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which leads me to point out again: same scale regardless of its context.

And you teach people?

I'm afraid this pointless argument isn't over when you declare it so, particularly when you say something so ignorant.
Of course it's not the same scale regardless of it's context. It's the context ...

Back to improvising.........any suggestions. Common blues progressions other than the common blues riff that everyone learns in their first week of guitar?

Check this site out: http://www.music.vt.edu/musicdictionary/appendix/blues/Bluesprogression.html

Covers your basic progressions. I should ...

That is interesting that in every book you've read on guitar refers to it as a #4 and every book I've read calls it a b5. Really strange.

Taken from - http://www.dolmetsch.com/musictheory25.htm#blues

The blues scale is neither a minor nor a major scale but the internal dissonances provide the ...

1. You're right that we aren't altering the 5th we're adding the b5. That was my mixup in terminology.

2. You're also right that you can mix sharps and flats when refering directly to a specific scale in a specific key i.e. G Harmonic minor is G,A,Bb,C,D,Eb,F#. But a specific scale is not what I'm ...

mlb1399 wrote:MWR is back. You always do a great job of explaining theory.

Thanks man. I try.

blues scales kick my ass. you basically play Em pentatonic to Emaj blues. it confuses the shit out of me.

Think of Blues being a mixture of both major and minor. The Blues scale is: 1, b3, 4, b5, 5, b7. The b3, b5, and b7 are all "blue" notes when played over a major or dominant progression ...

blues scales kick my ass. you basically play Em pentatonic to Emaj blues. it confuses the shit out of me.

Think of Blues being a mixture of both major and minor. The Blues scale is: 1, b3, 4, b5, 5, b7. The b3, b5, and b7 are all "blue" notes when played over a major or dominant progression ...

dude.....Phil Keaggy is arguably the best guitarist ever man.

Okay...but at certain level there is no "best" it's just what style you like.
The best at any genre is Eric Johnson hands down, if you dont know who he is you have been living under a rock for too long. If you want to hear awesome ...

Get the best quality mic you can afford and a little firewire or usb audio interface. The m-box is a good piece of gear but it isn't the most cost effective. Both Presonus and M-Audio have firewire interfaces for around $300 (the m-box 2 is $450) and you'll pay even less if you forego firewire for a ...

First off the A implies Dorian not the C. To me that progression definately resolves on Em. The D is a passing chord so I'm not quite sure how you're hearing it as the resololution.

Yes, technically it's semantics but to hear the tonal center is far more important than memorzing what notes are ...

First off the A implies Dorian not the C. To me that progression definately resolves on Em. The D is a passing chord so I'm not quite sure how you're hearing it as the resololution.

Yes, technically it's semantics but to hear the tonal center is far more important than memorzing what notes are ...

He's without a doubt one of the best ever. I sat front row center at a concert of his a few months ago. Amazing.

i-am-me wrote:

MWR wrote:Verse: Em
Chorus: C

C?? isn't it G? C doesn't sound right to me. but i suck...lol.

That's an F in the chorus not a F#. It could potentially be a G Mixolydian progression but the G is a suspended second so there's no resolution whatsoever.

They're sylistic devices. You're not gonna sound like Dave without a pick, and you won't sound like James Taylor with one. Horses for courses.