Sweep I wrote

Shawn · 04-23-2005, 11:32 PM

I thought I'd share some of my technique to you all.
I wrote this sweep a couple years ago and like to incorporate it with pentatonic runs in blues.
E-----15---12--------------------------------------------------------------------
B---------------14----------------------------------------------------------------
G-------------------15-----------------------------------------------------------
D------------------------14------------------------------------------------------
A----------------------------13--------------------------------------------------
E---------------------------------15----------------------------------------------
B--------------------------------------14----------------------------------------
Enjoy.

Metal Ken · 04-24-2005, 05:34 PM

Thats cool, looks like its around a C# minor chord.

Shawn · 04-24-2005, 07:07 PM

I wonder if that would work, HB. I use it in E.
I just picked up my PWH and hit C#. It would work well. Nice!

Metal Ken · 04-24-2005, 09:43 PM

Well, it works well in E, cause C# Minor is the relative minor Of E Major.

macalpine88 · 04-25-2005, 05:29 AM

i think it may be diminished.

Drew · 04-25-2005, 09:25 AM

It's kinda a C# dim stuck on top of an F# dim. Arranged around a bit, I guess an Edim7 (E,G,Bb, Db) with an added m6 and 9th (C and F#) - Edim7m6/9, I guess, if you had to call it something.

The F# dim at the bottom is a good substitution for a B7 chord (it inverts to a Cdim7, which is essentially a B7 with the root moved up a half step, suggesting a B7b9 if you arpeggiate it over a B in the bass), so it could be used as that, with some rather tense upper extensions. Is this what you do with it? The C#dim at the top is a good substitution for an A7 (it inverts to a Bbdim7, which is essentially an A7b9), but with the F#dim in the bass you've got some VERY tense half-step intervals present - C and C# (major and minor 3rds), Bb and A (b9 and implied root)... Youd be looking at something like an A7b9#9 (as the m3 would have to be described as a 9th, not a 3rd), which is just a harmonic mess. It might work, but I'd want to hear it.

You use this over the B, then, in an E blues, right?

-D

Metal Ken · 04-25-2005, 11:46 AM

Yeah, i was looking at the minor tonality only for some reason, yesterday. Could have had something to do with the 4 hours of sleep i had from friday until yesterday.. lol..
Then i noticed a bunch of other weird intervals that could be interpreted. SO i was like 'screw it, im goin to bed' ;p

TheReal7 · 04-25-2005, 11:50 AM

Quote:

Originally Posted by Drew

It's kinda a C# dim stuck on top of an F# dim. Arranged around a bit, I guess an Edim7 (E,G,Bb, Db) with an added m6 and 9th (C and F#) - Edim7m6/9, I guess, if you had to call it something.

The F# dim at the bottom is a good substitution for a B7 chord (it inverts to a Cdim7, which is essentially a B7 with the root moved up a half step, suggesting a B7b9 if you arpeggiate it over a B in the bass), so it could be used as that, with some rather tense upper extensions. Is this what you do with it? The C#dim at the top is a good substitution for an A7 (it inverts to a Bbdim7, which is essentially an A7b9), but with the F#dim in the bass you've got some VERY tense half-step intervals present - C and C# (major and minor 3rds), Bb and A (b9 and implied root)... Youd be looking at something like an A7b9#9 (as the m3 would have to be described as a 9th, not a 3rd), which is just a harmonic mess. It might work, but I'd want to hear it.

You use this over the B, then, in an E blues, right?

-D

my head hurts. LOL

Shawn · 04-25-2005, 11:54 AM

Exactly, Drew. The blues scale in E major which I use over rhythmicly the low B then A back to E (your basic 3 bar blues). It works well.
Especially playing it 3 notes down (12-9) instead of (15-12) where it meets
the major scale in E blues as the original one I wrote consists of E minor blues.
I will do some recordings of this technique.

Metal Ken · 04-25-2005, 11:56 AM

Quote:

Originally Posted by TheReal7

my head hurts. LOL

There's like 15 things it could, depending on what you want to look at as the root note ;p

Drew · 04-25-2005, 01:15 PM

I'm a ....ing retard, I forgot this was on a seven string, not a 6, so the lowest note's a C#, not an F#. Sorry, I'm just not used to actually getting a chance to work with seven string sweeps on online forums.

In that case, it's a straight-up C#dim7 sweep pattern, which we can ehnarmonically call a A7b9. You could totally play that over the IV chord in a blues, and as the IV in the V-IV-I part of the turnaround is my favorite chord to go a little "out" on, that's where I'd drop something like this. Over the B (V) chord, where I originally thought you'd be putting it, it'd sound like absolute shit

(the intervals in question against B would be the 2, 6, b7, and 4).

