Quote by SuperKid

Any guitar teachers here came across some more "difficult" customers/noodlers like this one? Any advice on how to handle the situation better?

Oh I get all sorts. you get the guy/girl who….

- asks you to learn songs for them, but then actually plays over top of it while you're listening/figuring out the song. Or tries to figure out with you.

- comes in every week, and says "I didn't practice what you showed me, but I found these tabs on the internet".

- asks you to teach them "theory", but won't actually study or practice what you show them.

- is only interested in songs that they perceive as making them look good. "those are just chords, I don't want to learn that"

- won't practice no matter what you show them.

- would much rather play call of duty, but don't want to disappoint the parents so they show up every week and learn absolutely nothing.

dealing with this sort of thing is part of the job. It would be nice if all you had to do was show them the right stuff in the right order.
There is a psychological aspect to teaching guitar. Ultimately it's about keeping their interest and finding things that they are ready for and willing to work on.

It can be very rewarding, but it can also be like pulling teeth minus the big paycheck.
Quote by musicandthewave
im a perfectionist so if i want to learn a song i want to learn everything note for note, so i use tabs as a guideline and correct all the mistakes. I tried to also emulate the exact vibrato used in the song. Does this actually improve me as a musician and a guitar player?

anyone else like me, can't play a song 95% correct, gotta be 100 % down to the last minute detail if im doing a cover not a tribute.

of-course learning by ear is good for you. Music is an aural art after all.

I would say though that using tabs as a guideline, is not using your ear.

Also, I would say that being a self-proclaimed perfectionist isn't necessarily all that healthy, or useful.

Quote by musicandthewave
can't play a song 95% correct, gotta be 100 % down to the last minute detail if im doing a cover not a tribute.

I see this as a flaw. Accuracy is a good thing, but NOT being able to appreciate it at anything less than %100 is a mistake. It's a growth impeder.

I know it sounds good to say "I'm a perfectionist", "nothing less than perfect will do". It boosts your ego to think of yourself in that way, but ultimately It's detrimental.
Quote by RonaldPoe
Hi, I was watching my favorite episode of Squidbillies and trying to replicate the first part of Early's guitar solo (the first part where he plays an E Minor chord so crazy and fast, it makes a laser sound with his guitar). I'm curious if it's possible to replicate that part. I've already had someone transcribe the rest of the solo so this is the only part I'm stuck on. I've heard it involves glissando on that E Minor chord but how do you accomplish that?

A link to the solo in question

Also I was continuing my quest for a new tonality by messing around and stringing different 16th note arpeggios together into one piece. I'm curious what key my experiment is in and what tonality would fit it? Here's a link.

I know these are unrelated but I'd like advice on either one.

Dude forget all that bullshit and just start playing your guitar. and I mean music, not stupid shit that you think will make you unique or weird. Seriously
Quote by Unreal T
You always hear people saying " it takes years to be a great guitarist". Well, do you think that is because a lot of people do not know the correct approach to take to achieve musical goals?


There is no one "correct" approach.

Quote by Unreal T

Everyone is just different and not everyone can benefit from the same methods of teaching as others for many reasons.

So do you think that when it takes years it is actually due to a lack of proper knowledge and other things when trying to achieve musical goals?


I just takes years. That's not to say people don't make mistakes in their approaches, but it's not the reason for it taking years. it just does…. for many reasons.

Quote by Unreal T

I bet if I knew what I knew now years ago I would have been so much better than I am now. Now I know why those handful of people seem to be better than the rest is simply because they just KNEW WHAT TO DO for their own personal musical goals. Too bad we can't rewind the clock.

I don't agree with that. There are lots of factors.

besides that, you CAN'T go back, so why worry about it. What you know now, you know because of those years. It's called experience. Use it to your advantage.
Quote by jazz_rock_feel
With fixed Do you're assigning names to notes, not scale degrees.

well we may be talking about 2 different things.

