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Helianthus Annuus posted:augmented chords get a little plus sign, diminished chords get the little circle Half diminished chords occur naturally as the four note diatonic VII chord in a major scale, or II chord of in the harmonic minor scale  In C major, VII is B-7b5 (BDFA). In the key of C minor, II is D-7b5 (D half diminished, DFAbC) - this matches the diatonic intervals in C harmonic minor. This is ties into to how Am is the relative minor of C. Since B-7b5 is the VII of C major, it can also be the II of Am. VII is FULLY diminished in harmonic minor (BDFAb) A fully diminished chord also occurs inside a dominant 7b9 chord - in C minor, you can play a G7, and add an Ab, creating G7b9 - this resulting chord, minus the root, is fully diminished (AbBDF) Fully diminished chords can also act as diminished passing chords - there are a bunch of write ups online that can explain it better than I can! But it's very easy to comprehend and apply. beer gas canister fucked around with this message at 01:16 on Feb 2, 2020 |
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Feb 2, 2020 01:13
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Gnumonic posted:Ugh yes. Well sort of. I haven't touched it in a month or two because I've been busy and I have an overwhelming compulsion to prioritize my electric stuff when I don't have that much time to practice. I'm kind of considering selling it to fund more purchases but the last time I sold a classical guitar I regretted it. cool, but if you DO decide to sell it lmk, because it seems like something i would dig. and i could use a 650mm scale length travel guitar. pm me if you change your mind
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Feb 2, 2020 01:25
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Gnumonic posted:I feel like I could probably get along with something like a 24-26.5 inch multiscale but no one make those.
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Feb 2, 2020 01:52
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Stark Fist posted:Half diminished chords occur naturally as the four note diatonic VII chord in a major scale, or II chord of in the harmonic minor scale thx i understand. riddle me this: can't half-diminished 7th chords also function as diminished passing chords? i think they can, so what different contexts better suit them vs their fully diminished friends? im thinking its just whichever makes for better voice leading, but maybe there's more to it.. would you call G7b9 a "G phrygian dominant" sound? So, just the V chord in C harmonic minor? If so, I wanna point out that G7add9 is just the V chord in C major, only difference is the A instead of the Ab. Chop off the root you get a B half-diminshed chord. but what's interesting to me is that the half-diminished chord is asymmetrical, and the fully diminished chord is perfectly symmetrical. how does that factor into this? and is it interesting that harmonic minor has both the half-diminished (ii) and fully-diminished (vii) chords? what do you think barry harris would say about this?
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Feb 2, 2020 02:03
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Helianthus Annuus posted:thx i understand. riddle me this: good point about the G7add9! hadn't thought of it that way. 7b9 chords are typically paired with the phrygian dominant scale. i usually just think of this scale as the 5th mode of harmonic minor. it matches the V chord in a minor key, as you say. i don't like to name too many scales - just place them in their context within a key. half diminished chords could certainly be passing chords, but i'm not sure about their specific application as such. a passing chord is just an extra chord that leads by step to a "main" chord in a melody - there are a ton of possible passing chords and passing techniques. i learned a handful from Gary Lindsay's Jazz Arranging Techniques but it'd be too byzantine to describe without charts here. it's a kickass book, though it has little to do with guitar per say. i learned all this stuff from some people in the Barry Harris educational camp, including those awesome vids of Barry Harris teaching - i think they'd all say that chords come from scales, not the other way around - see Bach, etc. all that stuff is just classical theory and orthodox counterpoint at the end of the day. melody + bass line yields the rest of the harmony - the notes in between are obligatory, and are often subject to change. the MELODY within a key signature (or whatever you're using as a pitch collection) dictates all functional harmony - everything follows from that principle. e; regarding the symmetrical nature of fully diminished chords - it's a big topic  i'm sure i don't know half of the applications for them. but basically, when deciding to use one diminished or the other, it has to do with which chord comes NEXT. since they're generally considered unstable chords, diminished sounds are usually setting something up - a V, to get to a I, usually. Half dim chords are almost always pre-dominant. Fully diminished chords are often pre-dominant, but they can also set up drat near any other type of chord if you look hard enough for justification. They often appear as portions of other chords, or in situations with tritones. Also, any symmetrical set, be it a scale or chord, is going to have multiple simultaneous uses in disparate keys. Take one of the two whole tone scales - CDEF#G#A#. You could play this over any dominant chord with one of the notes as a root, since it will imply an altered dominant sound - C7, D7, E7, F#7, G#7, A#7 (Bb7) - that's half of all available key signatures! beer gas canister fucked around with this message at 03:48 on Feb 2, 2020 |
