However, you can use it as a cool substitution in a situation where both Ionian and Lydian would work.
#10
It could be one of several scales with some chromatic notes thrown in. You haven't really invented anything,
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
Last edited by Archeo Avis at Jun 18, 2008,
#11
Yeah, if you play it like a scale, you get a chromatic 2 3 4 5 6 and then a big interval between the 6 and 7. It's sweet, however.
#13
Add an F# and it could be the Bebop Minor in B.
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#14
Quote by dylanfromearth
O.K. that was an overstatement but I played some notes in ascending order and they sound trippy. Can anyone please tell me what scale this is?
E--------------------------------------------5--7--5-------------------------------------------------
B---------------------------------------5-----------------5------------------------------------------
G------------------------------6--7----------------------------7--6--------------------------------
D----------------------6--7------------------------------------------7--6--------------------------
A--------------6--7-------------------------------------------------------7--6---------------------
E----5----7----------------------------------------------------------------------7--5---------------


It actually already exists you just forgot to put in notes on some strings that you did put in on other strings.
E------------------------------------------------------------------------------------------------------5(a)-
B-------------------------------------------------------------------------------5(e)--7(f#)--9(g#)-----
G-------------------------------------------------------------------------6(c#)--8(d#)------------------
D-------------------------------------------------6(g#)--7(a)--9(b)----------------------------
A------------------------6(d#)--7(e)--9(f#)----------------------------------------------------
E--5(a)--7(b)--9(c#)---------------------------------------------------------------------------

thing is used in jazz quite alot, but I'm guessing you don't know how to 'calculate' notes from one string to another yet. This is very likely the reason you left those notes out. I think it was some octavian like name orso
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Last edited by FretboardToAsh at Jun 19, 2008,
#15
Quote by Galvanise69
Sorry, Im terribly ****ty on unusual scales like that, and I should be learning about them, but what is bebop minor?

B D# E F# G# A B

1 3 4 5 6 b7

Im assuming?


B C# D D# E F# G# A B, which is 1,2,b3,3,4,5,6,b7.
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#17
Quote by Syn_a7x
I don't even get all this A C D# B# stuff lol


I can believe that too, since you typed a certain red note lol!
#18
You realize that it's perfectly valid to say B# if the next note in the scale is C# and the one before was A# (It could be the last 3 notes of a C# harmonic minor scale). No need to wig out on the dude. It's not like there's a rule where the phrase B# can never be used.
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#19
you can view it as 2 arpeggios
Amajor add9 up to D string fret 7
and then
Amajor add11
starting on Dstring fret 7

it helps if you think in arpeggios as well as scales .
#20
Quote by mdc
I can believe that too, since you typed a certain red note lol!
There's no such thing as a B# note? Really? Kindly type out the notes of the C# major scale.
#23
Doesn't make any difference in a live context. They have the same goddam sound! Just like all the other enharmonic notes.
#24
Quote by mdc
Doesn't make any difference in a live context. They have the same goddam sound! Just like all the other enharmonic notes.


And in any other context it makes all the difference in the world. If you play completely solo live and in practise by all means do it your way. However, just so other people understand you, there can be no repeated letters in a diatonic scale.
#25
Quote by mdc
Doesn't make any difference in a live context. They have the same goddam sound! Just like all the other enharmonic notes.
If you think you're too much of a rebel/punk/kvlt/hxcore/whatever the kids say these days to listen to a bunch of people who know a lot more about music than you, feel free to bask in ignorance. However, that does not change that fact that this forum is for musical education, and incorrect information will not be taught unless it is for purposes of simplifying a complex topic (like how you learn half-right ways to speak in your intro Spanish class).
#26
Quote by bangoodcharlote
If you think you're too much of a rebel/punk/kvlt/hxcore/whatever the kids say these days to listen to a bunch of people who know a lot more about music than you, feel free to bask in ignorance. However, that does not change that fact that this forum is for musical education, and incorrect information will not be taught unless it is for purposes of simplifying a complex topic (like how you learn half-right ways to speak in your intro Spanish class).


Ok, just chill out. Obviously touched a nerve. I often find it intriguing with the theory gurus. They may be able to reel off everything under the sun about the melodic minor or whatever, but when it comes to chops and applying all this physically they can't play for sh1t. I'm sorry.