What I experienced with "fixed" do, was that they are still assigned to scale degrees, the difference being that in movable do, do is always the tonic, (even in minor), where in fixed do La would be the tonic for minor (and do for Major). In other words in fixed do, the intervalic relationships between say Me and La would be the same in Major or minor, but they would have different functions. If you change keys, this would remain the same, so if your in Bm, B is La.

I haven't experience fixed do in they way WIKI explains it, where C is always Do. I can't say it's useless because I haven't tried it, but it does seem cumbersome.

EDIT: based on the Wiki article I guess I was describing the difference between "La based" minor and "Do based" minor, which both are part of movable do.

So I guess I don't disagree with you. DOH!
Quote by jazz_rock_feel
but moveable has the advantage that you're singing and internalizing scale degrees and their relationship to the tonic.

It's the same with fixed doh. You're still assigning names to scale degrees, and through practice you do internalize them in the same way.

Quote by Unreal T
Have you ever taken Aural Skills classes and used the solfege system? Did you find it helpful, or able to do without?

yeah, it's helpful.
Quote by MaggaraMarine
I agree with you. But my point was that the note example he proved used just CST. If you looked at the progression, there was no one scale over the whole thing. There was a dorian scale over every minor 7th chord. It treated different chords as different scales.

Being in the mode of A dorian is different han playing the A dorian scale. In jazz people many times play the dorian scale over minor 7th chords. For example if we have a basic blues kind of progression in minor, we could have Am7, Dm7 and E7 chords in it. But you could play the A dorian scale over the Am7 chord and it's actually pretty common (especially if we stay on the Am7 chord for a bit longer time). But that would not make it modal.

I'm by no means denying the existence of modes. But many songs that use modes in them are not really modal. For example parts of Dream Theater songs can be harmonized with dorian/phrygian/mixolydian/lydian scale but that's just one part. If you add all the parts and all the modulations in the song, you can tell it's not modal. A great example is "Under the Glass Moon". The riff that starts after the intro melody is definitely phrygian sounding but the parts that come before and after it just make the b2 note an accidental. The song also has a dorian sounding part but again, that's just one part of the song and doesn't make the song modal.

I don't listen to DT so I can't comment on that, but I would suggest to you that its a mistake to have such a strict view of what can be labeled as "modal". Music is something that evolves and there is alot of crossover, or melding if you will.

I would say that while 500 miles has some temporary tonicizations, as a whole it doesn't seem to be clearly in 1 specific key. It kinda floats around. It makes use of modes which is justification enough to call it modal. The entire piece doesn't have to be completely in xx mode to be modal, and it doesn't have to be a Gregorian Chant.

Now if those m7's were functioning as ii chords in a clearly defined key I'd be with ya.

Quote by MaggaraMarine

For example if we have a basic blues kind of progression in minor, we could have Am7, Dm7 and E7 chords in it. But you could play the A dorian scale over the Am7 chord and it's actually pretty common (especially if we stay on the Am7 chord for a bit longer time). But that would not make it modal.

This is what I consider a melding. You're in the key of Am, but you're utilizing the sound of the dorian mode. I don't have a problem with calling that modal as it does in fact pertain to the use of a mode.

When we define things we have consider how those things are actually used. Not just how they were used hundreds of years ago, but also how the use evolved up to current times.
Quote by MaggaraMarine
No, not modal at all. It's just chord scales. It just suggest scales you could use over those chords.

It's specific scales, and they happen to be modes.

Quote by MaggaraMarine

Even if the scales have mode names (for example dorian), it doesn't make the music modal.

it's a pretty good indicator actually. I mean there are cases where it's a mistake, but if it's been notated professionally, there is a good chance that it IS actually modal.

Quote by MaggaraMarine

You can use A dorian scale in the key of A minor (which is really common).

it's really not common over a clearly defined minor key progression.

What is common is playing A dorian over an Am vamp. Because there is no defining progression, a soloist can define it as modal by using a modal scale. It's also common to use it over a modal vamp (such as Am - D).

