#1
I'm trying to write a black metal song with a depressive/evil/ambient feel to it, and I'd like the tab to a scale(s) that would help, something eerie... thanks.
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#3
I'm a music theory n00b and I'm not really sure what that is, sorry. I'd just like to write or come across some chords, scales, (preferably in tab form) so I can try and compose a song tonight, I've tried to apply myself to learning music theory but I'm just not ready for it yet, it's too overwhelming.
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#4
Well i can share some of the things i know of what your looking. im not the wisest on theory but i know some sutff.
First a tritone is a note played with an augmented 4th and his octave, it has a sinister and kind of evil sound, it was prohibited in medieval music.
It will look this. You can play it as a chord or as a with separately notes

e- x
b- x
g- x
d. -7
a. -6
E. -5
#5
Minor scales, minor chords. That's how I make depressing stuff anyway.

I don't really do evil though, but I can guess that tritones and tritones with a flat octave'd work well. Maybe even a diminished octave.
#6
thanks for the help but is their anywhere i can find a tab chart for these chords? i don't know a thing about theory and i know this sounds redundant but i tried learning it and it just messed with my mind. if anybody could help me out with some tabs that'd be great.
My gear
Ibanez RG7321
Jackson Warrior WRXT *FS/FT*
Jasmine J35
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Ibanez TBX150H
Crate 4x12
Fender Rumble 60


Part of UG's 7 STRING LEGION
#7
It will definitely help you if you learn in the bits of basic theory. And it wont only help you on creating music but it will also improve your playing abilitys.
Aniways, here are all the chords.
Try to use chords that are mostly :
-min
-dim
-add 9 or sus 2

Those chords are all in here:
http://www.ultimate-guitar.com/tabs/m/misc/all_the_chords_crd.htm

just play and try with them
#8
A tritone is basically a power chord with the second note played a half step lower. Experiment around and see where you can add them.

also, the harmonic minor scale and the diminished scales are good ways to go.
ALWAYS

WANNA BE WITH YOU,
MAKE BELIEV
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IVE IN HARMONY, HARMONY,



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#12
Quote by ReinventingEvil
6th, 5th, and 4th.

Then if you mean this:

e------------------
B------------------
G------------------
D--5----------------
A--7----------------
E--8----------------

Then that's a C major triad. It contains no tritones.
#13
e------------------
B------------------
G------------------
D--8----------------
A--7----------------
E--5----------------

is what i meant >.> what would be an example of a tritone chord, than?
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#14
Quote by ReinventingEvil
e------------------
B------------------
G------------------
D--8----------------
A--7----------------
E--5----------------

is what i meant >.> what would be an example of a tritone chord, than?

Yes, there's a tritone between the top two notes and an augmented octave between the bottom and top notes. That would be good for creating dissonance.
#16
^ basically, if you're "not ready" for music theory, you're going to have to get used to experimenting a LOT.

Play a single note, and listen to see what other notes are dissonant with it. Then figure out how to move that shape/sound around the fretboard. Et voila! That's pretty much it...
#17
dissonant means that it doesn't fit, correct? as opposed to say a power chord or something.
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#18
^ basically that it clashes as far as harmony goes. It's hard to give an exact synonym for it but if you play the 4th fret of the low E and the open A string together, you'll get a good idea of what i mean. Or the 6th fret low E and the A together. Do you hear that?
#19
harmonic minor (in comparison with major scale)

1,2,b3,4,5,b6,7

The hungarian minor (in comparison with major scale)

1, 2, b3, #4, 5, b6, 7

Or a weird one, the neapoliton minor

1 b2 b3 4 5 b6 7


Also try to use some different tunings

like Open C (CGCGCE)
Open C minor (CGCGCEb)
DADFAE
DADGAD

or down a whole step to

DGCFAD
CGCFAD
CGCFGC (DADGAD)
CGCEbGD (DADFAE)

Or maybe open B minor
Last edited by Guitargod12345 at Jul 7, 2008,
#20
use the locrian mode, quite evil
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#21
Quote by Guitargod12345
harmonic minor (in comparison with major scale)

1,2,b3,4,5,b6,7

The hungarian minor (in comparison with major scale)

1, 2, b3, #4, 5, b6, 7

Or a weird one, the neapoliton minor

1 b2 b3 4 5 b6 7
Not really. The scales you mentioned (except the harmonic minor scale) are too unstable melodically and harmonically to be usefull.