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Feb 2, 2020 03:29
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Stark Fist posted:snipping this for ppl who have to browse this thread on mobile at this point it might be good to clearly state all the symmetrical structures in 12 tet: * the 2 unique whole tone scales (6 notes each) * the 3 unique fully diminished 7th chords (4 notes each) * the 4 unique augmented triads (3 notes each) * the 6 unique tritone intervals (2 notes each) something i think about sometimes: take a fully diminished 7th chord. raise any tone a half-step. you get a half-diminished 7th chord (in some inversion)! the note you touched becomes the b7 of the new chord. take a fully diminished 7th chord. lower any tone a half-step. you get a dominant 7th chord (in some inversion)! the note you touched becomes the root of the new chord. each of the 3 fully-diminished chords gives you 4 dominant 7th chords for a total of 12. same with half-diminished. this tells me that the half-diminished chords and dominant chords are somehow siblings, if that makes sense. they are both asymmetrical chords that are one half-step operation away from their parent diminished chord. does this mean that the usage of a half-diminished chord has more in common with the a dominant chord than with a fully diminished chord? taking it a step further, lets consider that the augmented triad is a 3 note symmetrical structure, and there are 4 of them. take an augmented triad. raise any tone a half-step. you get a minor triad (in some inversion)! the note you touched becomes the root of the new chord. take an augmented triad. lower any tone a half-step. you get a major triad (in some inversion)! the note you touched becomes the perfect 5th of the new chord. each of the 4 augmented triads gives you 3 minor chords for a total of 12. same with major. interesting parallel! does it makes sense to view asymmetrical chords as minimal-mutations of symmetrical chords? if so, what other insights can we get from this? Helianthus Annuus fucked around with this message at 05:49 on Feb 2, 2020 |
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Feb 2, 2020 05:29
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related to my les paul adventure earlier today... i have this a yamala gl1 guitalele, which is tuned A D G C E A, same as what you would find on the 5th fret of a guitar tuned to E standard. https://usa.yamaha.com/products/musical_instruments/guitars_basses/cl_guitars/gl/index.html It's got a 433mm scale length. I did the math and found out that would be the same as playing a 577.985mm scale length guitar with the 5th fret capo'd  if i wanted to get the tension of a standard 650mm scale guitar, i would have to tune it to B E A D F# B, the 7th fret instead of the 5th. But is that a good idea? I have D'Addario DynaCore Hard Tension strings on this thing. Messing around on http://stringtensionpro.com/ my current string tension is 72.26 lbs. They also make "normal tension" (67.12 lbs) and "extra-hard tension" (74.26 lbs). but if i were to tune my current strings up a whole step, i would be putting 91.05 lbs of tension on the neck. that seems like a lot more, but can the guitaelele take it? hard to know without trying it. but even putting the heaviest gauge strings doesn't get me anywhere close to 91 lbs. The highest tension I can get to with A D G C E A is about 75 lbs. This would be at least 15 lbs out of spec for this instrument. Seems risky. I checked google to see if anyone else is doing this, but it seems like everyone is tuning it DOWN instead of up. smh
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Feb 2, 2020 05:39
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that very process would be a pretty good way to locate passing chords. it's especially good for modulation.
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Feb 2, 2020 05:39
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I tried out some jazz iii picks based on a recommendation in this thread. I love them for the more intricate riffs but I can't stand them for rhythm strumming.
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Feb 2, 2020 06:39
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That checks out.
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Feb 2, 2020 07:29
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You get used to 'em. For me, the extra speed and precision for single note stuff more than made up for any trouble with strumming, and you adapt pretty quickly. I also found the nylon Jazz IIIs better than the carbon fiber ones in that regard.