Sometimes people use it over the ii chord in a Major key progression, in which case I'd say it's not actually modal.

Quote by MaggaraMarine

Using the dorian scale usually means that you are using A minor scale with a major 6th accidental.

You could describe the dorian mode as being "like" the minor scale with a raised 6th step, but they are 2 different scales. If you are consistently playing the raised 6th, then it's not an accidental, you're actually playing the dorian mode.

Where it would be an accidental is in a case where you're in the key of A minor, but you include an altered chord in the progression.

I find this whole mode denial business to be silly.
Quote by Dave_Mc
^ oh yeah i should clarify that i liked what i heard of those todd duane clips too. i hadn't heard of him before, nice find ronald

When I went to GIT, he was "the dude at the door" that would check your I.D. to get into the building.
It's the D Poe scale.

But seriously why not get really familiar with and proficient at using the wheel before trying to reinvent it.
I'd say the dude from Primus was pretty weird. I'm not into that sort of thing, but maybe Ronald would like it.
Quote by 6uitar6irl
So, I am a guitarist but I excel at drums and play drums in a very established, popular, professional band.

you mean locally right.

Quote by 6uitar6irl

These people are (were) my family. They were all I had. I recently had a rough breakup and am going through major health problems (which I don't let my band know about how major they are and drumming with them was actually one of my only escapes from the severe pain I'm in - both emotionally and physically).

My band has a powerhouse singer who has won many awards. The other three are very average musicians. The guitarist is definitely the weakest link, he has no clue about scales, how to solo, all over the place with time when it's just him playing or starting a song. But he's also the husband of the powerhouse/amazing singer. He's also the designated "leader" of the band and "songwriter". He has been frustrated about writing songs lately when he brings basically no ideas to the table. When he plays a riff, even if it sucks I never say anything and just try a million different drum beats. We recently wrote 2 songs and I am so proud of them. He thinks I am not "clicking" when he's the one who can't even figure out a simple solo in the same key of the song!!!

They actually said I am too good for them?! They said a million times how much they adore me as a person, how much of an "amazing" drummer I am. But uh, we don't want you. WHAT?!?!! I am nominated for drummer of the year in my state and the award ceremony is coming up. First 20 drummers were nominated and now it's down to 4, I am one of them. I have a degree in music. I am the only person in this band who has been in many other successful bands. I am the most professional when it comes to the business side of being in a band. I have been nothing but helpful. When most people in my shoes would become so frustrated with being so much better than the other musicians, I always kept my cool and would sometimes offer suggestions if someone just wasn't getting something. Even though the musicians are average (guitar player being the worst, despite being the "leader") we gel as a band and I absolutely love playing. Our singer tears the house down, she is unbelievably good and I have never been more in love with playing with these people.

My life is hell right now for many reasons and I'd keep saying "at least I have this band, at least I have this band". I love them so much. We have the best gigs coming up right now with summer starting. And that award ceremony. And I just bought a new drum kit that LOOKS like my band's look. And I just ordered a custom kick drum head with our logo on it, so ironic. I've been on the floor sobbing for hours. I can't believe this.

After shows, both the singer and I have fans swarm all around us. People I don't know, and drummers/experienced musicians who know what's up always say how awesome I am. And how much better I make them sound (they had an old drummer who had absolutely no idea what he was doing about 4 years ago).

I have nothing right now. Absolutely nothing. I need to be on stage. I need to drum. They kept saying "we love you so much, your drumming is amazing" ?!?!?!? But they want me gone?!?!?! Everyone knows me as the drummer of this band. This can't be happening....this cannot be happening.

Maybe the huge ego was more than they could take. Being in a band often requires more than just being awesome and knowing your awesome.
Quote by RonaldPoe
I decided to research John 5 and learn some Rob Zombie songs (and other things he played). That would be helpful.

Who's the weirdest guitarist (playing wise) you can think of? What's their favorite scale? Give a description of their style and example of their playing.