It's more likely that the people who know f*ck all have great chops and really can play.
Last edited by mdc at Jun 24, 2008,
#27
Quote by mdc
Doesn't make any difference in a live context. They have the same goddam sound! Just like all the other enharmonic notes.


String players would disagree.
#28
Quote by mdc
Ok, just chill out. Obviously touched a nerve. I often find it intriguing with the theory gurus. They may be able to reel off everything under the sun about the melodic minor or whatever, but when it comes to chops and applying all this physically they can't play for sh1t. I'm sorry.
Learn as much or as little as you want on this forum, but we will not justify your laziness.


I'm done.

PS-Feel free to listen to the widely liked music in my profile.
#29
Quote by bangoodcharlote


I'm done.

PS-Feel free to listen to the widely liked music in my profile.


Ditto, nice tunes btw
#31
They may be able to reel off everything under the sun about the melodic minor or whatever, but when it comes to chops and applying all this physically they can't play for sh1t. I'm sorry.


I point you in the direction of every jazz musician under the sun, Joe Satriani, Steve Vai, and Dream Theater.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#32
Quote by Archeo Avis
I point you in the direction of every jazz musician under the sun, Joe Satriani, Steve Vai, and Dream Theater.


lol +10,000

also feel free to listen to the music in my profile, its not satch but i've been told its pretty good. no godly chops but im not 3 chording it either. it doesn't behoove you to make assumptions that because you know some theory you can't play or apply it.
#33
Quote by beadhangingOne
It looks like a variation on Lydian. You have a D though, and No F#. That would be the main difference.
It isn't Lydian, or any scale for that matter, because not every note is played in every octave.
#34
Quote by mdc
It's more likely that the people who know f*ck all have great chops and really can play.
Good guitar players that know an excess of theory? It's more likely than you'd think.

Trust me on this, theory ONLY helps.
#35
Quote by Archeo Avis
I point you in the direction of every jazz musician under the sun, Joe Satriani, Steve Vai, and Dream Theater.


I appreciate that, and I listen them all. The comment was geared to us mere mortals.

Re the scale, just to p1ss off bgc I'm gonna say that it is a variation on Lydian. It just doesn't have a major 3rd, and there's a perfect 4th in there to make it more chromatic.
#36
Quote by mdc
I appreciate that, and I listen them all. The comment was geared to us mere mortals.
Whats the difference between them and me apart from being signed and the ability to play a little faster/more accuratly? Nothing

Unsigned musicians (mere "mortals") are just as capable of writing good songs as people who are signed (guitar "gods").
#37
They may be able to reel off everything under the sun about the melodic minor or whatever, but when it comes to chops and applying all this physically they can't play for sh1t.
QUOTE]

Ok, the comment may have sounded a little harsh without any explanation. I'll give you one.

Courses that are designed specifically for guitar require an audition you know like, if you wanna jump on a HND or Degree Course, e.g a music college like ACM, ICMP or BIMM. Now you could be sh1t hot on theory, but lacking on the actual playing side of things. So when you're in that audition room improvising over a backing track - and you're struggling, they're not gonna stick you straight on a Degree or something like that due to the fact that you can't physically apply it.

I do agree with you that theory helps to improve you're playing tho (musically and technically - if you practice like hell)

Let's cool it on this, and I do owe you all an apology, it all started with that B# thing and I'm sorry.

....and hey, a lesson learnt for me is that I didn't know that you couldn't repeat a letter in a diatonic scale was a basic rule!
Last edited by mdc at Jun 25, 2008,
#38
Quote by 6DgOfInTb
It's like a mix of lydian


Does that make it a Mix-o-Lydian?? hahaa, sorry couldn't resist.
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#39
Quote by mdc

....and hey, a lesson learnt for me is that I didn't know that you couldn't repeat a letter in a diatonic scale was a basic rule!


It's an easy one to miss actually, but it's a step in the right direction when it comes to working out scales and harmonising them.
#40
Mind you, I just put a post in the diminished scales thread about this.... they have 8 notes therefore any letter can be repeated once right?....
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