Personally I think people should research harmonic and melodic dissonance and accidentals if they want new sounds, not new scales.
        ,
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[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
#22
You need more than a scale to sound evil. Tritones help. There's one song by Malmsteen where he goes up by minor thirds repeatedly and it sounds evil. Try to add a chromatic bassline.
#24
ReinventingEvil, for diagrams of the scales that people have suggested, look them up in the scales section of www.all-guitar-chords.com

I would also suggest the diminished scales (whole-half and half-whole) and the chromatic scale.

More importantly, I suggest you listen to and learn a black metal song with a depressive/evil/ambient feel to it. Try to see how it's done and apply it to your own music.
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#25
Thanks for that site, I tried to decipher a scale (E Major) heres the link to it

http://www.all-guitar-chords.com/guitar_scales.php?qqq=1&scch=E&scchnam=Major&get2=Get&t=0&choice=1

Q S S S S S S S S S S S S Q Q Q
E||-------------------------------|--0--2--4----|-----------||
B||---------------------------2-4-|-----------------|-------||
G||---------------------1-2-4-----|-----------------|-------||
D||---------------1-2-4-----------|-----------------|-------||
A||---------0-2-4-----------------|-----------------|-------||
E||--2----3-----------------------|-----------------|-------||


is my tab correct? excuse the sloppyness.
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Ibanez RG7321
Jackson Warrior WRXT *FS/FT*
Jasmine J35
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Ibanez TBX150H
Crate 4x12
Fender Rumble 60


Part of UG's 7 STRING LEGION
#26
It's all correct except for the low E string, it should be 0 2 4 just like the high e.
My name is Andy
Quote by MudMartin
Only looking at music as math and theory, is like only looking at the love of your life as flesh and bone.

Swinging to the rhythm of the New World Order,
Counting bodies like sheep to the rhythm of the war drums
#27
thank you you've been a great deal of help. when i select more patterns, do i play every note in the scale, or is it just different places that same scale could be played?
My gear
Ibanez RG7321
Jackson Warrior WRXT *FS/FT*
Jasmine J35
Squier Fender P-Bass
Ibanez TBX150H
Crate 4x12
Fender Rumble 60


Part of UG's 7 STRING LEGION
#28
Quote by ReinventingEvil
thank you you've been a great deal of help. when i select more patterns, do i play every note in the scale, or is it just different places that same scale could be played?

If it's different patterns of the same scale, then all the notes are the same except you begin on a different note than with the other patterns.
#29
Quote by demonofthenight
Not really. The scales you mentioned (except the harmonic minor scale) are too unstable melodically and harmonically to be usefull.

Personally I think people should research harmonic and melodic dissonance and accidentals if they want new sounds, not new scales.


I agree. "Exotic scales" such as the neopolitian or hungarian minor are as you said, too unstable to be of much use, unless you're trying to get a middle eastern vibe. When I'm trying to write an "evil" sounding song, I'll either use one of the modes, such as the phyrgian or locrian mode, or maybe a diminished scale, coupled with lots of accidentals. The accidentals are what gives the song the dark sound in my opinion.


E|---------------------------------
B|---------------------------------
G|---------------------------------
D|-----7-----8-----7-----7/8-----8-
A|-----5-----6-----5-----5/6-----6-
E|-0-0---0-0---0-0---0-0-----0-0-0-
   p p   p p   p p   p p     p p


That's a riff from a song I wrote, and when I wrote it, I was intending to write in the key of D locrian, and I thought the guitar was in drop D, so I pedaled the low E note, which is not contained in D locrian, and liked the dissonant feel it gave, so I kept it that way. Chromatics can greatly enhance the tense atmosphere of a song.
ALWAYS

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



OH, LOOVE!