Here's Brad Paisley playing a sweet country shred solo with Keith Urban.

so are you like seeking out and studying the most unique and totally awesome players in hopes somehow attaining their abilities?
Quote by RonaldPoe
Hi, I just started listening to Todd Duane and was wondering something. How is his playing so alien (like Alan Holdsworth, Frank Zappa, Buckethead, and Syd Barret level oddity) and unique.

I would say it's fairly typical of players from that era. each person trying to outdo the others.

practice alot and when you write music, focus on making it as complicated as possible.

Quote by RonaldPoe

Are there any techniques and/or strategies that would give me that kind of sound (besides practicing too much)?

honestly, no.

Quote by RonaldPoe

What genre would Todd Duane even fit into?

Late 80's GIT shred all the way.

Quote by RonaldPoe

I'd like some answers as to how this guy's playing works.

play everything you know, as fast as you possibly can.
Quote by Biebsy
Hey guys,

So, recently I've been really focusing on soloing and improv especially, but whenever I sit down, turn on the backtrack, right from the first bend to the last root note, all I want to do is smash my guitar, crawl into a tiny whole and stay there till Christmas. My phrases sound like shit, all I get is pissed off. Any tips? Articles? Ideas? Anything? I really want to keep at it, and I WANT to get better, but I just am in a rut, or moving at slow pace or w/e.

TL;DR I'm ****ing frustrated man.

btw: self-taught, know very little theory

stop playing to backing tracks…. seriously.

It's like a 3 minute compare and judge sessions…. "aww crap, I'm not as good as Steve Vai"….. "that sucked"…… "man I sound like shit"………. "how come I'm not as good as John Petrucci"….

You never end up actually playing anything because you're too busy comparing yourself to players that have much more experience than yourself.

Besides that a backing track can't listen and react to what you're doing, which is what would be happening in a real jam session.

Also consider that most music (aside from shred) isn't a guitar solo from start to finish. It's usually for just a section of a song. I'd even say that most shred has a melody section, and then the actual guitar solo, then back to the main "theme" or melody.

So basically what you're doing is not realistic, and I would argue that it is actually detrimental to your ability to improvise.
Quote by ruon212
Ok, I know the title sounds stupid, but I need to know.

I've been playing guitar for about 6 weeks now, and I can play Garret Evan's (Goliath Guitar) interpretation (fingerstyle) to The A Team (started learning it a week ago) . I can also play "Let Her Go" by Passenger (fingerstyle and strumming) I have a book called "Fingerpicking Beatles," and I can pretty much play any song on there, and some of the harder ones I can get with some more time. I can listen to some songs and figure some of them out, but I'm pretty crummy at it.

I can't play bar chords yet, which bugs me, and I feel like it takes me too long to learn a song. How can I tell if I'm good or not?

No offense but I don't think any person could competently play the entire "Fingerpicking for beatles book", or the finger-style part of Let her go after 6 weeks of playing. Maybe a half ass version... bits and pieces kinda.

I'd say don't worry about it. It's not a competition. Play guitar, enjoy it... get better naturally. It takes time..... more than 6 weeks. And they'll always be more to learn, and people that can play stuff that you can't..... something you have to get over.
Quote by bobduff80
Hi could anybody tell me the best methods for ear training?

Learn lots of songs….. play alot…… listen.


some things are more simple and obvious than we would expect.
Quote by crazysam23_Atax
My point was, a scale is not just a pattern on guitar; pattern in this case meaning "box shape, linear line along 1-2 strings, or diagonal run". A lot of young guitar players get to thinking that they can only play scales 1-2 ways, and we all know that's just not true. There's just so many places/ways to play any given set of notes on any instrument that I feel people are missing out on a lot if they get stuck in playing a set of notes in just 1-2 ways.

Of course, scales are actually patterns of intervals that are the same across all instruments. It'd be dumb of me to dispute that. lol

So, yes, you are technically correct. But you missed what I was saying.

