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Listen to Jazz - really listen and Transcribe, Transcribe, Transcribe

Also check out a real book for some songs to learn (Autumn leaves, Blue Bossa, & Satin Doll would be good starting point, also anything from the real book that doesn't seem too advanced for you will work too)

listen to different versions of the songs and transcribe the ones that really catch your ear.

Most likely you will need to learn some new chord voicings, and doing so in the context of songs you are learning will be a very effective way to do so.

Did I mention transcribing?

Check out Wes Montgomery, George Benson, Joe Pass, Pat Metheny for some guitar inspiration
Yeah Guitar Munky def has the right idea here – Once you understand chord construction well you’re much better off naming the chords yourself, programs like pt don’t take context into account and give a lot of impractical names.

Naming chords/progressions from songs you’re learning is much better than working with random isolated chords.

For the Amaj7sus4#9, that’s an example of an impractical name you’ll get from an automated program – I can’t think of any time I’ve seen that name/or a context where that would be an appropriate name in an actual song – but maybe someone else has.
Looking at A as the root - Am/maj11 makes sense;

A is the root, C is the minor 3rd, G# is the major 7th

So that gives you an Am/maj7, then stacking the D (4th/11th) gives you Am/maj11

since there is no context here i'd stick with Am/maj11
This week is really hectic for me, but I could get around to doing a take by Sunday/Monday. Really like the BT
Well you're playing blues in A, so F# is the 6th/13th which is commonly used & adds a little 'color'. You could look at it as coming from A major pent or A mixolydian, both of which are often used along with the minor pent & blues scale in an blues setting.
Bold as love, Castles made of sand, & pretty much anything from the live band of Gypsys album
Also you can use both major & minor pentatonic from the same root, so for blues in A you could use A major pentatonic & A minor pentatonic. This is very common, the solos in crossroads are a famous example of it. Mixolydian is used often in blues/rock too. Learn to play some blues rock solos as well, going straight to the source is probably the most effective way of learning, even better if you take the time to transcribe & analyze them yourself
Here's a good one thats free - best practice
Yeah a lot of their songs go through intricate composed sections (many up to 15+ min) followed by vamps at the end where they jam. They do use signals at times during jams, and all have really good ears & have worked on improvising together a whole lot. Here's a lesson given by their guitarist that goes over some of the improvisation exercises they would do which will help shed some light http://allegedartist.wordpress.com/2009/06/16/random-find-3-trey-anastasio-guitar-clinic/ There's a link on that site that goes over some of Trey's playing style as well
Ah ok cool. Eastwinn - don't know if you've seen this but here's a great resource for Beatles song analysis http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-alphabet.shtml
Quote by GuitarMunky
I hear that E major turn to Eminor just before the Bm..... then after the B7 I hear a Maj7 in there I think.

I'll have to get out my guitar and mess with it.


good call there's definitely an Em in there, didn't catch any maj7, I'll take your word though I know you've got a good ear
Just listened to it, it’s basically blues with some added chords for a stronger sense of movement. The verse is basically a I – V – I – IV – I – V. The Bm chord leads into the B7 nicely, by moving the D note up to D# & adding an A note. It basically 'pushes' you into the B7. Then when the IV comes around, the IV goes down to Iv, which fits in nicely with the vocal melody, a smooth transition by just lowering one note (also common for them as GuitarMunky pointed out borrowing from the parallel minor)
^yeah I've been using BestPractice a while, works great for transcribing
Quote by branny1982
nice work stash!


Thanks Looking forward to hearing yours!
Just did mine, great job on all the entries so far
Hey just sent mine in, there are some great entries so far
What's the context? Could just be Am7...
For that progression, D dorian would work well. The notes in that scale are D E F G A B C, which you can play anywhere you like.
Quote by yingyangthang
I dont care what anyone says. Functionally, I will never call a b7 in a major chord/scale anything but a dom7 (or obviously b7). It makes it much less confusing, saying m7 indicates a minor chord/scale, and Ill bet a million dollars anyone that uses these terms day to day wouldnt call it anything other then a dom7 either.

Its not about cosmetics, and its also not about being exactly correct in naming. Its about communicating in the most efficient way possible. And for that reason, I will never tell TS or anything that the seven in a chord voiced 1,3,5,b7, or in a scale with a M3 and dom7 that it is anything BUT a dom7

Sorry for rant, but seriously...


That's fine, you can do whatever you please. I was just pointing out that the proper name for the interval is a minor 7th, pretty basic stuff there. Like I said though, most people will know what you mean/won't care if you say dominant 7th in referring to an interval. I just brought it up since you said he was ignorant, sure it may be a bit pedantic but he wasn't ignorant in making that correction.
Quote by yingyangthang
There IS a dominant 7, ask anyone who actually uses theory in day to day life. Take your ignorance elsewhere


R.Christie is right, it's technically a minor 7th interval. A dominant 7th chord is made of the root, major third, perfect 5th, and minor 7th in terms of intervals. Most people would know exactly what you mean/wouldn't care if you say dominant 7th interval, but in terms of properly naming the interval minor 7th is correct.
Quote by bangoodcharlote
No surprise...a Dream Theater fan just won.

