When I am like completley set on learning a solo(or I make something up that I think has potential) I get away from the tv, turn off my cell phone, load up the song and most likley some tabluture then turn off the internet so I have no distraction. Spend some time listening to it and warming up, try to get a little of the solo by ear then a little by tab then before I know it it's 7 hours later and I need some food. Haha well this has nothing to do with modes and types of scales but that is just my routine when I really wana learn something. A solo that I have been spending months trying to nail(and no where near yet) is Mr. Crowley, some of Rhoads very best playing!
- Thread starter lumberjack
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paranoid70
Well-known member
Randy Rhoads was freakin' awesome. He definitely left us way too soon.
Colin
Well-known member
having played in cover bands 4-5 nights a week for over 10 years, I can say that learning other peoples solo's has been beneficial. Some songs require that you play exactly what's on the record, try playing My Sharona or Jump using your own solo. I used to source every possible way of learning songs/solo's. For example tracking down the sheet music, watching a live performance/video (or seeing another band play and watch how they do it) or work it out by ear. Working it out by ear is the hardest way but definitely the most rewarding (especially, if you see the tab and it's close to what you worked out). Computers have made it much easier, I'm glad we don't use cassettes anymore that was a nightmare...
Tone?
Well-known member
I remember that of course. I destroyed 2-3 cassette players in my learning process from switching the buttons constantly to listen back to stuff. Crazy.
I think that learning by ear though is the best way to do it. Of course its hard to do now cause of all the resources around, so its hard not to get tempted to see how something is played. I must say though that alot if not most TAB is WRONG. Yes, if is still want to learn how to play something i do it by ear to be accurate as possible. Also the best resource for me in these instances is youtube. I go there to try and find the artist actually perform the song, so i can see where his hand is positioned and i usually get it, spot on like that.
Tab sucks though, especially if you are first starting off i wouldnt advise it. You NEED to spend the time on a song if you want to learn it. It really helps your ear get fine tuned as well, by concentrating on what you are listening to.
quite the contrary. I am classically trained, and i do think music theory is cool (i probably think its more cool then anyone would. i love music theory) which is why i said modes are best for writing old-old music (medieval).
i'm trying to counter the amount of stress some guitarists place on modes.
the stuff that we play nowadays (rock/metal/pop/whatever...) is not really modal. Maybe "some" jazz is. If you're in C major, playing something from G to G doesn't make it Mixolidian. When i do find resemblence of modes in modern popular music, its usually just something in minor key without using the leading tone. so, basically, just natural minor... which i suppose can be categorized as aeolian, but i bet the song writers were thinking about natural minor instead of aeolian.
there aren't much "modal music" around anymore... modal music is a very different way of tonicizing a key. very different from what we are used to from Bach to Stravinsky.
the original poster wants to learn how to solo. by learning the modes... probably will not help him as much as playing with a metronome, or some other kind of device that holds a steady tempo and can push the tempo a little at a time. I assume he is learning solos that has already been written... thats why i say learning modes won't really help. IMHO, getting the fingers limber up, flexible and ready to work first is easier then learn music theory. yes, theory will come later. so does harmony, aural training, dictation, harmonic/melodic analysis, 20th century counterpoint, so on and so forth.
btw... when i see "modes" being mentioned... i think of Machaut's Messe de Nostre Dame (Mass of Our Lady)... circa 1320? 1325? this is the "modes" we are talkin about, right? unless there are other "modes" that im not aware of.
I've worked on many classical pieces. I do harmonic and schenker analysis for most of the pieces i perform. Modes don't really come up unless its Renaissance or before.
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btw... Lumberjack, if you want to know about modes. here's a good place to start:
Harmony Central Musician Community Forums - View Single Post - Scales/modes/tonality
pretty good post, useful info... but i'm not sure how that would help you solo though.
Harmony Central Musician Community Forums - View Single Post - Scales/modes/tonality
pretty good post, useful info... but i'm not sure how that would help you solo though.
Astrofreq
Well-known member
I think the first thing to understand about modes is that they are a SOUND, not a memorized shape. People can play the pattern all day and not pull out the sound the mode is supposed to be getting at.
I remember reading a Satriani column in the late 80s that was immensely helpful for me. He used to record himself playing a single note in rhythm, such as a C or whatever. Not a chord, just the note. Then, he would practice playing the modes in order over that note. For example, if his recorded note was C, he was start by noodling in C Ionian, then shift to C Dorian, then C Phrygian, etc. The changes in the sound of the modes is TOTALLY apparent each step of the way.
If worst comes to worst, just use more distortion.
I remember reading a Satriani column in the late 80s that was immensely helpful for me. He used to record himself playing a single note in rhythm, such as a C or whatever. Not a chord, just the note. Then, he would practice playing the modes in order over that note. For example, if his recorded note was C, he was start by noodling in C Ionian, then shift to C Dorian, then C Phrygian, etc. The changes in the sound of the modes is TOTALLY apparent each step of the way.
If worst comes to worst, just use more distortion.
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TonyEVH5150
Well-known member
That's what I'm relying on right now. Feedback + artificial harmonics = Tony can wank his way through a solo. 
lumberjack
Well-known member
Hey guys,
Just wanted to say thanks very much to all those that gave advice. I'm taking it all in. Definately gonna try what you guys suggested and see what works best.
Just wanted to say thanks very much to all those that gave advice. I'm taking it all in. Definately gonna try what you guys suggested and see what works best.
candid_x
Well-known member
- Joined
- Jun 26, 2006
- Messages
- 3,272
MmwhaHaHaHa!
I've found this thread helpful too. I also agree with Rad that, the bottom line is the sound, not how you get there.
There's no possible way for my lil stubbies to reach where "good" players can reach, so correct technique is out of the question for me. But it really depends how one defines "good". To me, if it feels good, it is good, regardless how you got there, or even if you know how or what it's called. Play your heart, it's not a contest.
TonyEVH5150
Well-known member
I picked this DVD up a couple of weeks ago, along with Paul Gilbert's DVD ( can't remember which one). I need to actually watch them.