I get what your saying, but I think it's pretentious.

"young guitar players" make all sorts of mistakes. Telling them that they shouldn't learn to recognize where the notes of a particular scale are in a particular position, is just giving them a new mistake.

here is a relevant quote from pretty bad movie

John Hammond: Don't worry, I'm not making the same mistakes again. Dr. Ian Malcolm: No, you're making all new ones.
Quote by crazysam23_Atax're missing the point.

If your point relies on thinking that scales are not patterns, then I would consider re-thinking it.

Quote by crazysam23_Atax
a scale is a collection of notes.

a collection of notes that are defined by a specific pattern
Quote by crazysam23_Atax
a scale is NOT a pattern


and that pattern is visually recognizable on most if not all instruments, as well as it is on paper.
Quote by lodgi

Is there a way to know that the chord you're playing is not part of some larger chord?

yes….. learn all of the "standard" chords. Then you'll know if your new discoveries are really just the same ol standard thing that everybody else uses.

I was thinking of breaking out of using normal words when I talk, cause then I could convince myself that Im a creative genius. fricke tur shnickel.
Quote by crazysam23_Atax
Eh, probably. But the point is, regardless of the video, that Skolnick generally knows more theory than the guys I was complaining about.

I don't know about that.
Quote by Big-Al1234567
I have been playing the guitar now for about 6 months. I'm still learning loads of songs aswell as getting what I know already to a good level. I am wondering if maybe I should try and learn music theory too, would this help my playing? or would it allow me to write some of my own music? it's more to help my playing at this point but down the line I would like to write some of my own music. Can anyone advise on this?

The thing that will help your playing the most is…… playing. (and time)

6 months is really early for getting into theory. IMO you're better off playing for a while first. Develop your fundamental techniques and your ears. Build up a repertoire.
Along with that learning to read standard notation is good preparation for studying theory.

^ with that background you'll have a much easier time understanding music theory than if you just jump into it prematurely. You'll also be a better player.
Quote by hootie37
OK, I understand numerous scales (pentatonic, every mode of the major, etc.), but when I make bass lines, solos, whatever, I find that I get stuck in this box of just kinda running through the scales and randomly picking notes from the scale.

Instead of actually forming lines that sound good, I usually end up playing things that sound OK, but not really good or emotional, which is what I'm wanting.

I really want to be able to use my knowledge of scales/intervals to create emotional and well written pieces and improvisations, but I feel that my theory knowledge is ultimately holding me back because I get stuck inside this metaphorical box when I play of just following the scale and not picking the next note I play because it sounds good, only because it "works".

When I see guys who are constantly playing things that sound good, it blows my mind because I know I should be able to play like them, but I can't. I am extremely frustrated.

How do I solve this problem?

A lot of people make the mistake of studying theory IN PLACE of playing the guitar. That is, they study alot, but don't spend as much time just playing for the enjoyment of it, and then end up wondering why their music sounds uninspired or lifeless. Simple solution = play more.

Try to find a good balance of study/play.
Quote by crazysam23_Atax
Skolnick actually knows what he's talking about though.

You should probably watch the video
Quote by Sti Eci Tehpor
Why are a good portion of users on this site so condescending?

Because the internet gives us an opportunity to reinvent ourselves as the experts that we really are not.
Quote by tyle12
Hey all. Just wondering if anyone knows what is happening in this jam theoretically.
You have to skip to the 5:01 mark. From then on its just so amazing to me, I find this more amazing than any mozart or bach piece I've heard (granted I've only heard a few).

it's a nice jam, but there is no reason to insult Mozart or Bach.

Quote by tyle12

But this is the sort of improvisational ability I strive for and if anyone can help me out that would be great. Scales, Keys, key changes, etc. Thank you in advance.

I guarantee you Fruciante didn't get there by piecing together random advice he got on the internet.

That said….

scale = E minor pentatonic (mostly)
key = E minor
key changes = none

but knowledge alone isn't going to make you be able to play like that.

