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Quote by RPGoof
You can't really blame a bad trip on the substance though, it's always their own mind/the environment/the people they were with/etc.
I've found that body load/stomach tension can really inhibit my ability to have a good trip. Not that I'll spiral into a full blown bad trip but it definitely puts a damper on it.

At the same time, a good mindset can counteract a decent bit of discomfort.
I voted vegetables, but really one of the first things I would add is meat. Chicken goes really well in mac and cheese (the real kind, not Kraft), and so does ham. I imagine stewed beef would be delicious as well.

I feel like almost any vegetable would go pretty well in mac and cheese, depending on what else you add and what type of cheese you use. For example, with ham and cheddar, I might use peas and/or corn. With chicken, maybe broccoli or spinach, especially with mozzarella or parmesan.
If you're just using a general description, you would say "crunchy." However, the term for a crunchy taco shell is usually "hard shell."
I'll be making at least $60K right out of college, provided I end up finishing my Engineering degree. From there, I just want to save up enough to pursue music full-time without being entirely broke.
Rye whiskey, served neat. Bourbon is good too.

Quote by KeepOnRotting
I'm all about beer, myself. I'm a huge fan of stouts and other dark beers. Piccaroon's Timber Hog, Young's Double Chocolate, Guiness, St. Ambroise...
Good man. Whenever I drink beer, I generally go for a stout. If you ever get the chance, try the Great Divide Oak Aged Yeti. It's by far the best beer I've ever had. They sell it in bomber bottles where I work. It has so much of that roasted stout flavor with a really long, nice finish. As a bourbon drinker, I'm partial to any oak aged ales. They have a Yeti that's not oak aged, and it's still awesome, but the Oak Aged is way better.

Probably my second favorite beer would be the Dogfish Head Palo Santo Marron. It's technically a brown ale, but it's got that creamy roasted flavor that you would normally attribute to a stout. Fantastic on tap. I'm really interested to try the Yeti on tap, I feel like it's probably pretty comparable.
Yes, every single note can be justified in some way or another. Worry less about finding notes that can be justified and worry more about justifying the note choices that you make.

What this means in a more applicable sense is that you need to develop your aural vocabulary so that your note choice is intentional, or better yet, intuitive.

To add to what steven seagull wrote, there are many resources online for developing your ear (miles.be and musictheory.net are two off the top of my head), but one of the best ways is to transcribe music. By listening to something and figuring out where the notes are on the fretboard you are creating a mental connection between the sounds you hear and the physical position of these notes on your instrument.

Another thing to do is to learn to sing, if you don't already. Singing is a great way to internalize melody because not only do you hear it superficially, your brain has to process the sounds and unconsciously determine the intervals.
I generally tip solid for bartenders who are quick, responsive, knowledgeable, and friendly. When I get those bartenders who hold a ten minute conversation with the dude next to me while I'm maintaining eye contact with an empty drink make me want to walk out without paying at all.
Why don't you just add 2 notes and end up with the chromatic scale?

Seriously though, it's not helping any thing to think of this pattern. What you need to do is start thinking about how melody notes relate to the chords under them rather than trying to figure out the right scale.
Quote by E7#9
Why can't we say the same thing about simultaneous major and minor thirds?
Because functionally, they are not both thirds. One functions as a third, but the other (generally) functions as a raised second. That's why it's called 7#9, not 7addb3. The only reason I could see b3 being used over a major chord is as a downward passing tone. When you're using it melodically, as in the minor pentatonic over a major progression, the b3 is mainly functioning as a b7 of the IV chord. This is why the dominant I IV V progression works so well with minor pentatonics. Every note is either a 1 or a b7 of any of those three chords.

Another consideration to make is how well these b7s help to move the progression forward. b7 and 3 from a I chord both go down by a half step to the 3 and b7 of a IV chord, and same for the V-I relationship (and both have a similar effect in the opposite direction). Not to mention the dominant relationship in both of these cases (leading tone resolving to a root).

Quote by afromoose
This thread has reminded me why I generally stay away from forums - people give very opinionated posts and they haven't really taken the time to read or understand what you've written. I trust the guy I asked about this in the 'real' world, he is very knowledgeable about blues and jazz and knew what I was talking about straight away. I can see quite a lot of argumentative weird stuff on this thread which isn't really worth spending any time answering.
There were at least a few people who understood your OP and answered it appropriately. The point is, the b7 in a dominant chord should be seen more as a color tone/tension than an actual chord tone. You don't call a minor blues a "minor seventh" blues just because it uses -7 chords. It's just a minor blues because it uses minor triads. The seventh has no effect on the tonality, just the root and third.

