Yeah I'm cool.

Did we have a jam in progress???
It's pronounced pretentious.
^ Are you talking about the new standards, as of 2013? Because they've been revamped and they're basically the old '61 Reissues. Small pickguard, slim neck, etc.

But yea, definetly go with whatever feels best.

That's cool man. I actually gave some girls a ride to Ottawa recently, didn't figure to check you out to party. Oh well next time.

And, I would go for the PRS, or save up for an SG Standard.
That sucks Shamer, but on the other hand you're getting real life experiences and whatnot.

Stuff to put on your resume.

How is everybody.
Quote by CarsonStevens
playing in Q# Dicksolydian using 13/9.5 time'd nano-tones.

Flight of the bumblebee.

Just kidding, but something by Vivaldi or Paganini. Concerto in D is pretty triumphant.
Looks like a real sausage fest.
Marty Friedman's "melodic control" is a very helpful improvisation instructional video for beginers. Great examples.
That flowers though.
Got the idea from here, looks dope.

Dunno but definitely a tramp stamp to start.
That's cool man, I love black and white photography. Welcome to the thread and the forums, I am admin around here.

I'm thinking of putting some tattoos on my sg via etchings done by a professional.

Good idea/bad idea?
Oh do er not gomms post al all now. Oight?
Marty Friedman's video is good. All of them.
Wig theory.
I hate both of those people except Squier.

What's Gucci though?
Is using the search bar cheating?
I saw commercials for it. Looked dope, reminded me of good old Mech Warriors.
Quote by customisbetter
I laughed out loud.

Thank you.
I was the first to agree.

EDIT: Reading back on it, I guess it did look like I was kidding. But I'm down for it. Fuck authority.
Mistake-ridden documents are what keep us, MT regulars and music teachers in business.

And business is booming.
One does not read TAB, one simply looks at it.


But seriously, I'm pretty sure most of us in the MT section read music.
Sad story bro. Hope it all works out for you.

But yes, rests indicate silence.
Quote by VeilSide
any suggestions for a SG STD body/neck cleaner? mine lost its shine =[

The best neck cleaner is abstinence.

Quote by Midnight Murk

Serious. Thanks for your recent comment on my video man.

Quote by habsfan13

I assume you mean the composition in your signature. I'll get on that immediately. Always cool to hear new pieces from you.

I literally hadn't picked up any of my guitars for a couple months and then decided to around new years and I've just been back on that SG binge.

Glad to see the thread hasn't died, Alex. Pretty sure no one questions that you run this place.

Edit: I might actually have to post something musical soon.

Edit Edit: I just went back and backread my own posts, what the **** am I doing. Brb, uploading music.

Edit Edit Edit: Warning, auto-play link. Joint cover.

Yea, do it up. And thanks.

My browser won't play it. I'll check it out at the library next time I get a noisiest chair.
I would love to.

But only if there's fame involved.
hendricks didnt knoe theorie y shud i den?
Quote by danyal92
Thanks alot man, you helped me out alot

Respect yaself before ya wreck yaself.

Anytime man.

Also lol SuperKid, mindlink on the link link.
Quote by danyal92
On an off related topic, does this solo sound like Bmaj or G#m?

Because to me it seems to resolve to B but a guy said that it resolves to G because of some chord movement which i dont understand.

I'll check it out later, but if an MT regular told you that, it's probably correct. Again probably had something to do with some kind of resolution.

Although having listened to just the ending few seconds, it seems like B Major.
Your technique is good man, I'd give it a rest and work on theory right now. Play all your scales, arpeggios and whatnot, and really think about what you're playing and how it applies to other aspects of theory. Everything is connected.

Honestly, this is really the best site for theory. It has some great articles, along with great people to answer your questions.

This is also a good site.

And, when I listen to a backing track, I can identify the function of the chord, but not the chord by name. I have relative pitch like most people, but if I were to know even one chord in the mix, I'd be able to put a name on the rest of them in seconds. It's kinda like an algebra problem with variables and whatnot.
No problem. You're definitely on the right track, just need to be fine tuned.

The key here is A minor. I used the D minor first to try to throw you off the scent, but the E7 chord should have been a dead giveaway. You see, the major dominant chord is a result of the implementation of the harmonic minor scale in minor harmony. If we were to use a natural minor scale to create all of these chords, our dominant chord would be a very boring E minor, with not nearly as much resolution potential as the major dominant. This is because the E Major has a leading tone. Try playing the same progression, but use the E minor chord instead of the E7. Very different isn't it?

A leading tone is the name of the interval or note that comes directly before the root note. That's why it creates the tension, and then releases it. So technically, we are using 2 different scales to create the harmony here. A minor for the majority of the progression, but we use the harmonic minor to exploit the leading note.

Also, we make the dominant chord a 7th, to emphasize it even more, and make it even more tense, making the resolution that much more satisfactory. Like you said, you should definetly highlight it, but not at some points, only at one point, over the E7 chord, usually right before you resolve into the A Minor chord.

For passing notes, you can use any note in general, but would be safe in using a note that is relevant. For example, going from D minor to E7, you have several possibilities.
D minor is made up of D F A and E7 is made up of E G# B D. You can use a walking technique to go from one chord to the other. Like emphasizing the "Blue" note, made popular by blues music and found in the blues scale. In this case it is a D#. So our notes would go D, D#, and into E. Chromatic movement.

Another example, you can go from A (found in D minor) to B (found in E7), using any number of chromatic or diatonic notes as passing notes. The trick is to use notes in common, and notes close to each other to make the transition.

But really, start looking at the notes and analyzing their intervals, and understanding tension. Understanding the use and function of the dominant in both major and minor keys is a great start.

Hope that helps, feel free to ask anything else. I feel like we're on a roll here.

Just one question though, you said you weren't sure of the key, but said you'd use the A minor scale, why is that?

Also, you can't really just rely on half step bends, or full step bends. Different bends should be used in different situations. For example, if you do a half step bend from the root, A, you will get B-flat, which is a tough note to pull off and make sound good in the key of A minor. Always be aware of what note you will be playing when you are making a bend. Visualize it ahead of time, and then you will be fine, but it's tough to just rely on a technique alone and be correct all the time, you know.