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Feb 2, 2020 07:31
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Two jazz questions: Is it worth starting with 3-finger shell chords, or should I just go ahead with the full 4-fingers to get used to them? I see it taught both ways, and I'm unsure if the easier fingerings are "good baseline" stuff or "the thing they start you on to make it seem easier but nobody actually does it that way" stuff. Second re: gear. I've been playing for a couple years out of an acoustic amp, which is nice because it lets us run a microphone out of the second input, which my kids really enjoy. I've got an electric coming, and I have one of the Vox headphone plugs, and I would love to get good electric sounds but I would prefer not to buy a whole second amp. Is this exactly what a head is for? Could I reasonably run a guitar through a head into the acoustic amp, and still keep a clean vocal sound out of the second input? Or am I misunderstanding how this all works? Am I about to blow an acoustic amp? Suggestions on what to get? Huxley fucked around with this message at 16:54 on Feb 2, 2020 |
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Feb 2, 2020 16:10
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lazerwolf posted:I tried out some jazz iii picks based on a recommendation in this thread. I love them for the more intricate riffs but I can't stand them for rhythm strumming. It takes some time but you get used to it. I've switched over to the max grip red nylons a little while ago and even though I never really had problems holding onto the pick when strumming, it just feels so good. So uh yeah, get a small pack of those to try as well.
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Feb 2, 2020 16:44
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lazerwolf posted:I tried out some jazz iii picks based on a recommendation in this thread. I love them for the more intricate riffs but I can't stand them for rhythm strumming. i concur with this assessment. i have a bunch of jazz iii picks, but i never use them anymore ever since i got some pro plecs and a bluechip Huxley posted:Two jazz questions: the way i was taught: first learn the maj7, min7, dom7, and m7b5 barre chord shapes and get good at using them in songs. this is cool and it lets you play in any key, but these barre chords can be like a prison for your left hand. physically difficult, but conceptually easy. so the next step is to learn how to deconstruct those chords into their chord tones, especially how to identify the root, the major / minor 3rd, and the natural / flat 7th. lose the perfect 5th. this gives you a "shell chord" like you said. most jazz guys seem to think these are better, because you get just the notes you need (with no duplicated notes) and no barre holding you down. conceptually, not as obvious as the barre chords, but physically WAY easier right now, i'm no good at using these shell chords in songs, and i rely on my barres. but i know my interval shapes now, so I use my right hand finger-style technique to just pluck the notes i want when i want them. still working on it. Huxley posted:Second re: gear. I've been playing for a couple years out of an acoustic amp, which is nice because it lets us run a microphone out of the second input, which my kids really enjoy. boy, im out of my depth with this one. i dunno. but maybe try plugging the electric guitar into the acoustic amp first and see how it sounds.
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Feb 2, 2020 17:56
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If you want a clean tone it's probably not gonna sound great, but yeah you can give it a go. Otherwise you can just run some pedals into it and get your tone from those, you can even get pedals that try to emulate the sound of certain amps (like sansamp stuff) And I mean, that's what your headphone amp is really, so you might be able to run that into the amp too - I'd just be careful since its output is amplified to drive headphones, so it'll be a stronger signal than plugging a guitar straight in, so keep the volume down (on the vox) until you know it's good A head is an amplifier without a speaker cabinet, and your acoustic one is probably a combo (amplifier built into a cab), so you definitely don't want to run one amp into another. Depending on the model you might be able to bypass the amp and plug into its cab, but I wouldn't bet on it! But other people know way more about amps and connection shenanigans, so if you post your amp model or some pics you might get some specific advice baka kaba fucked around with this message at 18:24 on Feb 2, 2020 |
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Feb 2, 2020 18:18
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Just wanted to say the nail-advice was really helpful so far. Got an Emory board and cleaned up my picking hand. The big difference is just actively trying to use my nail and not my hand though. Way less effort and movement.
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Feb 2, 2020 18:22
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kidkissinger posted:Just wanted to say the nail-advice was really helpful so far. Got an Emory board and cleaned up my picking hand. The big difference is just actively trying to use my nail and not my hand though. Way less effort and movement. nice were you playing your Silk and Steel strings in that video? i have never tried them, but i suspect they would be Extremely My poo poo
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Feb 2, 2020 18:37
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Helianthus Annuus posted:nice Yeah, those are the d'addario ones. The size of the string and the feel of the silver coating make it really nice for fingerpicking. I kind of wish they were slightly brighter though, they don't ring out when you strum so much.