Really, you should stop thinking of X7 chords as dominant. They are only dominant chords if they are a V7 or V7sub or a secondary dominant. Technically they are called major minor-seventh chords. The dominant seventh chord is named that way because it occurs diatonically on the fifth scale degree of a major key. We only label major minor-seventh chords as dominant chords because that's how they function in most cases. Just like a predominant seventh chord would be a maj7 chord in a major key.
Everyone does. End of story.
Quote by macashmack
Isus4maj7(idk if thats how it's spelled out)
I7sus?
Shitty clues are shitty.
Quote by Todd Hart
I'll gladly swap. My hair grows upwards.
Yeah I probably shouldn't complain, but it would definitely be nice to not have totally flat hair.

That is one of the reasons I prefer to have long hair. When my hair is short it just looks matted down and thin. Having it long actually gives it a little bit of thickness.
Dude, just do it. You want long hair? That's your choice to make. It's not like it's an irreversible choice. You can choose to get it cut at any time.

It gets a lot better once you get past the awkward stage and it's long enough to pull back.

People tell me I'm lucky that I have straight, fine hair because it's easier to maintain, but honestly I wish my hair had more volume.

Really though, playing guitar with long hair all over the place is one of the best feelings in the world. It's one of the few times I like having my hair down.
Those rhythms are impossible to read. Please use tags whenever you post tablature on the forums.
Quote by unicornicopia
Try experimenting with up/down strokes. Sometimes I'll play something doublestopish like that and have to make sure to get specific strokes to correctly accent the top/bottom note.

It could be that you think it sounds good with one note more heavily accented than the other.
This. I think it has less to do with the fingering and more to do with which note is accented.
Tell him he needs to get his act together or else he'll get the boot. Who cares if he's the best friend of the lead guitarist? They can still be best friends if they're not in a band together.
Mike Mattison looks like a gingerbread man?

I sort of see it but the thought of it is hysterical regardless.

I really want to see the Derek Trucks Band sometime. I saw the Tedeschi Trucks band last summer at the Pittsburgh Blues Festival and I'll be seeing them again this summer with the Black Crowes (****ing stoked), but I like Mike Mattison a lot better than Susan Tedeschi. Plus Yonrico Scott is a boss. I feel like Derek Trucks' genius is sort of stifled by Tedeschi.

Don't get me wrong, she's damn good. And I do like Oteil Burbridge better than than DTB's bassist (Todd Smallie? or something).
None, but it's always better to know theory than to not know theory.
You're trying to develop absolute pitch (which is what many people call perfect pitch). This is something that you gradually get better at. There's not really anything beyond normal ear training that you can do to work on it. I mean you can do perfect pitch exercises, but honestly it's a waste of time. Just work on relative pitch and you'll get better.
Quote by AlanHB
How to become an overnight sensation?
That's not at all what I'm expecting, I'm just wondering if there's anything we can do in the meantime. I feel like we're just sitting around waiting for summer to come along.

I guess I should talk around more and see if other bands we've played with would be willing to set up some shows together.
Quote by whywefight
Honestly I don't really like banter in general, whether it's to put across a message or not. I came for the music.
This. I expect a band to maintain a vibe throughout the entire set and if they're stopping to talk, tune their guitars, and/or generally dick around, it kills the vibe.
Quote by AlanHB
^^^^ Both should work if its in a major key.
Generally speaking, yes. However, based on the melody and the rhythm in this case, I would lean more towards the minor pentatonic.

Then again, I think it goes without saying that you should never blindly wank on the minor pentatonic in a major blues. You use minor notes when you need them and major notes when you need them. I didn't mean to speak in absolutes earlier, it just was easier to give a solid answer.

The note I was concerned about was the major seventh, not the major third anyway. The again, it would definitely sound fine over the V chord or as a passing tone.

Moral of the story, use whatever notes you want...
Quote by talaus
Have no clue if going for rhythm guitar role would increase my chances getting into a band.
Probably not, but if you are good enough at networking you may find a band with potential that you fit into.

Expect to do a lot of cover-band gigs. Those are the ones that pay the best, usually. Especially wedding gigs.
Quote by LolCatGuitar
so if i ditch the roach and just tell the cop is was a cig would he do anything drastic to fuck me over?
Would he? Probably not. Could he? Yeah, probably. I think legally, he could charge you for a possession charge, which after some research would be a maximum fine of $1000 or 6 months in jail, but for one joint AND a first offense, it would definitely be a very small fine, if anything at all. Chances are the cop wouldn't even bother with the legal procedures over such a small amount.
Quote by da_
100% if you put the effort in. Unless you have extremely bad luck. But since starting Audio Engineering and observing people that work in the industry, pretty much if you put the work in, you will make it. Wether making it is what you consider making it, thats something different.
You have to define the phrase "making it," before you make a "100%" claim like that. If by making it, you mean not starving to death, then you're probably right. But if you mean actually making a decent income, then 100% is an outrageous claim. It's not all about putting the effort in. You can work 20 hours a day promoting your band and rehearsing and performing, but if you're not putting yourself in the right situations and meeting the right people, it will all go to waste and you will burn out very quickly.
Based on the fact that you consider yourself a medium-level guitarist, I can say for sure that it'll take a shit ton of work, no matter where you are. Then again, if you meet the right people it may work out for you.

