“Learning scales doesn't mean your solos will necessarily be better“
Yes it does- scales=solo/play better. Simply… here is an example- an amateur guitar player would struggle trying to site read a tab lets say of the middle pretty harmony solo to Metallica Master of Puppets… if they knew their scales well- it wouldn’t be a struggle because everything in the solo is there. I was teaching someone who was struggling to learn that solo and they’d hit off notes constantly- if he knew his scales he wouldn’t be hitting those notes accidentally.
That's absurd. That's like saying, "Hey Bill, I know you've never hunted a day in your life, but here are a bunch of guns and the best hunting gear money can buy. Now go fetch me a trophy buck by sundown!" You could know a thousand scales, but that doesn't mean you can lay down a tasty solo. “I've heard a lot of players that spent a lot of time practicing scales and many of their solos sound like mindless scale exercises.”
I’ve heard a lot of guitar players do EVERYTHING and in some way make it sound shitty and awful. A crappy guitarist is a crappy guitarist, If someone’s solos sound like mindless scale exercises than they’re not applying what they know/learned correctly.
That, or they aren't talented, make poor note choices, don't have the techniques down, have cheesy vibrato, phrasing is bland etc etc etc....Doesn't at all mean they didn't practice scales properly if they don't know how to solo. This is fine for practice, but when improvising/jamming, it can prove to be quite a laborious and inhibitive thing. Play from the heart and analyze what you played later.
It might be hard and difficult but with enough practice its just there- its definatly something to strive for in actually knowing what you’re doing while you’re playing
How could you possibly be aware of every single note name, for example, when playing a live improvised solo at 160 bpm?
I've done quite a bit of live jamming and improv over the past 20 years or so of playing, but I never once thought about what specific note I was on. I just played what I felt. Pro musicians do not think about notes, intervals and modes etc when they play live. They are just playing what they hear in their mind's ear rather than worrying about patterns or whether an Eb Hirajoshi scale will work over the changes. Work on ear training and transcribing rather than just scale and arpeggio patterns and I guarantee you'll be a better player for it.Uh, there's a lot more chord types in rock than just power chords.
There are, true; but Power Chords in rock music sell more music than G# 13 b9 Chords.
Bullocks. Tell that to Led Zeppelin, SRV, the Beatles, Oasis, Red Hot Chili Peppers etc etc etc etc.. ad nauseum. They would have been far less interesting and popular bands if they had only used triads and power chords in their songs. Anyways, It's not the power chords that sell the songs, it's the whole composition, including the vocals, rhythm, harmonies, lyrics etc. The power chords add to the song just as all of the other numerous components do, but to say they are solely responsible for selling more music than other chords is frankly quite silly. I don't base my compositions on how many albums I want to sell, otherwise it would be quite a superficial reason to be a guitar player.That's your opinion. Others have differing opinions of the usefulness of the circle of fifths, but it doesn't mean they're empirically wrong because you said so.
2. On the guitar- it IS useless. Everything is moveable tell a trumpet player you only have to learn one thing to be able to play all 12 major scales and within 1 min of touching the instrument can play the highest and lowest note on it.
That might be true if the Circle of Fifths was solely used for transposing positions as you infer. It is used on the guitar to help in modulating to different keys, finding related keys, recognizing key signatures, determining chord patterns, etc. I think you reject it because you don't fully comprehend it.You can't play D Dorian over A Major. Sure you can superimpose the D Dorian pattern over A major, but you wouldn't hear D Dorian, so you can't really call it that and you can't really say you're playing D Dorian over A Major. Your statement is misleading.
You can play anything you want, you can do anything what you want- but your intentions don’t matter. Its how it is interpreted and heard by others what is important.
Right, and I don't think you really understood what I said pertaining to your previous example. If you can't hear D Dorian, you aren't playing D Dorian. Modes only work and can only be heard within the confines of a specific harmony, eg, you won't hear the Dorian sound over a major 7th chord, just the same as you wouldn't hear Mixolydian over a min7b5. Sure you can play anything you want, but you emphasize knowing your stuff, and if you tell someone you are playing D Dorian over A major, they would probably laugh at you, because D Dorian doesn't exist within the diatonic confines of A Major.
Good songs are what matters, the rest is useless.
I would agree that good songs are what matters but I don't agree that the rest is useless. "The rest" comprises all the components that contribute to the qualitative aspects of the song being considered as good or great, but if one or more of these components is lacking, it can turn a great song into a good song, or a good song into a terrible song. You'd have a hard time making a great jambalaya without the proper ingredients and an able cook.