favorite scale

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leigh01
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favorite scale

#1 Post by leigh01 » Fri Dec 08, 2006 11:46 am

whats everyones fave scale i like one of the modes called lydian at the moment which is built on the formula tone tone tone semitone tone tone semitone also i like a scale called the octatonic which is semitone tone semitone semitone tone etc

please also give the formulas so we can try them as well i will also say a winner in this forum when i have over a thousand results exciting eh
it wont be official though just my say

all synthetics scales welcome :D

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#2 Post by pataman » Fri Dec 08, 2006 1:41 pm

mixolydian is quite cool, its formula comes from G natural... has that augmented sound to it. also melodic minor has quite a cool sound, a minor scale with raised 6th and 7th degrees.

rock on :headbang

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#3 Post by Zeds.Ded » Fri Dec 08, 2006 3:14 pm

lydian and minor pentatonic,

phyigian and harmonic minor are cool too

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#4 Post by Shredded Heat » Fri Dec 08, 2006 7:03 pm

Whole tone scales kick ass! I'm also a big fan of harmonic minor

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#5 Post by -SkiZ- » Fri Dec 08, 2006 7:51 pm

mostly half-whole diminished and lydian. i'm also fond of spanish(phrygian major i think), plain ol' minor penthatonic and dorian lately.

....wheeee!!

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#6 Post by leigh01 » Sat Dec 09, 2006 9:43 am

so far so good

please dont forget to put the construction formula down just so if theres one we dont know so we can then we can play it

thanx :lol:

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#7 Post by MarkRobinson » Sun Dec 10, 2006 6:05 am

Its a bit like saying what's your favourite colour! They're all tools to make something grander. It's honestly been a while since I've thought in terms of scales...I am thinking a lot in terms of arps however at the moment in a quest to conquer some jazzier terrain. The staple one being a dominant 7. The other notes I choose to add to it though go with whatever I'm trying to do at the time.

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#8 Post by leigh01 » Sun Dec 10, 2006 6:14 am

Hey dude its just a little question of interest there must be at least five scales you know or like :wink:

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#9 Post by MarkRobinson » Sun Dec 10, 2006 7:55 am

Well maybe... are you not also the person who was complaining about how much music theory there is? Perhaps you're viewing things in the wrong way as there really isn't THAT much to know. By understanding a few principles (notice I said principles, not modes, scales or anything else) you can derive the rest of music theory from there and have it pretty accesible all of the time.

I honestly don't see scales anymore. I used to but I don't now. I see notes and means of creating sounds. If you were to do an alalysis of my playing however you might see the following cropping up....

Pentatonic, all over the place.
Dorian modes and variation on them.
Chromaticism.....not the chromatic scale specifically though.
All minor harmonic modes but based from the dominant arp.
Major/minor scales Sometimes simplicity is best.

I'll restate though that I NEVER think in terms of these anymore. I might think, I'll throw this note in here and it'll happen to be a b6 amongst a dominant 7 arp and you then get a mixob6 vibe, but I'm not thinking, lets hit a mixob6. Ever.

:D

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#10 Post by leigh01 » Sun Dec 10, 2006 8:21 am

Well yes to all what your saying but ive been playing three years which i am thinking is not really that long to how experianced you may be but i just dont want to waste my time working out the modes to say the hungarian minor cos it dont sound like what i want to sound like so i wont bother doing the modes to it and me complaining about the theory was because i had a bad day with that sort of stuff and im only interested in what types of scales everyone likes us all being vai fans and all so thanx for your input but dont treat the question so harsh its only curiosity cos i want to learn all the scales that i like or can use but it takes experimenting and i thought that this question and everyones input would be a good start.
thanks :? oh yes and i want to know fave arpeggios too they'r powerful

and on final note mark i bet your just a widdler with no true bassis.

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#11 Post by MarkRobinson » Sun Dec 10, 2006 1:29 pm

I don't wish to start a fight because thats not what I do :D

However, your last conviction is way out of line. Just a widdler with no true basis? I am a professional musician who has made a living from playing with working bands, transcribing, teaching and producing. I have a very strong basis across a whole variety of musical styles and have brought a handful of guitarist from their first chords to making a succesful living from music themselves. If you wish to hear what I'm currently doing artistically, check www.myspace.com/markrobinsonsounds If you still feel there's no "basis" to my music whatever that's supposed to mean then feel free, but I think your comments as assumptions (which is what they are) break every code of message board and human etiquate available to you.

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#12 Post by leigh01 » Sun Dec 10, 2006 1:36 pm

I like your instrumental called trevor, thats real good and i meant no offence i just thought you were like one of my friends, but then again he doesnt even use any scales, so sorry i was out of line my compliments to your playing and your band.

are you signed yet. :D

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#13 Post by MarkRobinson » Sun Dec 10, 2006 3:19 pm

Thank you sir! No not signed although I'm still holding the jury out on whether it's something I want or not yet.

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#14 Post by Stephen Brown » Sun Dec 10, 2006 6:03 pm

Try to learn your major pathways. 1 to 7.three note per string. That will cover all the modes. It's a lot of info to take in the memory but nail you shall with work.
Of course there is more to it than pre fixed patterns. It's a good start though.
In the end your have to knuckle down with the theory if you want to go further with them as you know.

Think of it like this.

Can you count 1 to 7?
A to G?

What's your problem then?

That's what my old man said to me.

Worked though.lol

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#15 Post by joelcornell » Sun Dec 10, 2006 7:28 pm

After spending too much time working with all the modes, I started realizing that it was easier to think just in terms of the way the notes relate to each other.

For example, instead of going into a solo thinking if I'm in lydian or major, I just think of the difference...so in this case, the quality of the fourth tone. So when I'm playing, I just think of the different intervals that I could create using the two notes. Then it just becomes a type of alteration. It takes having a pretty good ear (I'm assuming everyone here though could do this to some extent), but it really opens up the possibilities. So instead of Dorian being my favorite mode, I think of the sound the major sixth creates in relation to the minor 3rd or the minor 7th, and use it if I desire that sound, or if I want maybe a passing tone to the fifth, I'll use Aeolian. I think I developed this approach from playing jazz.

Something to think about.

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