SMNnews Forums - TABS - Scales and Chord Progressions Reference

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Ha im sure that our friend BZM knows alot about theory and
improv and things of that nature . Maybe I should get some lesssons.
Please how do you charge. Your worthless I wasnt trying to be a dick
Im just talking about being musicical not technical.Go learn something about
harmony then well talk

This thread isn't really intended to take shots at each other. It's to post any little thing to help other players. No sense having a musical ego.

If you're looking for scales in various keys and such, here's a cool site - www.all-guitar-chords.com - shows pretty much every scale in every key, fully drawn out on the fretboard. It also shows tons of chords as well. This site pretty much replaces my Monster Scales and Modes book.

that's awesome Scott. thanks for the link!

Quote:

Originally Posted by Jazzminor

Learn how to punctuate and then you'll actually be ABLE to talk.

Quote:

Originally Posted by BZM

If you play guitar, you are now officially required to read this for your own good, probably one of the best explanations I've come across: http://www.jazzguitar.be/files/the_b...chord_book.zip

And it has a lot more to do with than just jazz. TRUST ME.

Thanks alot for that one bro! good review.

Quote:

Originally Posted by BZM

this is my FAVORITE warmup and I always do it, it's from Sugar Coated Sour by the Dillinger Escape Plan, enjoy... this one will build up your finger independence, sweep picking (at the end) and alternate picking quite nicely!

Code:

0:38                               ~ 

e|---------------------------------------------------------------|

B|---------------------------------------------------------------|

G|-------------------------3-4-6-7-8-----------------------------|

D|-----------------2-3-5-6---------------------------------------|

A|---------1-2-4-5-----------------------------------------------|

E|-0-1-3-4-------------------------------------------------------|

PM---------------------------------



0:40

e|-------------------------------6-8-7-9-5-----------------------|

B|----------7-8-10-9-8-7-6-8-7-9---------------------------------|

G|-7-8-10-9------------------------------------------------------|

D|---------------------------------------------------------------|

A|---------------------------------------------------------------|

E|---------------------------------------------------------------|



0:43                                                  T

e|---------------------------------------------------------------------|

B|------------7-10-9-8-5-6-----6/9--------------9h12-18p12p9-----------|

G|----------8--------------7-------10--------10--------------10--------|

D|--------9------------------9--------12--12--------------------12-9\6-|

A|-7h9h10--------------------------------------------------------------|

E|---------------------------------------------------------------------|

Here's a video of me playing this for your guys' pleasure, lol

http://youtube.com/watch?v=BvBc4qkBh_4

www.musictheory.net has really good theory lesson's, as well as an excellent ear and interval trainer.

There are some great exercises on here. I think it's handy to take everything on here and practice alternate picking them starting on a downstroke, then starting on an upstroke. That would aid in things that are in odd groupings or meter's and allow you to be ready to accent on upstrokes. Also good for nailing riffs with "inside picking".

Here is something that I practice each time I pick up my guitar, first starting with a downstroke, then with an upstroke. It's from The Stillborn One, one of my favourite licks with some degree of technicality:

Tuning from Low to High (DGCFAD) "D-Standard"

|----------------------------------------------------------------------------|
|----------------------------------------------------------------------------|
|----------------------------------------------------------------------------|
|---5---5-4---4-----5---5---9-8---8---7----5---5-4---4-----5---5---9\8---8*|
|-7---7-----------6---7---7-----6---6----7---7-----------6---7---7-----7---|
|0----------0---0-----------------------0----------0---0--------------------|

* Pinch Harmonic

Quote:

Originally Posted by Ouroboros

This man knows what he's talking about (on both counts, musictheory.net ftw)

Can you play any Psycroptic there BZM? I noticed the shirt on your hungover video lesson.

I know a couple riffs in Alpha Breed, it's not extremely technical, but it's a good challenge.

I dunno man, the triplet sections of Alpha Breed can get pretty fucking intense - what enthralls me so much about Psycroptic isn't so much how difficult what's being played is, it's the WAY it's played - there's not a single rhythm player in death metal more intense than Joe Haley, imo. It's the fact that EVERYTHING he plays is without flaw (especially his right hand, jesus) and syncs up perfectly with his brother on the skins - that just makes me pop a raging boner every time I listen.

To be honest, I find Alpha Breed to be more difficult than Ignominious and Pale by Necrophagist (riffs only), but that might be because parts of the Alpha Breed tab I have are wrong, I dunno... either way, Psycroptic is no walk in the park, and I <3 that band.

Well, that's a tough call. I know what you're saying with the rhythm section, but some of the riffs, from the tab that I got from Rivers of Gore, are pretty easy. I'm not saying the entire song is that way, as a whole that would take me a while to learn and memorize, and a fuck of a lot longer to get it as tight as the album.

But, I guess I would have to say that Alpha Breed as a whole is tougher than Ignominious and Pale, even though both are very difficult. As you pointed out though, the solo for I&P is fucking tough, that first run alone is hard shit. Groups of 6 16ths at 116bpm. Hard to get that clean, let alone being able to play it at that speed consistently.

