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Guitar chord forum - chordie → Posts by jerome.oneil
you need to know what key you are in, and the associated scale for that key.
For your G C D example, that is in the key of G.
G major scale:
G A B C D E F# G
So G C and D are the I IV and V of that scale.
Now to transpose.
You want to play in A?
A major scale is
A B C# D E F# G# A
The I IV and V of A is
A D E
Scales are the root of all things in music. It is worthwhile to know them,
Oh. There it is. Duh. * sheepish grin *
I don't see this "report" button. Where might I find it?
Polly Jean Harvey
She makes me all funny inside.
at the risk of confusing everyone including myself some thoughts
when you play a minor pentatonic lick over the "relative" major chord progression it will sound fine but it have a bluesy sound. it will sound odd if you use it to accompany upbeat pop songs
This is only true if you start and stay within the minor. You are still playing the major scale, you're just starting from a different spot in the scale. This is why it's important to learn scales all the way across the fretboard. Having a two or three octave range with the scale gives you the flexibility to solo in key.
you can use the same shapes you learn for the minor pentatonic to play the major pentatonic scale its just the same shapes three frets lower.
Sorta. If you move the entire shape down, you're still playing a minor. If you start the pattern three frets down, but keep the shape in the same position, you'll be playing the relative major of that minor. The reason? The minor is the VI of some major scale. Three frets down brings you a step and a half, bringing you to the major key.
in general if you want a bluesy sound use the minor pentatonic and resolve to the A. if you want a major sound use the major pentatonic and resolve to the C.
If you're playing in A minor, or C, sure. Resolving to the A will sound funny if you're playing in B, though. What I think you're trying to express is that you should resolve to the root of the scale. I'd change that a bit, and say you always *can* resolve to the root of the scale. It's handy in a pinch, but you certainly don't have to. 
the blue note for the Am blues scale is the bV which is Eb
There are other blue notes. I never use them but my lead guitar book suggests the II, III and VI of the A major scale which are B C# and F#. Don't ask me why.
You should learn those scales, and how they're built. Then you'll know why. Then you'd know where to hit the II III and VI of whatever key you're in.
Just so you know.
A major
A B C# D E F# G# A
What are the second, third, and sixth notes of that scale?
I hear that as a pretty up tempo ditty in a 12 or 16 bar blues format. Another nice one!
WRT getting it stolen, she has copyright on the song the instant she wrote it down. Presumably, that would be at 2007-09-01 12:16:54
Very nice! I like "Fat Bottomed Girls" by Queen. One of my all time favorites.
Here's a verse from my new epic.
I'm bending over backwards and I'm jumpin' through hoops
Just to see you shimmy in that skirt and those boots
I'd crawl over glass on my hands and my knees
I need it so bad that I'm willing to bleed!
I think that's it. I believe there is a fundamental disconnect between those that feel it must be wonderful for no other reason than it is about Jesus, and those that feel that it's awful no matter what the topic.
I'm still sticking with the %90 rule. %90 of *everything* is crap.
Then perhaps you could explain what isn't being understood, and by whom?
If they get played they generally get better. If they don't get played, generraly they go dead.
jerome.oneil wrote:Original composition, about a girl's bottom.
Now there's inspiration for you!
- Zurf
Quite so!
Original composition, about a girl's bottom.
You guys are bad!
Specifically, "power chords" are an interval of a perfect fifth. The I and V of whatever key you're in.
And they do sound best loud and distorted.
All the emotion and artistic intent in the world means nothing if you can not manipulate the fretboard in a predictable manner.
Blues isn't just the scale, but it's nothing without it.
Holy God Jerome!
What tune do you play when doing this? "The Soft Nasal Shuffle"? lol.
You should be thinking of nicer things to do! You have to much time on your hands!Old Doll.
Idle hands are the devil's playground!
I learned to do this growing up on a farm, and watching cows do it. I also played the trumpet, and so my tongue was fairly flexible. I haven't attempted it in many years.
So here goes....
Ouch!
Still got it.
What is it you think isn't being understood, and by whom?
stick your tongue up your nose
I can do this.
Seriously.
You can play B flat with two fingers. Barre with your index at the 1st fret, and barre with your ring finger at the 3rd.
-1-
-3-
-3-
-3-
-1-
-1-
A hameron is when you pluck a string, and then fret it, rather than fretting and then plucking. It gives you two tones.
Slides are when you fret, pluck, and then move your finger up the string a few frets without removing your finger from the string.
The key to all of this is to practice, and then practice some more. There is no easy way out.
And then practice.
Good luck!
And practice. 
What the market will bear.
Some old records are collectibles. Some aren't. Mint 1st ed Beatles? Expect to pay a premium. America at $2.00? You're getting robbed!
You should check out the thread about how to use chordie format to post your songs, or at least use standard tablature.'
Chordpro format description is right here. http://www.chordie.com/forum/viewtopic.php?id=1957
http://www.newstrings.co.uk/guitar_string_tips.html
Short answer. Heavier strings will be louder, and allow you to set up the guitar's action a little tighter.
Stevie Ray Vaughn always advised to use the heaviest strings you could stand. I'm a weenie. I use 10s on my electrics, and 12s on my acoustics.
hey jerome, people say im picky but you take the cake my friend. give'm hell buddy
I'm gonna give 'em some love, and a little knowledge if I can, and take some back when the opportunities arise.
Wiley and the Wild West are worth a checkout if you dig honky-tonk and cowboy songs.
And for the record, "You're new until I've bought two or three of your albums," is a small bit of brilliance. Concise, easy to remember, and absolutely true.
So Jerome,
are you telling me Loretta lynn, Emmylou, Patsy Cline, Johnny Cash and all of the older crowd were the real C/W. I was raised on there songs..
I did go to see Garth Brooks twice when he was here ! His Show was absolutely Suberb, But Allison Krauss and her Band was even Better! Her music sounds different?Slán
Old Doll.
Yup. Those first guys are the real deal. I *love* Allison Krause. I've seen her three times live. She's more bluegrass than pure country, but she's the real deal. Phenomenal talent.
I have not seen Garth Brooks, but I understand he puts on quite the show. Did you know he used to be a hair band heavy metal butt rocker?
Guitar chord forum - chordie → Posts by jerome.oneil