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Feb 2, 2020 19:52
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Huxley posted:Second re: gear. I've been playing for a couple years out of an acoustic amp, which is nice because it lets us run a microphone out of the second input, which my kids really enjoy. My understanding is an acoustic amp is basically a PA/keyboard amp/bass amp, the aim being to get a broader frequency range with a ton of highs. Electric guitars and pedals are really designed to run into typical guitar amps, which have a much more narrow, mid-range focused sound. There are guitarists out there who run into bass amps or directly into PAs, but they tend to be the ones who want a particularly aggressive and obtuse sound. edit: you could probably run the vox headphone amp into the acoustic amp and have it sound okay, but you'd need some adapters.
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Feb 2, 2020 21:04
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Thanks all. It sounds like what I'm looking for is either making do with the vox plug, a pedal, or just breaking down for a proper amp (in that order).
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Feb 2, 2020 21:48
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I want a baby little smol amp for when I don’t plug into guitar rig. What’s the least lovely one? Katana Mini? I like how cute the Marshall one is, but it seems insanely cheap
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Feb 3, 2020 04:27
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kidkissinger posted:Just wanted to say the nail-advice was really helpful so far. Got an Emory board and cleaned up my picking hand. The big difference is just actively trying to use my nail and not my hand though. Way less effort and movement. Agreed. I grew out my picking nails and yesterday I cut them with a stringward sweep. I even softly hooked my ring nail to catch the high e, makes for fun fadiddlies. The clarity and accuracy has been noteworthy.
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Feb 3, 2020 15:50
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well why not posted:I want a baby little smol amp for when I don’t plug into guitar rig. What’s the least lovely one? Katana Mini? I like how cute the Marshall one is, but it seems insanely cheap doesnt get smaller than this https://voxamps.com/product/amplug-2/ Brawnfire posted:Agreed. I grew out my picking nails and yesterday I cut them with a stringward sweep. I even softly hooked my ring nail to catch the high e, makes for fun fadiddlies. The clarity and accuracy has been noteworthy. delightful! love to turn other people on to that nosferatu-guitarist life style
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Feb 3, 2020 18:41
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well why not posted:I want a baby little smol amp for when I don’t plug into guitar rig. What’s the least lovely one? Katana Mini? I like how cute the Marshall one is, but it seems insanely cheap The katana mini doesn't have a huge range of effects but sounds really good for how tiny it is, got mine for like $80 open box. Only thing to keep in mind is the power adaptor comes separate, otherwise it runs on 6 AA batteries.
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Feb 3, 2020 18:59
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y'all fingerstylers need to learn a rasgueado, because it's fun and also lets you do cool strumming flourishes out of nowhere, and it's also a party trick there's lots of ways to do it but you basically need to practice curling your fingers in, then flicking them out one at a time, and coming back to the start position with an upstroke - usually with your thumb or index finger. There's different patterns that give you different numbers of strokes, and if you get into it you can look into what those are and the techniques you can use, but just practicing the flicking motions will get you 90% of the way there and give you a sense of what you're doing or you could try this guy's technique, very old school https://www.youtube.com/watch?v=8QToyvX_598
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Feb 3, 2020 19:33
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Blacknose posted:I have a thr5 as my only amp, and in spite of it offering tons of flexibility in sound, I don't really have the knowledge needed to make it sound a certain way other than loving about with it for ages changing stuff half at random. I have a THR10, same thing with a couple extra knobs. For clean channels, try higher gain, for dirtier ones, lower the gain to 12 o clock or lower. Always have master volume up,this simulates the actual amp being turned up, which changes things because it's simulating tubes, it's not just a volume knob. Try adding just a touch of chorus or delay and see how you like it. For Bass/Mid/Treble you're gonna just have to play with it, put them at 12 o clock and fiddle with it or just play like that. This is gonna depend on your guitar and what you want.
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Feb 3, 2020 20:09
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Does anybody make a singlecut ES-335? i.e. singlecut thinline semi-hollow with a full-sized lower bout. This checks most of those boxes but it looks like it's got a smaller 339-sized body.
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Feb 4, 2020 01:36
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Lester Shy posted:You get used to 'em. For me, the extra speed and precision for single note stuff more than made up for any trouble with strumming, and you adapt pretty quickly. I also found the nylon Jazz IIIs better than the carbon fiber ones in that regard. Dumb question time: I know what red nylon, black nylon, and ultex are supposed to do when it comes to Jazz III picks, but what is the benefit to carbon fiber?