Symbiotic in Theory is the most technical piece I've attempted. The sweep picking breakdown is really good practice, but the riffs are all over the place with very odd rhythms. Harder than anything on Symbols of Failure.

I agree about Symbiotic in Theory, absolutely ridiculous - a big part of the credit goes to Christian for that :D. On the whole, though, I'm pretty uninterested with learning Necrophagist's solos save for using them as excersises occasionally... they have no real musical value to me save for a few exceptions. I'm much more into the Masvidal and Laroque school of metal soloing, as well as of course allan holdsworth, paul gilbert, ron thal, shawn lane, brett garsed, etc... taste is of utmost importance \m/

Hey, those guys write great solos too, but I find Necro's stuff to have melodic, compositional and technical value.

I love the stuff James Malone does on United in Regret, leads and solos. Although, it is a lot of legato and tapping, but sounds difficult, regardless.

Haha, technicality is really irrelevant to me - the only thing that matters to me is melodic phrasing, tastefulness, and presentation to me. I guess I'm just burned out on the whole neoclassical thing. And I was really disappointed by the new Arsis :(

Whatever gets your motor running though, you seem to really know what you're talking about so I won't hold any of your opinions against you :)

Haha, thanks. Too bad you didn't like the new Arsis. What about Gorod? Martyr? Augury? Like them at all?

Dude, you have no idea how huge of a fan I am of Augury and Martyr, no joke - two of my all-time favorite bands :D I've never really given Gorod a chance, though, maybe I should...

Quote:

Originally Posted by BZM

Dude, you have no idea how huge of a fan I am of Augury and Martyr, no joke - two of my all-time favorite bands :D I've never really given Gorod a chance, though, maybe I should...

Check out Leading Visions... I'm sure you'd be able to appreciate it.

Some small exercises to practice. It helped me.

Code:

-----------------------------5-7-8-11-8-----------------------------------

-----------------------5-7-8------------12-10-8---------------------------

-------------------5-8---------------------------11-9-8-------------------

-------------5-7-9--------------------------------------10-9-7------------

-------6-7-9---------------------------------------------------10-9-7-----

-5-7-8----------------------------------------------------------------11-8

And some wannabe sweep picking/economy exercise.

--------------------------------------------------------------------

--------------------------------------------------------------------

-------2-1-------------3-2-------------4-3-------------5-4---------

-----3-----2---------4-----3---------5-----4---------6-----5-------

---2---------3-----3---------4-----4---------5-----5---------6-----

-1-------------4-2-------------5-3-------------6-4-------------7-etc.



This one is from Petrucci forum i think,pretty simple.

-----------------------------------------------------------------------

-----------------------------------------------------------------------

-----------------------------------------------------------------------

---------------------------------------------5-------5-6------5-6-7---

----------5--------5-6-----5-6-7----5-6-7-8---6-7-8-----7-8--------8-

-5-6-7-8----6-7-8-----7-8--------8------------------------------------



->

-----------------------------------

-----------------------------------

---------5-------5-6-----5-6-7----

-5-6-7-8--6-7-8-----7-8--------8-etc.

-----------------------------------

-----------------------------------

That's an odd sweeping lick. Gets you used to some different positions, but doesn't have much melodic value. Look up minor, minor 7, major, major 7, diminished and augmented arpeggios, those have interesting sounds and have somewhat difficult positions.

Go for 3 string triad sweeps, to five string triplet sweeps, then tackle some 6 string ones.

The diminished arpeggio shape is probably my favourite, although, the one I can do flawlessly is the minor shape. Diminished one is used a lot by Yngwie, it's great practice, and sounds quite shred.

For me, honestly, I found five string sweeps SO much easier to begin with than 3 string sweeps, mainly because when your hands are still relatively inexperienced and lack synchronization, the greater amount of right hand movement in the three stringers was too much - i found it much more relaxing to do the five stringers, where your right hand spends less time changing directions.

I love diminished and augmented too, but very few people know how to use them tastefully :\

Quote:

Originally Posted by BZM

Agreed.

so id really love to get my alternate picking cleaner and way faster anyone have the right excersizes for the job? how did all you serious shredders wurk up yer speed, Matt? Luke? Mike G?

Can someone in the know please post the following shapes preferably for 5 string.

Maj, Min, 7th, Aug, Dim.

Thanks a heap!