I'd personally look to voice that one a little more evenly, myself - you go b5, m3, b5, b5, m3, m3, m3 - but the basic arpeggio is sound, now that we're on the same page.

Cool seven string trick, although it's a tad stretchy -

Code:

|---------------------------9-12-15/18-15-12------------------9-12-15\12-9-6--------|
|-----------------------------------------------------------------------------------|
|-------------------9-12-15------------------18-15-12\9-12-15----------------12-9-6-|
|-----------------------------------------------------------------------------------|
|----------10-13-16-----------------------------------------------------------------|
|-----------------------------------------------------------------------------------|
|-11-14-17--------------------------------------------------------------------------|

It's really cool when you get up to the top couple strings, where this lick is perfectly parallel on the first and 3rd. It gets stretchy as hell towards the bottom of the neck, but at the top it's pretty manageable...

-D

macalpine88 · 04-25-2005, 01:52 PM

thats just like petruccis run on a change of seasons, the darkest of winters. a semi sort of diminished thing in.

Drew · 04-25-2005, 02:39 PM

Which, the string skipping thing? It's a straight-up dim7 arpeggio, three notes per string.

The guy I got that from (The Jonezter, www.guitarwar.com) listens to a decent amount of DT, that's probably where he picked it up - it's definitely the sort of thing I could see JP doing.

-D

macalpine88 · 04-25-2005, 03:32 PM

Code:

|-------------------------------|
|-------------------------------|
|-------------------------------|
|-------------------12h15h18----|
|----------12h15h18-------------|
|-12h15h18----------------------|etc.

its something like this, im to lazy to get my guitar but this is something like what he does. it starts on a root and he hammers on a minor 3rd then another so it is a diminished triad on each string.

Metal Ken · 04-25-2005, 03:34 PM

Michael Romeo is a big fan of that too.

macalpine88 · 04-25-2005, 03:40 PM

micheal romeo has the cooloest way of aproaching songs, example- in egypt he plays the same riff in the beggining of the song but every time he plays it he goes into a different key. same with communion and the oracle. there about 2 bars of 4/4 in the whole song and it cycles through about 11 keys

Shawn · 04-25-2005, 05:23 PM

Here's an example of what I use alot playing E (blues)

Code:

E--------------------------------------------------------12--15--12------------------------------------------------------------------------12--14--12--9------|
B------------------------------------------------12--15--------------14------------------------------------------------------------12--14-----------------11--|
G------------------------------------12--14--15--------------------------15--------------------------------------------12--13--14-----------------------------|
D----------------------------12--14------------------------------------------14--------------------------------11--14-----------------------------------------|
A--------------------12--14------------------------------------------------------13--------------------11--14-------------------------------------------------|
E------------12--15------------------------------------------------------------------15------12--14-----------------------------------------------------------|
B---12--15-------------------------------------------------------------------------------14-------------------------------------------------------------------|

E---------------------------|
B---------------------------|
G----12---------------------|
D---------11----------------|
A-------------10------------|
E------------------12-------|
B----------------------11---|

Macalpaine88 is right about it being diminished. Now I've been using it in Jazz context which is beyond this. Enjoy.

Shawn · 04-25-2005, 05:48 PM

What the hell, Here's another one for the road. It's just a lick I've incorporated for 2 or 3 years now. Again, I use it in E blues.

Code:

E-----------------------------------------------------------------------12--15--12--9----------------------------------9--------------
B-------------------------------------------------------------------14-----------------11------------------10--11--12-----------------------
G-------------------------------------------------------12--14--15-------------------------12--11--9---11B-----------------12--11--9--
D----------------------------------------11--12--14-------------------------------------------------------------------------------------------
A-------------------------10--12--13----------------------------------------------------------------------------------------------------------
E------------9--10--12-------------------------------------------------------------------------------------------------------------------------
B--10--11--------------------------------------------------------------------------------------------------------------------------------------

BTW, Drew, Nice stretch seven string trick.

Drew · 04-25-2005, 06:11 PM

Edited the tabs to make the meadable. Flobanez, a suggestion for posting tabs - write them out in Notepad or some similar sketch-type word editor that uses proportional (fixed width) fonts, then post them with "code" brackets so they show up proportionally. Verify I got everything right, too, that last one was a bit tricky to work out what you were trying to show.

-D

Shawn · 04-26-2005, 10:41 AM

Thanks. I like the way it looks now that it's edited. How'd you do that?
-Shawn

Drew · 04-26-2005, 10:48 AM

Just like I described - I used my Mod-ly superpowers to copy your original tab into Notepad, which uses a proportional font by default, then just deleted all the extra "-"'s until everything seemed to line up the way you wanted it to, then put {code} and {/code} at either end, just using the non-shifted form. Alternately, you can just use the "Code" button in advanced view.