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Feb 4, 2020 03:42
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Anime Reference posted:Does anybody make a singlecut ES-335? i.e. singlecut thinline semi-hollow with a full-sized lower bout. This checks most of those boxes but it looks like it's got a smaller 339-sized body. https://www.ibanez.com/usa/products/model/af/ ?
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Feb 4, 2020 03:48
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edit: ^^^ Those are fully hollow bodies, rather than semi-hollow. Anime Reference posted:Does anybody make a singlecut ES-335? i.e. singlecut thinline semi-hollow with a full-sized lower bout. This checks most of those boxes but it looks like it's got a smaller 339-sized body. I found this filter at Sweetwater. Looks like the options they carry are mostly D'Angelico, arguable some Gresch's, and a new Epiphone model called the Uptown Cat that seems like the best match if you're okay with mini humbuckers. https://www.sweetwater.com/c592--Singlecut_Semi-hollowbody_Guitars
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Feb 4, 2020 03:55
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Those are just full-size archtops, not thinlines. I mean I own an older Ibanez Artcore and it's great, but it ain't much like an ES-335. Edit: There are other Artcores that are thinlines, but I think all of them are double cutout like an ES-335. SubG fucked around with this message at 04:08 on Feb 4, 2020 |
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Feb 4, 2020 03:59
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haha misread the question.
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Feb 4, 2020 04:25
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I'm not really trying to urgently learn a Bolt Thrower song but I have a question: How the gently caress does anyone play Bolt Thrower songs? I can play fast poo poo. That's not that hard. I can deal with tempo changes. But nearly every goddamn bolt thrower song has a bunch of tempo changes that -- and this is really weird and I haven't run into it anywhere else in either metal or classical music -- are relatively subtle (like 10-20bpm up or down starting from 140bpm). If you were notating it using the old-timey Italian words, you'd have to call both parts allegro, but they aren't the same. Practicing it slow doesn't seem to help that much, and might actually make it harder. And there's no way for me to finish a measure counting at one tempo and immediately start counting at a slightly different tempo, or at least I can't get an intuition or "feel" for it. Maybe I've just neglected rhythm guitar for too many decades but their poo poo seems more difficult to try to learn than Far Beyond the Sun.
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Feb 4, 2020 04:55
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Gnumonic posted:I'm not really trying to urgently learn a Bolt Thrower song but I have a question: have you tried getting your metronome high and buzzed at the same time?
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Feb 4, 2020 05:36
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none of those bands that came out of the 80s grind scene used click tracks maybe napalm death when they started recording at morrisound, but that's probably about it
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Feb 4, 2020 09:52
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Gnumonic posted:I can play fast poo poo. That's not that hard. I can deal with tempo changes. But nearly every goddamn bolt thrower song has a bunch of tempo changes that -- and this is really weird and I haven't run into it anywhere else in either metal or classical music -- are relatively subtle (like 10-20bpm up or down starting from 140bpm). If you were notating it using the old-timey Italian words, you'd have to call both parts allegro, but they aren't the same. Old Cannibal Corpse songs do this all the time too. "Hammer Smashed Face" is a different tempo just about every 8 bars. Maybe it's a stylistic thing or maybe they just recorded a riff at a time and never used a click.
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Feb 4, 2020 11:31
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Gnumonic posted:I'm not really trying to urgently learn a Bolt Thrower song but I have a question: Stop counting and embrace the feel.
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Feb 4, 2020 17:15
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Those who live by the clicktrack, die by the clicktrack.
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Feb 4, 2020 17:40
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baka kaba posted:y'all fingerstylers need to learn a rasgueado, because it's fun and also lets you do cool strumming flourishes out of nowhere, and it's also a party trick i have a rasgueado that i learned in like 2010, but i've since realized that there are multiple techniques, and they don't all sound the same! but this is something to do on a nylon string guitar. a steel string guitar might just shred your fingernails if you try to do a bunch of rasgueados on it you can totally get away with one or two on a steel string. but if you wanna practice these, its gonna take a lot of repetition, and for that you gotta get a nylon string guitar fortunately, almost nobody wants a nylon string guitar, so you can usually get a great deal on the used market if you can find one that has good intonation
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Feb 4, 2020 18:58
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Helianthus Annuus posted:fortunately, almost nobody wants a nylon string guitar, so you can usually get a great deal on the used market if you can find one that has good intonation I've definitely been keeping my eye out for a low-priced nylon string, I played some in-store and I love it.
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Feb 4, 2020 19:10
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