Learn songs, learn solos…… play… play …. play…. stop worrying about getting good. let it happen naturally as a result of you playing so much because your sooooo into playing the guitar.
I think it's important not to over think things and/or take yourself too seriously.
Quote by Xiaoxi

In any case, simplifying down to the 3 main categories helps me. All the academic terms like secondary dominant or modal borrowing/interchange are just useless information that hinder rather than help.

specific concepts require specific words to describe them.

The term secondary dominant is certainly useful in this regard.
Quote by nudewithboots
looking for best ways to practice without boring me to the point of putting my guitar down. any ideas on what and for how long i should practice before i get into playing the songs i really like?(90,s grunge ,thrash,some new metalcore, stoner rock, classic rock, sabbath etc..) gotta be homest i cant devote several hours to scales and left hand excersises but i can play the songs i like for hours. so please gimme some pointers on what to practice and for how long ie right now im concentrating on my gallop technique and down picking stamina for my thrash songs but id still like to know the basic scales, using a metronome, and know all the names of the chords across the fretboard. thanks for your time

If playing your favorite songs keeps you at it for hours at a time, then by all means, keep doing that.

For specific pointers on what technique or what scale to practice and for how long, consider taking lessons. There are literally hundreds of things you could be focusing on. It's difficult to say what is right for you without knowing where you're at and what you're goals are.
Quote by jamster92

I've had people tell me that many times, and then I check it out, and like the D will be a B or something.

If that's not the case, you need to get it set up.
Quote by jamster92
Hello guys! I just bought my first 7-string guitar Ibanez Iron Label

And i got to keep the one on the floor on collateral until my new one arrived. So the one on the floor played beautiful, no problems, the tune was not giving me a problem at all.

So I picked mine up when it arrived, got home and fresh out of the box. I'm tuning it and there's something wrong. Once all strings hit the green light on the tuner and i play it, it sounds off. I don't know if I'm explaining myself very well but is it because it needs to be broken into? Its a brand new guitar so it shouldn't give me any problems T_T


so you got your first real 7 string.

Did you check to make sure you tuned each string to the correct note?
Like when you hit your 3rd string, does the tuner say "g"?
Quote by RoeiC
Hi all,
i hope this is the right place to write it ,
so in the song of Eric Clapton Layla the chorus is play with F major / D minor and from my checking the VERSE is play with A major if i right.
in the A major scale the notes doesnt include the C note (its include the C# note).
so how he play the C chord in the VERSE.
i hope its clear enough.
thanks in advance .

Being in a key doesn't mean that you're restricted to just the diatonic notes/chords.

for this song you should look into borrowed chords, and modulation
Quote by Sean0913
for the vast majority of people, this is going to be discarded, because its not what anyone wants to hear.

Oh I know that.

Sometimes the things you don't want to hear are the very things you need to hear.
I'm willing to bring those things up regardless of the reception. Maybe someone will learn something...... maybe.

thanks though!
Quote by reverb66
The intonation definitely suffers a bit. If you plan on recording or playing a lot of songs with DADGAD, a setup would be preferable.

The higher strings will also be much looser, so you need to adjust your fretting technique slightly to compensate ( i.e. don't press too hard).

If you're a relative beginner that just wants to try the tuning based on a random suggestion (which is the context the advice was given in) a set-up is an unnecessary hassle. We're not talking about a person that plays in DADGAD tuning regularly.

When giving advice it's important to consider context and practically.
Quote by Biebsy
Hey fellas,

I just tried writing my own solo for the first time, made a few cool licks in the Key of E, and practiced them slowly for about a week so they all sounded pretty decent, then, strung them all together... Needless to say, it sounded like an ogre having sex with a dog while getting hit by a train. Does anyone have any tips on how to string together licks/ ideas for a solid solo?

