theguitarwiz (November 30, 1999 at 12:00 am)

HiNo worries, just learn the patterns for now and it will come around.Trust me :-)BestMike

theguitarwiz (November 30, 1999 at 12:00 am)

HiBoy I have no idea. They started this little QY10 Yamaha sequencer using the demo patterns that were in there and I did one take improvs over them to give examples of these patterns.Sorry I couldnt help.BestMike

jomnlet (November 30, 1999 at 12:00 am)

wats the chords played in the example?..

shamusfinanigan (November 30, 1999 at 12:00 am)

You know i'm sure this makes sence all, but I can not understand one bit of this.

theguitarwiz (November 30, 1999 at 12:00 am)

Whoa there jdean! Wrong is a pretty strong word. Are you sure you are right? There are those that feel modal playing is note emphasis other than the root. There are those that feel it is the alteration of the scale (my college prof was in that camp). I dont know for sure one way or the other, but then again it really doesnt matter to me. I do know that the only wrong in music is the one that doesnt pay the bills.Even then its still art :-)Mike

jdean9 (November 30, 1999 at 12:00 am)

You are playing an E major scale, calling it phrygian, playing a C# minor pentatonic (related to C# aeolian in this case) that you call a phrygian pentatonic. There are 3 minor pentatonics inside each of these patterns and in this case the one related to phrygian would be the one having the notes G#-B-C#-D#-F#I understand your way of thinking, and it seems to be working well for you, judging by your playing. But the things you teach are confusing at best and just plaing wrong at worst. Sorry

theguitarwiz (November 30, 1999 at 12:00 am)

Hey again :-)You are absolutely right but I just found people kept it straight in their head this way. Using position numbers would have worked as well.Thanks again for the comment and insight.michaeldricketts dot com

theguitarwiz (November 30, 1999 at 12:00 am)

HelloWhen I used to teach, I named the patterns after the degree of the scale that they started on. Later the students could then use those patterns transposed over the root of the key for one definition of modal playing. Now I know theres a couple different views on modal playing, but neither one ever much mattered to me. For me it is know the fretboard cold, and then play what you hear in your head. So far I have been landing on my feet.Thanks for the comment.michaeldricketts dot com

jdean9 (November 30, 1999 at 12:00 am)

or pattern 1-7

jdean9 (November 30, 1999 at 12:00 am)

I think you should rather call your 7 box fingering positions "position 1-7" or something in that direction. Because when your students are to learn about modes later, they'll inevitably have to learn seeing the 7 modes in each of those boxes. If I were to play E major in the 4th-7th fret area, i'd rather locate one of the E notes in that area and place that box fingering pattern (that you call the phrygian pattern) around those notes, seeing the E's as the root notes, not the G#