#1
I have a few questions....

1) I have always wondered how in a D9... D F# C E....if D9 does go with D major....then that 9 isn't changed at all? and there is a flat seventh....That confuses me.

2)In bossa you often switch the root note of a chord to it's 5th? Correct? (worded wrong?)

3) What is this arpeggio....D E F G C E G? 1 2 b3 4 b7 9 11?
Dmin7?

4) In neo-classical music when using a natural minor and a melodic minor scale (or is it supposed to be harmonic and melodic?)....you descend in the natural minor and ascend in melodic? That is rather odd but certainly leads to interesting riffs....

5) I have always loved randy rhoad's solos...However I am quite sure he does not get them out of the pentatonic scale....what does he use....I have a hard time coming up with neo-classical/metal/shred solos....i always sound bluesish in the pentatonic scale.

6) I can sweep pick alright (I got the picking and hand techniques) I can't quite do the big six string sweeps with lots of strange movements and hammer ons/pull offs but I can do a lot of other ones....I need direction on where to go next? (I know the above arpeggio, a maj7 arpeggio, a minor arpeggio, and some other one im not sure the name of...)

Maybe more to come...
John Petrucci

The one and only god.
#2
Quote by King_Arthur
I have a few questions....

1) I have always wondered how in a D9... D F# C E....if D9 does go with D major....then that 9 isn't changed at all? and there is a flat seventh....That confuses me.

2)In bossa you often switch the root note of a chord to it's 5th? Correct? (worded wrong?)

3) What is this arpeggio....D E F G C E G? 1 2 b3 4 b7 9 11?
Dmin7?

4) In neo-classical music when using a natural minor and a melodic minor scale (or is it supposed to be harmonic and melodic?)....you descend in the natural minor and ascend in melodic? That is rather odd but certainly leads to interesting riffs....

5) I have always loved randy rhoad's solos...However I am quite sure he does not get them out of the pentatonic scale....what does he use....I have a hard time coming up with neo-classical/metal/shred solos....i always sound bluesish in the pentatonic scale.

6) I can sweep pick alright (I got the picking and hand techniques) I can't quite do the big six string sweeps with lots of strange movements and hammer ons/pull offs but I can do a lot of other ones....I need direction on where to go next? (I know the above arpeggio, a maj7 arpeggio, a minor arpeggio, and some other one im not sure the name of...)

Maybe more to come...


1. Any chord, straight with a 7th or extension (D7, D9, D11, D13) is with a Dominant base. This means it has a major triad with a flat 7. If you truly want to follow major, you need to have Dmaj7, or Dmaj9. This changes it to a major, or natural 7th, and is sometimes written D∆7. Then Dmin9 has the flat 7 and flat 3, and is sometimes also written D-9.

2. I'm not sure.

3. D E F G C E G
D E F G C
R, 2, b3, 4, b7
Dmin11th arpeggio. The 11 (4) implies that the 9 is present. If you wanted to be more specific, it would be Dmin11(no5), as the 5 has been left out.

4. From what I understand, that is a relatively common thing to do, however it isn't done 100% of the time.

5. RR DOES use Pentatonics OCCASIONALLY , but uses Natural Minor relatively frequently, along with other diatonic scales.

6. Learn the theory behind the arps, so that you can play whatever ones you ned to. Also, try adding tapped notes on top of the sweeps.
#3
1. D9 would be used as the V chord in G major or in a D blues/jazz setting where the b7 is an accidental.

2. Don't know.

3. An inversion of Am11.

4. Ascend in Melodic, descend in natural, however you often ascend and descend in melodic in modern music.

5. Combination of the natural minor scale, the blues scale, and the harmonic minor scale over major V chords in a minor key (B7 in Em).

6. Practice your 6-string sweeps...a lot; they're hard.
#4
For Bossa music, they do alternate the root to the 5th, and usually they play the 5th below the root. ie (Amin7 to D9)

e
b-5 -- 5 -- 5 -- 5
g-5 -- 5 -- 5 -- 5
d-5 -- 5 -- 4 -- 4
a-x -- x -- 5 -- x
d-5 -- 0 -- x -- 5
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#5
On the question regarding bossa nova, it's a common convention to alternate between the root and fifth of the chords that are being played. If you were to play D9, you might play something like this:

    Q    E Q    E Q
e----------------------||
B---5------5------5----||
G---5------5------5----||
D---4------4------4---:||
A---5----5-------------||
E---------------5------||
    1    2 &    & 4

As with a lot of music from Central and South America, the key is syncopation (accenting weak beats) and feel. To make it really sound like bossa nova, you would want to play slightly in front of (ahead of) the beat, being sure not to actually speed up.
known as Jeff when it really matters