Stash, I am not needlessly attacking someone giving useful information in an immature way; he is outright wrong and was corrected. I warned him not to do something stupid and he ignored it, so I followed through with exactly what I said I would.

Is cursing immature? I don't really care; it's so pervasive around me that I wasn't even phased when I was called a "cunt-withholding cum guzzler" the other day. Is cursing effective? Schyah! My senior year of high school, I'm the only senior starting; the other four starters on my basketball team were juniors. We got into a fairly deep hole against a huge rival and trailed by 13 at halftime because those penetrate-kickouts that usually went for 3s or long 2s that usually dropped were not. I was livid about my teammates' shooting and flipped at halftime; my coach didn't have to say a word. The first play we run, I drive hard to the hoop, get doubled, kick it out to Kristen who hits a 3, our first 3 in the game not made by me. My girls got the message to shoot better and we won by 16 and hit some ridiculous number of shots to start the half.


Well, he wasn't 'outright wrong'. The ts asked for an alternative and a common alternative that is used by many pros was brought up. Then someone makes a typo and you say "If anyone (aside from me) comments on him saying "sop" rather than "stop" I'm going to throw a bitch fit." then go off on a rant, cussing out a kid in high school - that's the immature part.


I agree that barre chords should be learned and not avoided because of their initial difficulty, but I also recognize the value in alternative methods of playing them and would encourage people to learn both and use what you feel is best for any given situation.
Quote by bangoodcharlote
I really doubt a guitarist with any credibility would not play barre chords, favoring a goofy, asinine style. Songs like Purple Haze require you to use your thumb, but don't use it because you don't like barre chords.


Obviously you should learn barre chords, but there are certainly advantages to knowing alternative ways of playing chords. you're just discouraging this knowledge with an immature, stubborn attitude, needlessly attacking those giving plausible alternatives that the ts was asking for.
I've always like this voicing for a maj9 - try it out, sounds pretty smooth

Cmaj9, 1st inversion


e--7---
b--8---
g--7---
d--10--
a--7---
e-------

yeah its' in G - the A chord is a secondary dominant leading to the D chord (V/V). That's where the 4th major chord comes from, this kind of thing is used pretty often. The solo is in G as well from what I remember of it.
If you put a little piece of plumbing tape on the threads of the bar it will make it so you can keep the bar in a tight fixed position anywhere. the graphite trick works pretty well, a better option would be to get a lsr roller nut put in (i know you don't want to spend any more on it but it's cheap and would help a lot)
here's the updated playlist with all entries so far http://profile.ultimate-guitar.com/Stash+Jam/music/playlist/

it's cool to hear all the different approaches on this
I've put all the entries so far in my playlist for anyone who wants to check it out http://profile.ultimate-guitar.com/Stash+Jam/music/playlist/ I'll update it as the others come in
thanks guys, looking forward to the final mix!
Ok just sent mine in, really liked all the others I've heard so far!
really smooth playing there, great job man!
Cool, should be fun playing over this - any idea on when you're looking to have all the takes by?
Quote by domiel
any scale can work for any kind of music, it all depands on how you use it.
it this genre i would avoid using the phryigian or harmonic scales since they sound more egypitien/middle eastern, but anything else would work great.


Pretty much, though Dick Dale's Miserlou uses a 'double harmonic scale' which is fairly exotic and sounds great. Bmg6690 - Just learn a few surf songs & solos to get a good feel for it.
generally he uses pentatonic scales ... just play along with some recordings, learning to accurately play his solos is the best way to get a feel for his style.
Quote by steven seagull
E:|-----------------------------------------------------------------------------------------|
B:|--------------------------------------------------------7--9--10--9--7---------------|
G:|-7----7--7--7--7----7----7--7----7--7--8--10----------------------10--8--7----|
D:|-0----0--0--0--0----0----0--0----0-------------------------------------------------|

contains these notes...

E:|----------------------------------------------|
B:|------------------7--9--10--9--7--------------|
G:|----7--8--10----------------------10--8--7----|
D:|-0--------------------------------------------|
D D Eb F G A Bb A G F Eb D

Your root can't be anything but D with you hammering that open D and the notes of D phrygian are D Eb F G A Bb C D


What about the F# and the G#? (you've mislabeled them on the b string; the notes are F# G# A on the b string)
Quote by Archeo Avis
A progression consisting only of C major and G major chords would seem to me to be in C major.


Indeed, but the op said... " I am basically trying to build an interesting solo over a

G-C-G-C-G-C... G-D-G-D-G

chord progression.

"
^thats in G major, but yeah it's not a modal progression so G major or G blues is the way to go there
I'd call that chord Bb (1st inversion)