FoxMustang · 04-26-2005, 11:24 AM

Not to be nit-picky - but proportional width font = variable width font. Notepad uses a fixed width font by default.

Carry on

Shawn · 04-26-2005, 11:37 AM

Quote:

Originally Posted by Drew

Edited the tabs to make the meadable. Flobanez, a suggestion for posting tabs - write them out in Notepad or some similar sketch-type word editor that uses proportional (fixed width) fonts, then post them with "code" brackets so they show up proportionally. Verify I got everything right, too, that last one was a bit tricky to work out what you were trying to show.

-D

I just noticed there was a little something off. But like you said it's tricky.....
But here is the right way. If you can edit it. Sorry about doin' this again.-
E-----------------------------------------------------------------9-----------------
B-------------------------------------------------10--11--12---------------------
G--------12--11--9--11(bendWholeStep)---------------------12--11--9----

basically delete the last 12 11 9 on "G" and 9 on "B" on #18 post

Drew · 04-26-2005, 01:41 PM

Hahaha, oops... thanks Fox!

Changed accordingly - let me know if it's closer, as I'm still not 100% sure what you're asking.

-D

Shawn · 04-26-2005, 06:28 PM

What Im asking is Exactly what you did. You fixed it. It's 100% better. Thanks! I appreciate it.

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04-24-2005, 05:34 PM	#2
Metal Ken Hates the Air Join Date: Jun 2004 Location: Florida Posts: 17,846 Thanked: 82 Feedback Score: 3 reviews	Thats cool, looks like its around a C# minor chord. If you list your gear in your signature, you're a prick.

04-24-2005, 09:43 PM	#4
Metal Ken Hates the Air Join Date: Jun 2004 Location: Florida Posts: 17,846 Thanked: 82 Feedback Score: 3 reviews	Well, it works well in E, cause C# Minor is the relative minor Of E Major. If you list your gear in your signature, you're a prick.

04-25-2005, 09:25 AM	#6
Drew Fear the Polo! Join Date: Aug 2004 Location: Somerville, MA Posts: 21,655 Thanked: 154 Feedback Score: 8 reviews	It's kinda a C# dim stuck on top of an F# dim. Arranged around a bit, I guess an Edim7 (E,G,Bb, Db) with an added m6 and 9th (C and F#) - Edim7m6/9, I guess, if you had to call it something. The F# dim at the bottom is a good substitution for a B7 chord (it inverts to a Cdim7, which is essentially a B7 with the root moved up a half step, suggesting a B7b9 if you arpeggiate it over a B in the bass), so it could be used as that, with some rather tense upper extensions. Is this what you do with it? The C#dim at the top is a good substitution for an A7 (it inverts to a Bbdim7, which is essentially an A7b9), but with the F#dim in the bass you've got some VERY tense half-step intervals present - C and C# (major and minor 3rds), Bb and A (b9 and implied root)... Youd be looking at something like an A7b9#9 (as the m3 would have to be described as a 9th, not a 3rd), which is just a harmonic mess. It might work, but I'd want to hear it. You use this over the B, then, in an E blues, right? -D "...and everything under the sun is in tune, but the sun is eclipsed by the moon." http://www.metalguitarist.org

04-25-2005, 11:46 AM	#7
Metal Ken Hates the Air Join Date: Jun 2004 Location: Florida Posts: 17,846 Thanked: 82 Feedback Score: 3 reviews	Yeah, i was looking at the minor tonality only for some reason, yesterday. Could have had something to do with the 4 hours of sleep i had from friday until yesterday.. lol.. Then i noticed a bunch of other weird intervals that could be interpreted. SO i was like 'screw it, im goin to bed' ;p If you list your gear in your signature, you're a prick.

04-23-2005, 11:32 PM	#1
Shawn Ibanez 7s Join Date: Apr 2005 Location: Southern Maine Posts: 24,509 Thanked: 146 Feedback Score: 15 reviews	Sweep I wrote I thought I'd share some of my technique to you all. I wrote this sweep a couple years ago and like to incorporate it with pentatonic runs in blues. E-----15---12-------------------------------------------------------------------- B---------------14---------------------------------------------------------------- G-------------------15----------------------------------------------------------- D------------------------14------------------------------------------------------ A----------------------------13-------------------------------------------------- E---------------------------------15---------------------------------------------- B--------------------------------------14---------------------------------------- Enjoy.

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04-24-2005, 07:07 PM	#3
Shawn Ibanez 7s Join Date: Apr 2005 Location: Southern Maine Posts: 24,509 Thanked: 146 Feedback Score: 15 reviews	I wonder if that would work, HB. I use it in E. I just picked up my PWH and hit C#. It would work well. Nice!

