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This Week on the Guitar Blog...

 

Angus Young's - Scales and Licks
This week on the GuitarBlog we run through how to become familiar with the scales Angus Young (from legendary rock group AC/DC) uses. The Angus Young lead guitar sound originates from a unique application of the common Major and Minor Pentatonic as well as, Blues scales. He orchestrates his sound by crossing these scales against classic, "Blue Notes," to create very interesting, "combination scale sounds," (for which Angus has become so well known for). By working on these combined scale patterns and studying a number of his solos, you will start to attain both a feel for his style and a good understanding for his use of combined pentatonic scales on the guitar. Enjoy the lesson!

 

RELATED VIDEOS for "Angus Young's - Scales and Licks":
David Gilmour - Scale Concepts

 

Jeff Beck - Lead Guitar Style

 

For more resources on the topic of Harmony and Theory, visit the course pages at Creative Guitar Studio / Harmony and Theory.

 

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Recent Video Lessons

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May 02, 2015:
Parallel Mode Theory

 

This guitar theory lesson covers how to begin learning the specific differences of each mode. It also covers how each mode can be properly used to compose unique chord progressions and melodies. Watch the video lesson to find out more, and Download the FREE MP3 JamTrack and PDF lesson handout for the practice examples.

GUITAR THEORY: Parallel Mode Theory

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Guitar Blog Q and A

 

 

Your EmailQ: Hi Andrew...

I just wanted to say thanks for making your Understanding Music Intervals lesson. You taught me in 15 minutes what my private lesson trombone teacher in school couldn’t teach me in more than 5 years of weekly lessons... just wanted to ask a question about the dim7.  

 

It seems to be an interval only in name since when you play it, it would sound as a major 6?  At least taking your example as C to B as a 7th, B flat as a minor 7th and then B double flat as a diminished 7th... effectively that makes the played interval C to A or a Major 6th, if I’m trying to identify the interval by ear.

 

What context can you use to make the decision on something you’re just listening to, to try to identify? Lastly, I noticed that the symbol you use for double sharp has dots in it but I was never taught a symbol with dots.  Is that a Canadian vs. United States difference?  I can’t seem to find the symbol you drew on a quick Google search.

- Nathan

 

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A: Hi Nathan...

Thanks, glad that video helped you. The Dim.7 and the Ma6 are what is known of as, Enharmonic. The difference between naming them will come to front and center if you wanted a distance of a 6th or a distance of a 7th.

 

Generally, this would come up most often when constructing chords, arpeggios, or various scales and you’re using several intervals together. For example, the Ma6 would be applied in the context of constructing a triad or arpeggio of major or minor quality. But, the Dim. 7 would be applied when constructing a Diminished chord, the Diminished arpeggio, or harmonizing the Harmonic Minor scale’s seventh degree, (which would be the Dim. 7 chord).

 

Keep in mind that although intervals are taught in theory as the distance of one note to another, they are generally used inside of situations where there are more than two notes. So, as you assumed in your question, their names are dependent upon the context in which they are used. As far as simple listening to note distances, (when perhaps analyzing a song by ear), I’d say 9 times out of 10 I’d name this particular distance as a Ma6.

 

Lastly, in regard to that double-sharp symbol... That type I had drawn was what would be called Manuscript Style. I found it in a Books.Google search for Theory and Technique for Music Notation. The book by Mark McGrain (page 37). Modern software such as Finale does not show the double sharp in that manner, just as an X.

 

Thanks for writing in. - Andrew Wasson

 

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