In for the kill Demons Eye Rapid Fire Rondo Speedball Sonatina Strat Attack Tornado Watch Where No Men Dare Shred
In for the kill Demons Eye Rapid Fire Rondo Speedball Sonatina Strat Attack Tornado Watch Where No Men Dare Shred
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guitar techniquesFull description
Martha Mier romantic piano
Describes how firms in the supermarket industry make money
física cuantica
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Joe Pass
Music sheet
Joe Pass
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O material descreve as diversas fases do processo de criação de uma história em quadrinhos.Descripción completa
MUSICA GUITARRA
guitar techniques
Hey guys (and gals too, of course), Joe Stump here with some brief lesson action for you. I thought I’d do a lesson about something I’m quite versed in and that’s usage of the Harmonic minor scale. What I’ve done is given 3 fairly short examples displaying some cool shapes I like to use when improvising in this scale. If you’re not familiar with the scale then I suggest you get the basic shapes of it down before messing with the stuff enclosed in this lesson. One thing I like to do when working on different scale shapes and trying to make them feel natural under my hands is to create a run / lick / exercise type type of bit, where I’m linking several shapes together. Some of the examples might seem a little exercise-like, but when used in the context of a solo you can break them up with various phrasing ideas to stretch more out of them. Example 1 contains 4 different scale shapes and this lick would be used over an E dominant Phrygian chord sequence (the 5th mode of A harmonic minor) . The first part of the run is a diminished hexatonic shape, hextaonic meaning 6 tone scale shape. It’s a G# diminished arpeggio with the middle note from the scale added on each string. I play this run in 3 octaves using economy picking while ascending (down up down, then down up down on the following string). The 3 octave six tone shapes are great for blazing across the neck. Then, in measure 2 of the run, I descend playing a 3-noteper-string dominant Phrygian shape but doubling one note instead of just going down diatonically. After that, in the 3rd measure of example 1, I play another diminished hexatonic; this one is just an inverted version of the first diminished shape once again in 3 octaves. The run ends with a symmetrical run right down the harmonic minor scale playing a 4 note / 3 note scale shape in 2 octaves. I’m using economy picking on all of the ascending portions of example 1 and strict alternate picking on the descending parts. With any of these examples you can play them at any speed. I’ll use these over a fast double bass speed metal groove with the quarter note anywhere between 116-140 or over a slower kind of gothic metal feel with the quarter note at 100-116. But of course practice them at whatever tempo is comfortable and start out playing them cleanly and articulately.
Example 2 starts with another 6 tone shape, a cool E dominant Phrygian hexatonic with the root of the E dominant Phrygian scale on the 5th string. The first 2 measures are all alternate picked just playing that standard ascending six note Al Di Meola style picking fragment. Then the descending portion is right out of the Uli Jon Roth / Yngwie Malmsteen school of harmonic minor playing (two of my favorite players and main influences), once again using that 4 note / 3 note symmetrical shape that was played in the last measure of example 1, but adding some alternate picking fragments to it to create a more complex melodic idea. The last run i s a 2 measure example once again starting with yet another economy picked hexatonic, this one being just the first 6 tones of the A natural or A harmonic minor scale.
Example 2: |-----------------------------------------------------------| |-----------------------------------------------------------| |---------------------------------------------------9-10-13-| |-------------------------------------------9-10-12---------| |---------------7-8-11-7-8-11--------7-8-11-----------------| |-7-8-10-7-8-10---------------7-8-10------------------------|
You can play example 3 in either A natural or harmonic minor. The second half of it i s quite a bit more difficult as you have what’s known as a mixed minor run, this is where I’m playing both A natural and harmonic minor combined using the 7th tones from both scales. The 7 note groupings in the second bar of example 3 are tough to get the hang of, but it’s really just a flowing wave of notes played inside the time. The toughest part is where you’ve got 4 notes on t he second string. What I end up doing is playing a slide from A to G# on my b string so I can get the next string on a down stroke, once again using economy picking for the last ascending portion of example 3.
Example 3: |--------------------------------------------------10-12-13-| |-----------------------------------------10-12-13----------| |--------------------7-9-10--------7-9-10-------------------| |-------------7-9-10--------7-9-10--------------------------| |-------5-7-8-----------------------------------------------| |-5-7-8-----------------------------------------------------|
Well there you go, best of luck! And if you enjoy this type of European / classicallyinfluenced playing then by all means check some of my recordings out as well as my instructional DVD’s.
