wylde1919

I'd give it to Bob Dylan, THe way he sweep picks over a V of V to V chord progression just blows away everyone else. Plus everyone knows that the actually inventor of tapping was the guitarist for Air Supply. On a serious note, music is all subjective so don't take a great deal of offense to others opinions of profeciency. Just remember we all agree on one thing. We all love music!

So how do you go about drwaing up these concepts. Do you do it in colorat the concept stage or do you let your materials help you make that decision? O and of course, KILLER WORK!!!!! the spider looks so realistic it kind of creeps me out!

I'd say thats actually GOld medal advice

Seems like they aren't such agood idea. You'd save more by protecting your frets than you would prolonging string life, right?

THIS IS NOT A SUGGESTION, ITS A SUB-QUESTION Could you use an orbital sander, or would you still be running risk of taking too much wood of the neck?

my apologies for the thread hijack hammer. I'll just reiterate my personl opinion. Learn your pentatonic scales in 5 positions. and then your Diatonic scales in 5 positions. Someone also mentioned the harmonic and melodic minors. Learn the Harmonic first as the melodic minor will make a litle bit more sense to you then. from there any other scales you may learn (such as the blues scale, hexatonic scale or the "bop" scale) will be super simple. PM me if I can help you with that. And I think Dangerouso is also pretty accesible and from reading his posts he definnately knows his theory as well.

Guess I'll give it a go. My Name is Darrell and I have done one poor quality Zakk Wylde refin. I am currently in the midst of two projects (modding an RG to a jem how cliche, and I have a neck that I hope will go on a from scratch wolfgang like original). So in other words I can give no advice on building or painting except for stylistic opinions! As fars playing goes I have been playing since 96' I put in two years towards a Jazz performance degree at NCCU but left to get married. I'm not a great guitarist but I aspire to be and my main influences range from randy rhoads and zakk wylde (obviously) all the way to Kenny Burell. I guess my only real contribution to the forum would be in the players forum but I hope to learn from the builders around me and become experienced enough to be a contributer allover the site.

Wes you definately don't want to get in to an argument with me over canadian bacon versus ham becuase i studied for like three years at the calgary institute of bacon............................

Do me a favor and play some of Randy's licks on there for me! Great looking guitar, I have always loved that offset V shape!

yeah strat, like you I play mostly jazz on the bass, but mostly rock on the guitar. I do it though because I cant improvise worth squat over rhythm changes

sorry for the double post but the dorian also works well in that song for a reason i forgot to mention. The minor chord they vamp is a minor 7. If you notice the dorian has that "natural" 6 and you can lean on that F3 for some really great dissonance.

Wes, modes are indeed scales in a way, but they only take on thier true modal characteristics when played over the right changes. Its kinda like gremlins needing water. For instance if you are playing a scale with no sharps or flatsand your chord chanes resolve predominatley to C you are playing in the Ionian mode. same exact scale but your changes resolve to A minor and your in Aeolian (forgive spelling please!) Those of course are the ver common form Major and Minor (in that order) but to give it more spice if you resolve to a D minor chord your nnow in Dorian. Another way to make the most out of modes is if you are playing over a one chord vamp like Miles Davis' So What of off Kind of Blue (great album!). His rhythm section is vamping over a single minor chord in variuos inversions to give it spice ( he later modulates but that is unimportant). Lets say the chord was an A Minor for simplictiy's sake. YOu can start off playing an A minor scale. and then to add modal flavor start playin any of the minor sounding modes particurlaly Dorian works. so instead of playing A B C D E F G A you would play A B C D E F# G A

Thanks mikeb, and snork i am honestly not ragging on you man. I just want you to be a little less brash in your advice. I agree with what you are saying about broadening the pallette and that limiting yourself to a five note box pattern can get you into a rut. But believe me I've seen guys put pentatonics to use in some very interesting ways to create some very nice sounding stuff. o and as far a zakk goes, modes are all just gravy to him, his meat and potatoes are the pentatonic scale.

I just claiming to know a little theory not spelling!

Snork don't even try and preach theory to me son. I have taken years of theory in college, by berkely graduates. As far as my UNDERSTANDING of these things, I was taught using the berkeley pedigogy. So I know my stuff thank you. And as far as learning pentatonic using the "modes" which btw you are using the term incorrectly, then why in the world does BERKELEY PEDIGOGY teach you to play the diatonic scales as well as pentatonic scalesin 5 positions. Just because they contain the same notes doesn't mean you use them the same. And btw when you use the term mode, mode is relevent to not only the scale but the chord structure, when you are saying modes you are actullay referringh to the seven possible starting points of a diatonic scale. O and one last thing until you have played with actual jazz greats (I.e. Stanley Turrnetine, Fredely Wesley, The Heath Bros. feat Tony Purrone, and the Maceo Parker) I don't think you should be lecturing me on Jazz either.

Snork I think that telling people not to use pentatonic scales is about the most irresponsible thing you could do. I'm all for diatonic, hexatonic, chromatic, and any other type of scale you can think of. However the pentatonic does have it's place, and to ignore it would be like a jazz head ( as you proclaim to be) ignoring the "bop scale". My advice to the original poster would be to learn whatever scales you come across. YOu may use 'em you might not. Your best be tis to train your ear to what they call relative pitch (I.e. if i give you a starting tone you can recognize or sing any interval asked of you from that pitch in tune). That will teach your ear to "read". YOull get more mileage out of that than you will with scales alone.

Clavin, What I'm about say I hope you take very seriously. Write a book, not only are you talented at what you do, but you explain it in a way that even people who know squat about inlay art can understand. Seriuously, I know a forum full of people who would be your first customers too!

Two things, First take some classes on sightsinging/ear training. It will help you be able to put things you may hear in your head on to the fret board. second, sit down and just play whatever comes to you in front of some form of recorder. Once you play it back you may just find some hidden jewels!

What they are doing in this case is tuning the entire guitar 1 and a half steps down ( three frets worth) and then dropping the low E string down an addition step ( two frest worth),, does tha help???

Great looking axe, BTW i disagree with the half that say the lower horn is to small. In my opinion thats one of the coolest looking features. Just my 2 cents.

Each number represents an aspect of the guitar. for instance the diff between a 770 and a 570 is the inlay. between a 570, a 560, and a 550 is the p/up config. however i dont know the exact difference between a 320 and a 220. So i guess im no help at all

Snork, I wouldn't advice getting a 7 string just for a couple extra notes on an arpeggio. Just loearn them in seven positions and you can still get the same notes without the extra string. Just my 2 cents tho

BTW j789 mentioned Tarrega, heed the mans advice, good stuff even if you aren't a big fan of classical. ( Randy Rhoads was a big Tarrega fan as well!)

I don't know if you can read or not sacred but there is a great book Called Sor Studies thats edited by Andre Segovia. It comes with a CD as well. It will take you from very simple all the way to mind boggling difficulty. That was our text when I took classical guitar in college.

Sweeeeeet, I love it dude!