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> Very Cool Technique, To Get Out Of Box And Discover Modes:), By our shredmaster Rusty Cooley:)
Jakub Luptovec
post May 12 2009, 05:17 PM
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Since my guitar is at the luthier now for a few days I am spending a lot of time just looking around for stuff to practice when I'll get my guitar back.

Randomly, I discovered this today


Basicly what he is doing is, he takes of the 7th from a scale, thus creating very easy paterns for playing, which naturally repeat each octave, so you have no way how to get lost smile.gif The 7ths position can be calculated in spot easily, since its just 1 or 2 frets higher than your 6th.. (well okay, maybe even tree, if it was minor 6th and major 7th - say melodic minor)

EDIT: Btw. funny thing happened at 4:33 - he said "Now we will jump into another octave" and when he said that "octAVE" he started playing and his voice had exactly the same pitch as his tone on guitar


This post has been edited by Jakub Luptovec: May 12 2009, 05:25 PM


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Gus
post May 12 2009, 05:30 PM
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Really interesting view. This should be taught even before of showing the full scale pattern!

I will try this later when I get home.


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Muris Varajic
post May 12 2009, 05:32 PM
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He played 7th at 2:40, G over A Dorian. tongue.gif

Joking ofc, a fine way to cross more over fingerboard
while keeping 3nps shapes only, something has to be missed indeed. wink.gif


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Jakub Luptovec
post May 12 2009, 05:36 PM
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sure, but if you move from the ionian pattern (Lets say in key of C) - playing CDEFGA - to dorian pattern DEFGAB, while C maj7 is still ringing, I bet that licks produced by this will sound very tasty at high speed. I have no way to check tho:D Guys lend me a guitar till friday biggrin.gif

Muris: He doesnt play anything at 2:40 :-O On the other hand, sadder fact is, that it is somewhere there, and I dont hear it sad.gifsad.gif (the 7th)

This post has been edited by Jakub Luptovec: May 12 2009, 05:45 PM


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Ivan Milenkovic
post May 12 2009, 05:50 PM
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Very cool, some interesting ideas in here to develop and incorporate into practice! Thanks for sharing smile.gif


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Muris Varajic
post May 12 2009, 06:26 PM
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QUOTE (Jakub Luptovec @ May 12 2009, 06:36 PM) *
Muris: He doesnt play anything at 2:40 :-O On the other hand, sadder fact is, that it is somewhere there, and I dont hear it sad.gifsad.gif (the 7th)


My bad, I mixed minutes and seconds, it's at 4:20. biggrin.gif

And if I may, if you just move from C Ionian to D Dorian
you perhaps don't move at all, you just change chord in progression,
you'll still be hearing C chord as a root and not Dm,
not to mention if you play over C chord all the time. smile.gif


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Emir Hot
post May 12 2009, 06:28 PM
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very nice patterns. Thanks for sharing.


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Velvet Roger
post May 12 2009, 06:29 PM
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Nice way of getting accross the fretboard indeed, thanks for this smile.gif


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Pedja Simovic
post May 12 2009, 06:34 PM
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Thank you for sharing this video Jakub, very useful.

I was applying this same concept at Berklee for 3 octave scales modes and arpeggios.

Difference is, you can choose how you want to divide your combinations. Since its 7 note scale, you can either do 4 + 3 or 3 + 4 notes.

In other words you could do G major scale starting on low E string and do G A B (3 notes) then go to A string and do C D E and move your pinky to F#! Then repeat everything in 3 octaves.
You can do it with 1st finger sliding from 7th to root of the scale also.

So you do now G A B (e string) , C D E (a string) F# to G with 1st finger and continue the pattern etc




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Jakub Luptovec
post May 12 2009, 07:32 PM
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QUOTE (Pedja Simovic @ May 12 2009, 07:34 PM) *
Thank you for sharing this video Jakub, very useful.

I was applying this same concept at Berklee for 3 octave scales modes and arpeggios.

Difference is, you can choose how you want to divide your combinations. Since its 7 note scale, you can either do 4 + 3 or 3 + 4 notes.


What do you mean by 3+4 or 4+3? That you play 3 notes on 1st string and 4 on the 2nd and vice versa? Just sliding to/from the 7th?


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ErikEklund
post May 12 2009, 08:05 PM
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cool way to approach modes smile.gif
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Ramiro Delforte
post May 12 2009, 08:12 PM
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Nice vid mate!
Thanx for sharing it smile.gif


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Oxac
post May 12 2009, 09:09 PM
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Kinda loses the point of mixolydian tongue.gif


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Jakub Luptovec
post May 12 2009, 09:29 PM
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harmonic minor would also lose its sense, but its not ment as a modes showoff - its more of a helper in mapping the fretboard OR a pattern for lickbuilding. You can add the 7th as a last note of lick or w/e so the mixolydian dominant tonality is emphasised smile.gif


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lcsdds
post May 12 2009, 09:38 PM
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I first learned that in an Andy James tune. He did it playing 2nps 7th arpeggios. Very cool technique that can be used for any type of pattern....
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Jakub Luptovec
post May 12 2009, 09:57 PM
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Mind to post a tab sinppet or track name?


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Muris Varajic
post May 12 2009, 10:16 PM
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QUOTE (Jakub Luptovec @ May 12 2009, 08:32 PM) *
What do you mean by 3+4 or 4+3? That you play 3 notes on 1st string and 4 on the 2nd and vice versa? Just sliding to/from the 7th?


Just slide from 7 to 1 and keep up the same thing.
You actually start 3 but then you play 4 on same place but octave/s higher,
3+3+4+3+4+3.


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lcsdds
post May 12 2009, 10:17 PM
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QUOTE (Jakub Luptovec @ May 12 2009, 09:57 PM) *
Mind to post a tab sinppet or track name?

Do a search for "Andy James E lydian" on youtube.....his video is on my youtube page......lcsdds is my name there too. You will see him do two runs using those "octave" shape runs. I don't have youtube at work or I'd tell you exactly when they occur. I tabbed them out so PM me if you want the tab for the runs and I can tell you exactly where they occur when I get home. They are pretty cool.....Muris does something similar in his Phrygian Advanced lesson although he spices it up a little more.....but the same idea. smile.gif
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jdriver
post May 12 2009, 11:55 PM
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I was just about to make my own video of this, only a lot less complicated. I'll try to hurry up and get it done. I thought everyone already knew this, but I guess not. There are some other pretty amazing things you can do along these lines. I don't understand the point of leaving out the 7, unless it is to stick exclusively to 3nps. I'm going to show how to play any scale from anywhere and not get lost. The way I was taught also covers 3 octave runs, even some 4's.

Pedja: My teacher also taught me that early on, 3+4 slide. But I have something else in mind.

This post has been edited by jdriver: May 12 2009, 11:59 PM


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lcsdds
post May 13 2009, 12:11 AM
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The reason he leaves out the 7ht note is to simplify the shape. If you add the 7th note of the scale then it becomes a 3 string shape with 3nps on 2 strings and 1 note on the 3rd string. It's just for simplicity's sake I believe. smile.gif
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