Haha, can you be more specific? There are like at least 3 different shapes for each of those, save for augmented (which only has one shape due to it being perfectly symmetrical)

Well, I got bored, and here are the bare basic ones for _phagist:

Code:

C Major



e-------------12h15p12------------

b----------13----------13---------

g-------12----------------12------

d----14----------------------14---

a-15----------------------------15

e---------------------------------

  D  D  D  D           V  V  V  D   



C Minor



e-------------11h15p11------------

b----------13----------13---------

g-------12----------------12------

d----13----------------------13---

a-15----------------------------15

e---------------------------------

  D  D  D  D           V  V  V  D



C Dominant 7



e----------------15h18p15----------------

b-------------17----------17-------------

g----------15----------------15----------

d-------17----------------------17-------

a-15h19----------------------------19-15-

e----------------------------------------

  D     D  D  D  D        V  V  V  V  D



C Augmented



e-------------12h16p12------------

b----------13----------13---------

g-------13----------------13------

d----14----------------------14---

a-15----------------------------15

e---------------------------------

  D  D  D  D  D        V  V  V  D



C Diminished



e----------------11h14p11---------------

b-------------13----------13------------

g-------11h14----------------14p11------

d----13----------------------------13---

a-15----------------------------------15

e---------------------------------------

  D  D  D     D  D        V  V     V  V

D = downstroke (even though you're RAKING, not making individual strokes - one fluid motion!), V = upstroke. You can move the notes to different strings to create different shapes which can be more convenient depending on where you are on the fretboard, like I said, there are 3-4 ways sometimes to play those exact same notes and they'll sound identical pitchwise (but obviously different playing dynamics will net you a different timbre, etc.) But, that should be more than enough to get you started. If you want to play them 3 string or 4 string, just chop off however many notes off the bottom you want. You can even do a 2 string sweep! (you'd be surprised at how many people have problems with those)

the easy 175bpm version

http://youtube.com/watch?v=SBW-W33sijQ

chords:

Track 2

C||--------------------12----|--18--------------------|--15----------------|
G||--------------12----------|--16--------------------|--13----------------|
D||--------14----------------|--17--------------------|--16----------------|
A||--17----------------------|--15--------------------|--14----------------|
E||--------------------------|------------------------|--------------------|
B||--------------------------|------------------------|--------------------|

--7------------|--14----11--------|--12--------15--------|
--8------------|--12----9---------|--16--------16--------|
--7------------|--13----10--------|--15--------17--------|
--8------------|--11----8---------|--12--------18--------|
---------------|------------------|----------------------|
---------------|------------------|----------------------|

--10----16----13--------|--------------------12----||---18--------------------|
--11----17----0---------|--------------12----------||---16--------------------|
--11----17----12--------|--------14----------------||*--17--------------------|
--9-----15----13--------|--17----------------------||*--15--------------------|
------------------------|--------------------------||-------------------------|
------------------------|--------------------------||-------------------------|

--15----------------|--7------------|--14----11--------|--12--------15--------|
--13----------------|--8------------|--12----9---------|--16--------16--------|
--16----------------|--7------------|--13----10--------|--15--------17--------|
--14----------------|--8------------|--11----8---------|--12--------18--------|
--------------------|---------------|------------------|----------------------|
--------------------|---------------|------------------|----------------------|

4x
--10----16----13--------|--------------------12-----||
--11----17----0---------|--------------12-----------||
--11----17----12--------|--------14----------------*||
--9-----15----13--------|--17----------------------*||
------------------------|---------------------------||
------------------------|---------------------------||

"melody":

Track 1

C||------|------|------|------|------|------|------|------|
G||------|------|------|------|------|------|------|------|
D||------|------|------|------|------|------|------|------|
A||------|------|------|------|------|------|------|------|
E||------|------|------|------|------|------|------|------|
B||------|------|------|------|------|------|------|------|

|----------------------------9-12-16-18-16-12-9------------|
|-----------------9-10-16-17--------------------9-10-------|
|*-------------17------------------------------------10----|
|*--8-12-15-19------------------------------------------12-|
|----------------------------------------------------------|
|----------------------------------------------------------|

--------------------------7-9-14-16-14-9-7-|
----------------7-9-14-16------------------|
-------------16----------------------------|
--7-10-14-17-------------------------------|
-------------------------------------------|
-------------------------------------------|

--9-12-16-18-16-12------------------|--9-13-16-20-----------------------|
------------------------------------|-------------8-12-15-19------------|
-------------------9-10-16-17-16-10-|------------------------9-13-16-20-|
------------------------------------|-----------------------------------|
------------------------------------|-----------------------------------|
------------------------------------|-----------------------------------|

-------------------9-13-17-21-17-13-9----------|
----------------10--------------------10-------|
-------------11--------------------------11----|
--8-12-16-20--------------------------------12-|
-----------------------------------------------|
-----------------------------------------------|

-----------------------------------9-13-17-21-|
------------------------8-12-16-20------------|
-------------9-13-17-21-----------------------|
--8-12-16-20----------------------------------|
----------------------------------------------|
----------------------------------------------|

4x
-----------------------------------------------||
--8-12-16-20-9-13-17-21------------------------||
------------------------8-12-16-20-9-13-17-21-*||
----------------------------------------------*||
-----------------------------------------------||
-----------------------------------------------||

Thanks a fuckload BZM!

it's amazing how adding one note can make a normal-ass minor arpeggio sound so awesome and fresh:

Code:

e-------------5h9p9------------

b-----------7-------7----------

g---------6-----------6--------

d-------7---------------7------

a---5h9-------------------9p5--

e-7---------------------------7