Either way, be glad you have that degree.
Quote by LolCatGuitar
in your guys' experience with cops, weed and being a minor, how does that generally go? if i was walking home just smoking a joint with 0 paraphernalia or any other weed on me and i got stopped by a cop i know i would get searched, but would i get any other consequences? i live in vancouver BC by the way and its almost 420 so i was thinking that once i get some more bud i'm just gonna bring a joint with me wherever and just blaze walking around the streets because it doesn't smell as much as cigs and i actually feel good afterwards.
is that a retarded idea or does that usually serve no problems?
1) See cop.
2) Ditch joint.
3) Don't say anything to incriminate yourself.
4) Not much the cop will do if you're not carrying anything, unless you're being really blatant about it.

Although I would suggest keeping it on the down low if you can. I don't know how the cops/laws are in Vancouver, but you're probably better off smoking in private or only when no one's around. It's probably not the best idea to just chief on a joint walking down a crowded street.
My band has been together for a few years now, but we're all in college in different states, so we're only really active in the summers. We recorded a 7-song CD two summers ago which was meant to be a professional recording, but we ended up with slightly better than demo-quality due to numerous reasons which I won't go into.

Anyway, this is our only set of studio recordings that we have, and we've taken them down from the internet because we don't really want to associate with that sound.

So, in essence, we have no media with which to promote ourselves. We plan to record a 5-song EP starting in June, and we want to have at least enough momentum to be able to cover our production costs with CD sales. We are planning on selling it for $5. This means we need to have a pretty decent following in a very short amount of time. At the moment, we have a decent amount of people who would buy our CD, but most of them are family or friends from high school. We plan to perform as much as possible this summer and market ourselves so that people actually come out to our shows.

However, it's hard to get people to come to your show if they have no idea what you sound like. What are some ways we can market ourselves without having any recordings? I know about flyers and word of mouth and all that, but I'm at a loss for ideas about Facebook and other social media. I don't want to post stuff that's irrelevant or lacks content, because that would do more harm than good. I want to make a few posts here and there that basically gets people to keep their eyes peeled in anticipation for news about shows and our CD release date.

We only have a month until we'll be doing shows, but we don't have anything set in stone yet. We will most likely have a weekly acoustic gig, but this is more of a cover-band gig because the venue isn't really big enough to do our full-band stuff. We also have another weekly opportunity as an opener for my buddy's band. They usually bring out close to 20 people regularly so if we can match that (or at least close), that'll be a decent night considering the size of the bar. The problem is, it's the same 10-20 people every week. Not too many CD sales there. Maybe we could get the bar to start paying us a decent sum if we bring a big enough crowd.

Anyway, should we just plan ahead better and get some dates locked down and start promoting that? Or is there a better way to get people's attention?

Sorry this post is so scattered. I'm trying to gather a lot of thoughts while not writing a novel.

Edit: Here's our Facebook page, in case you want to take a look at it. There's really not much to see though: http://www.facebook.com/SomethinTasty

If you want to hear our demo CD as well, you can hear it here: https://www.dropbox.com/sh/ta4emi00td21eiz/XsWR0qZ4eK. It's all the numbered ones, minus Cold Soldier and Delectivo, those are songs we cover. The demo's not as bad as I made it out to seem, it's just not the sound we're going for.
Quote by 20Tigers
did you hear a noise? I suspect something just flew straight over your head.
Regardless, the post wasn't helpful in any way.

Quote by AlanHB
Umm it's in a major key yeah? Certainly when I play it in cover bands it's in a major key, but these suggestions that a minor third is part of the harmonic context has me doubting myself as its been a while since I listened to the original.

But if it is, that aoelian suggestion is very funky. Crap even. Minor 6th in a major key anyone?
Admittedly, I can't remember how long it's been since I've heard the original. I couldn't even tell you what the solo sounds like.

Every time I've played it though, I've always interpreted it as a blues (dominant 7th chords, minor pentatonic scale). I think a major scale would sound kind of odd over it.
Quote by Peaceful Rocker
Ya, Jack is a sour mash where as Crown is a differently style. But imo they're about the same as far as quality goes.
Not to mention Jack is predominantly corn whereas Crown is rye.
Cool dude. You have fun with that.
Quote by zackk
Nothing. I like to study and do work in silence.
I've noticed myself studying in silence more often now.

Sigur Ros and Radiohead are great though.

So is Miles Davis.
Quote by Aerynn
You could also offer free stuff (or raffle) to people who sign up on your mailing list. Then you have people who, if they want your stuff, either get or have a chance to get a CD or shirt or something (we usually give a CD. That's what we'd if we were them), and then they also will get your emails about where you're playing, so there's the chance that they'll come to see you again later on, because they'll know where you're playing.
I like this idea a lot.

Alternately, you could offer a free download for everyone who "shares" a link on facebook or something. Little things like this can really help give you momentum.
Quote by jrenkert
or is it?