#1
So I don't want to sound pretentious, but I've pretty much mastered the major, minor, and blues scales (as well as all the relative modes) and can use them in such a way that they don't sound static. However, I still feel like anytime I try and make a dissonant "naughty" movement, I'm limited to using the b5 in the blues scale to create tension.

So, I was wondering: what are a few other good scales that might broaden my knowledge? I already know diminished and half-diminished scales. I'm a huge metal/post-hardcore fan, and I want to be able to jam out with some of the lesser known scales. I'm shooting for a Lamb of God/Darkest Hour/Fall of Troy sound, and any suggestions will be considered. Also, any predominant modes that any of the aforementioned bands use frequently would be a great help. Thanks in advance!
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#2
errr I dont know bout Fall of Troy, but I thought LoG uses minor scales mostly (and some blues)..... anyway usually the more uncommon scales can be fun, think overtone/ any other type scale that comes close... and Phrygian should be fun as well


then again, my theory IS quite limited so I'm not sure you should take my advice :P
Last edited by Slicer666 at Oct 11, 2008,
#3
Fair enough. I feel like LoG uses more accidentals that aren't present in the minor scale though... 11th hour being a good example.
Washburn WI66 Pro E Celtic Cross (1 of 48!)
Washburn WI66 Pro Honeyburst
Takamine EG334SC Acoustic-Electric
Peavey XXX 120W All Tube Half Stack
Line6 MM4/FM4/DL4
Boss NS2
Vox Snakecharmer Compressor
Digitech XP100 Whammy Wah
#4
Use a normal minor/phyrigan scale, and "leave" the scale sometimes for some dissonance. Sounds über-cool. An example is the intro riff to At the Gates Slaughter of the Soul.
#5
Quote by GustavLW
Use a normal minor/phyrigan scale, and "leave" the scale sometimes for some dissonance. Sounds über-cool. An example is the intro riff to At the Gates Slaughter of the Soul.



^and that as well >.< stupid me for not mentioning this
#6
youtube'd it since I've never listened to ATG, but I think I can hear what you're talking about. I ended up listening to that whole song... pretty sweet!
Washburn WI66 Pro E Celtic Cross (1 of 48!)
Washburn WI66 Pro Honeyburst
Takamine EG334SC Acoustic-Electric
Peavey XXX 120W All Tube Half Stack
Line6 MM4/FM4/DL4
Boss NS2
Vox Snakecharmer Compressor
Digitech XP100 Whammy Wah
#7
Learn Jazz Minor and all the relative modes! They make for great sounds, including the first degree minor major seventh chord which sounds quite spooky.
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#8
I was thinking of doing the Jazz side of things, but I've never been much of a jazz man. Then again, that's a stupid reason to not study it, because I'm sure I could find some use for it somewhere. Thanks again all.
Washburn WI66 Pro E Celtic Cross (1 of 48!)
Washburn WI66 Pro Honeyburst
Takamine EG334SC Acoustic-Electric
Peavey XXX 120W All Tube Half Stack
Line6 MM4/FM4/DL4
Boss NS2
Vox Snakecharmer Compressor
Digitech XP100 Whammy Wah
#9
Quote by MadMudgeN
So I don't want to sound pretentious, but I've pretty much mastered the major, minor, and blues scales (as well as all the relative modes) and can use them in such a way that they don't sound static. However, I still feel like anytime I try and make a dissonant "naughty" movement, I'm limited to using the b5 in the blues scale to create tension.

You don't need any more scales, you need to get better at using the ones you've already "mastered". Every 7 note scale you know has 5 notes you could be using to create dissonance, and that's not including the notes contained within the scale that will be less consonant over certain chords - knowimg how you use the notes outside the scale is just as much a part of learning that scale.

You said it yourself....you're limited to using the b5, that's not the scale's fault. Lesser known scales are lesser-know for a reason, they're not particularly useful. Most music nowadays is based around a straightforward major or minor key with intelligent use of accidentals.
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Last edited by steven seagull at Oct 11, 2008,
#10
Quote by steven seagull
You don't need any more scales, you need to get better at using the ones you've already "mastered". Every 7 note scale you know has 5 notes you could be using to create dissonance, and that's not including the notes contained within the scale that will be less consonant over certain chords - knowimg how you use the notes outside the scale is just as much a part of learning that scale.

You said it yourself....you're limited to using the b5, that's not the scale's fault. Lesser known scales are lesser-know for a reason, they're not particularly useful. Most music nowadays is based around a straightforward major or minor key with intelligent use of accidentals.
This

Scales other than pentatonics and major/minor scales are useless.
#11
Harmonic Minor is probably the most mainstream scale to use when trying to sound "different" without too much effort.
#12
Quote by demonofthenight
Scales other than pentatonics and major/minor scales are useless.


Harmonic minor and melodic minor aren't useless. It's at the composer's discretion - note the effectiveness of the phrygian dominant scale (which is a mode of the harmonic minor) in Constant Motion by Dream Theater, when used against the blues scale. Oh, and just so you know...blues scale is hexatonic
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Big deal, I bought a hamster once and they put that in a box...doesn't make it a scale.