I know that someone is bound to say: "Make sure you know the chords!" Frankly, I haven't put my 'solo' over chords yet, because I want to hear it all put together before I put it over chords. It's also worth noting that I don't know theory at all, and can't afford a teacher, as college is coming up too fast, and I'm trying to save.

And I know someone will say: "Learn theory," believe me, I've been trying for probably about a year now, and I've used too many sources to count. I start off strong, then hit a wall after about a week or even a month of studying a specific source, and whatever I do, I simply cannot get down what the source is teaching. Thanks in advance!

The biggest mistake I see people make is that they're unwilling to be a beginner. They jump right into building the top of their skyscraper, but have neglected to build the foundation, so the whole thing tumbles to the ground. Often over and over again.

Learn some songs, learn some solos, use your ears, use your brains. And I bet you could afford lessons if you really wanted to. Most people can, but end up spending it on gadgets and xbox games instead.
Quote by crazysam23_Atax
Um...I would. But feel free to disagree.

I just did

Quote by crazysam23_Atax

Of course, depending on your guitar, your intonation may be way off. Your action may need adjustment. Etc. But hey...if you don't give a shit about that stuff.

If your guitar is fine in standard, then it'll be fine when you put it in DADGAD tuning.
Quote by crazysam23_Atax
Just a note: if you do that, you will need to re-set up your guitar. Don't just re-tune it and call it good. Either PM me or start a thread in the electric guitar subforum for more info.

No, you don't need to get a set up for DADGAD tuning…. especially if you're just trying it out based on a random suggestion, and don't plan to be tuned that way all the time.
Quote by liampje
I am starting my theory from scratch. I am at chapter one of the AB guide to music theory. The book states that stems of notes can go either up or down. Depending on the context you should put one up or down. But how do I know wheter to put it up or down?

When you're towards the top of the staff make the stems go up

towards the bottom make them go down

that way they are sticking out above and below the staff making a nice mess.

but seriously use some common sense. Doesn't that book have some illustrations?
Quote by crazysam23_Atax
Eh, I can see where you're coming from with this. But I don't really agree with it.

Anyway, I apologize.

Yes. And? The name of the scale isn't important here, really. We could argue scale names all damn day, but the concept of the intervals in the scale is really what matters.


If it was a chord progression such as:

|D |F |G |G# |A |D |C |D |C |

(all Major chords)

You could say it's in D Major and uses borrowed chords. When soloing over this the D Major scale will fit the 3 chords that are diatonic. For the other chords you would have to use a different scale.
You can say that the other scales are "just the Major scale with an accidental", but to me that explanation lacks detail. Thinking of a particular scale is more manageable and easier to execute due to the fact that your dealing with a familiar pattern that if practiced falls comfortably under your fingers. Much easier than having to calculate on the fly. You really don't have much time to think when you're improvising a solo.

That said, the TS was not suggesting a chord progression as in the example above, but rather a power chord riff that follows the minor blues scale.

So, basically I am asking if we would use a D minor scale perhaps or what our options are. Here is an example of a riff I wrote (is this already a song lol sounded familiar when I came up with it?)

0~ 3~ 5/6/7 12p10 12p10
0~ 3~ 5/6/7 12p10 12p10
0~ 3~ 5/6/7 12p10 12p10

So just as an example what are the main scales one would tend to use when using riffs that go up the neck?

p.s. what do you think of the riff, it is kind of Black Sabbath inspired?

He implies that it might be Black Sabbath inspired. Those types of riffs typically move pretty quickly from power chord to power chord. They are generally not treated as a chord progression, but rather a single note melodic riff thats thickened with the addition of the 5th. (think Iron Man, or Sweet Leaf)

In this case the riff outlines the D minor blues scale. You could also say it outlines a Dm7 chord.

Now he asked for the "main scales" that would be used over this so to me that means "common practice". Over riffs like this you will most typically hear people play some sort of minor scale, most commonly minor pentatonic and minor blues.

You will not often if ever find someone playing the Major scale over it, while constantly changing the scale as the chords go by.