Quote by MightyAl
I have no idea what MMA is, but I'm assuming it's violent, thus I could get it for free by walking into the Saracen's Head wearing a t-shirt that says "Celtic are sh*te" on the front and "the Pope shags small boys" on the back.

Yeh you'd no doubt experience something similar to MMA although I think the fighting style would be a little more rustic and earthy. Needless to say most people that tried this would be handed their teeth despite the alternate techniques to that of MMA. I've often wondered how fast I could run if placed in such a situation!
Didn't even know this thread existed on UG! Amazing - I'm gonna be on here all the time now....guitar....footie...does it get any better!
Wish I had seen this earlier - great idea and I'll take part next time if something like this is run again.
Quote by jburde
If we're talking about writing, you can't force a good song. All the song's that I've written that I think are even decent have come from just ****ing around for a few minutes. Maybe it's me.

As for technique, everyone is right. Bends, vibrato, adding dynamics, all that good stuff will make you sound ten times better. Learn songs by ear, take cool licks you like and try to apply them to your playing, BE CREATIVE. Don't just copy and paste what you hear, do something different with it. Easier said than done but it's well worth the effort.

I think this is a good answer and I also agree with the reply about taking a break. Although I risk sounding cheesy I often take some time out and just find new music that inspires me (or dig out old stuff that inspires me) and just spend some time listening to it. Less playing and more listening is sometimes kinda reminds you why you decided to play the guitar in the first place.
Quote by GuitarMunky
There are whole bunch of things that they could be doing. No way to give you an exact answer.

Sometimes it's all in 1 scale. Sometimes it's not.

Best way to get your head around it is to learn to play it & listen. Then you'll have something to study.

Good answer here as there are multiple things the guitarists you're watching could be doing.
Quote by Sean0913
You'll want to have a backing track in the "Key" of C Major. The chords and resolutions, will make the attending improvisation, decidedly Major.

C Em Dm G would be an example of a progression that will work on an improvisation using a C Major Pentatonic scale.

Good luck, man! A Lot of people ave that same question when they first start out. Onward and Forward!



Good answer to your question here as what you're playing over is a huge factor into whether it sounds major, minor, bluesy or rocky etc
Quote by Sean0913
Short, and by no means exhaustive answer is a minor 3rd/major 3rd as a passing tone in C blues sounds pretty good, but in a straight major progression, the b3 sounds "off". against any chord where the major 3rd is present.

Good explanation!
I second 'Crushing Day' by Joe Satriani
Quote by griffRG7321

Why people think he's egotistical and arrogant is beyond me.

He seems a little spaced out doesn't he....interesting he listens to a lot of Bach though.
Quote by PFC_91
The attachment here is something I wrote for a project in school last year (my last year there). I never got around to naming it, never finding a name that I thought would fit, so instead it's just an abbreviation of Swedish words(+which version of the file it was, to create a timeline. It got confusing in the end.). In the end I had too little time left to write a good ending, but I think the end result was okay. Still, I feel it's lacking something, but can't figure out what. Still, I'd appreciate critique.

Cool I'll have a listen and get back to you.
Quote by isaac_bandits

Also, I III and V refer to major chords built off of scale degrees 1, 3, and 5 respectively. Roman numerals indicate chords, whilst Arabic numerals (often seen with circumflexes) indicate scale degrees.

Good explantion here except the roman numeral for 3 (III) doesnt give you a major chord when talking in respect of a major key. Chord 3 or lower case iii is used as it is a minor chord when built upon the 3rd degree of a major scale.
Quote by LeftyDave
Most likely you're an octave too low. Are all the strings of the electric really loose? Try reference tuning the electric to the acoustic.

Think you're right!
I would take it to a luthier. They will take one look at it and give you the real reason. Different shops and stores always tell you a plethera of different diagnosis'.

Most luthiers will take a look for free.

AVFC = you're a brummie? I can recommend a guy who is local.
Quote by keven93
Yeah, but its in Eb tuning so its played like F#m.

Thats irrelevant. It doesn't change the key of the piece. It only changes where you play it on your instrument.

Its still Fm
To learn your keys why dont you learn the order of your sharps and flats.

Sharps ascend in 5ths. FCGDAEB
Father Charles Goes Down And Ends Battle

Flats ascend in 4th. BEADGCF
Same sentence as above but in reverse.

When you look at a key signature of sharps, look at the last sharp and go up one semitone. That gives you the name of the major key. Go down three semitones from this name to get the relative minor key.

When looking at a key of flats look at the penultimate flat and thats the major key. Again go back 3 semitones to get the name of the minor key.
Its a perfect 4th.

When talking about intervals a double flattened isn't the right term to use. Intervals are named only diminished, minor, major or augmented.

You cannot have a major or minor fifth or fourth. It is only perfect, diminished or augmented. The double flat does make it into a C. Therefor its a perfect 4th.

People are getting confused with the terminology used for identifying chords such as a double flattened 7th in a diminshed chord. Thats a totally different thing to identifying melodic or harmonic intervals.
I think this really depends on what your course focuses on.

At my college you were expected to know this stuff but we only studied harmony directly during the first year for just one tutorial a week. Intense though, with 4 people per class and we studied all the rules/laws that apply with 4 part harmony quite deeply.

Yet after that it's kissed goodbye for the rest of the course!
All good here.

Its known as an 'inversion'.
Only a guitar forum would you find a drugs thread.

I am thinking of heading to a violin website and maybe bringing them into the light! Perhaps a thread on S&M would go down well over there.

What do you think?
You HAVE to look at each individual syllabus for exam entry.

I went to The Royal Scottish Academy of Music and Drama. Obviously I studied music and my first study instrument was guitar. (The Royal Schools are all classical, so it was classical guitar)

Anyhow I had to have the necessary schooling grades, which over here is very differnt to other countries so I wont bore you. But every auditionee had to perform 3 pieces on there instrument, sit a music theory test and an aural test as well as a formal interview.

Then you sit tight and wait for the result to come in the post.

Places can be tight but this varies from each college/uni/academy.

Money is irrelevant in the UK. You cant buy a place at a music college.

You have to pass the audition, so go and check out your options, find a course that suits you and take a look at whats required at each one.
Quote by keven93
Hi there!
Does anybody know how to figure out a songs key even if your ear is not capable of hearing this?
Its like, i dont have any sheet for the song, nor the chord progression.
But is it possible to figure the key out without the chordprograssion or a superb ear?

Basiclly, im looking for the key that Yngwie Malmsteen - Beyond the sun:

I really dont know, but i think its something like F#m?
It would be great if anyone knew the chordprogression, or only the key. I am going to play it at my exam for the year, and i have to learn it by one month and its nice to improvise at it as well.


I think it's in F minor / Ab Major.
As far as th aural side of things goes (your singing, playing back, pitch tests) why dont you get your hands on some of the ABRSM Aural skills books.

These are to prepare people for classical instrument exams but nonetheless the aural training is excellent and graded so you can work step by step.
Quote by GNR3737

A really easy, movable, scale that is excellent for soloing is the pentatonic minor scale. This one is in A. meaning the root is on the note A.
e |--------------------------5--8-|
B |---------------------5-8-------|
G |---------------5-7-------------|
D |----------5-7------------------|
A |-----5-7-----------------------|
E |5-8----------------------------|

This is some great advice and the minor pentatonic scale is the basis of many solos. Thanks.

P.S Remember that in this exact position it is in A minor not A
Quote by GNR3737
No. A# is a not and A#M is the major chord for the A# major scale. Also written A#,
A#maj or A#major

Anything with an 'M' after it indicates it is minor, even if its lower case 'm'.