04-25-2005, 05:29 AM	#5
macalpine88 ss.org Regular Join Date: Jul 2004 Location: Indiana Posts: 518 Thanked: 0 Feedback Score: 0 reviews	i think it may be diminished.

04-25-2005, 11:54 AM	#9
Shawn Ibanez 7s Join Date: Apr 2005 Location: Southern Maine Posts: 24,509 Thanked: 146 Feedback Score: 15 reviews	Exactly, Drew. The blues scale in E major which I use over rhythmicly the low B then A back to E (your basic 3 bar blues). It works well. Especially playing it 3 notes down (12-9) instead of (15-12) where it meets the major scale in E blues as the original one I wrote consists of E minor blues. I will do some recordings of this technique.

04-25-2005, 01:15 PM	#11
Drew Fear the Polo! Join Date: Aug 2004 Location: Somerville, MA Posts: 21,655 Thanked: 154 Feedback Score: 8 reviews	I'm a ....ing retard, I forgot this was on a seven string, not a 6, so the lowest note's a C#, not an F#. Sorry, I'm just not used to actually getting a chance to work with seven string sweeps on online forums. In that case, it's a straight-up C#dim7 sweep pattern, which we can ehnarmonically call a A7b9. You could totally play that over the IV chord in a blues, and as the IV in the V-IV-I part of the turnaround is my favorite chord to go a little "out" on, that's where I'd drop something like this. Over the B (V) chord, where I originally thought you'd be putting it, it'd sound like absolute shit (the intervals in question against B would be the 2, 6, b7, and 4). I'd personally look to voice that one a little more evenly, myself - you go b5, m3, b5, b5, m3, m3, m3 - but the basic arpeggio is sound, now that we're on the same page. Cool seven string trick, although it's a tad stretchy - Code: \|---------------------------9-12-15/18-15-12------------------9-12-15\12-9-6--------\| \|-----------------------------------------------------------------------------------\| \|-------------------9-12-15------------------18-15-12\9-12-15----------------12-9-6-\| \|-----------------------------------------------------------------------------------\| \|----------10-13-16-----------------------------------------------------------------\| \|-----------------------------------------------------------------------------------\| \|-11-14-17--------------------------------------------------------------------------\| It's really cool when you get up to the top couple strings, where this lick is perfectly parallel on the first and 3rd. It gets stretchy as hell towards the bottom of the neck, but at the top it's pretty manageable... -D "...and everything under the sun is in tune, but the sun is eclipsed by the moon." http://www.metalguitarist.org

04-25-2005, 01:52 PM	#12
macalpine88 ss.org Regular Join Date: Jul 2004 Location: Indiana Posts: 518 Thanked: 0 Feedback Score: 0 reviews	thats just like petruccis run on a change of seasons, the darkest of winters. a semi sort of diminished thing in.

04-25-2005, 02:39 PM	#13
Drew Fear the Polo! Join Date: Aug 2004 Location: Somerville, MA Posts: 21,655 Thanked: 154 Feedback Score: 8 reviews	Which, the string skipping thing? It's a straight-up dim7 arpeggio, three notes per string. The guy I got that from (The Jonezter, www.guitarwar.com) listens to a decent amount of DT, that's probably where he picked it up - it's definitely the sort of thing I could see JP doing. -D "...and everything under the sun is in tune, but the sun is eclipsed by the moon." http://www.metalguitarist.org

04-25-2005, 03:32 PM	#14
macalpine88 ss.org Regular Join Date: Jul 2004 Location: Indiana Posts: 518 Thanked: 0 Feedback Score: 0 reviews	Code: \|-------------------------------\| \|-------------------------------\| \|-------------------------------\| \|-------------------12h15h18----\| \|----------12h15h18-------------\| \|-12h15h18----------------------\|etc. its something like this, im to lazy to get my guitar but this is something like what he does. it starts on a root and he hammers on a minor 3rd then another so it is a diminished triad on each string.

04-25-2005, 03:34 PM	#15
Metal Ken Hates the Air Join Date: Jun 2004 Location: Florida Posts: 17,846 Thanked: 82 Feedback Score: 3 reviews	Michael Romeo is a big fan of that too. If you list your gear in your signature, you're a prick.

04-25-2005, 03:40 PM	#16
macalpine88 ss.org Regular Join Date: Jul 2004 Location: Indiana Posts: 518 Thanked: 0 Feedback Score: 0 reviews	micheal romeo has the cooloest way of aproaching songs, example- in egypt he plays the same riff in the beggining of the song but every time he plays it he goes into a different key. same with communion and the oracle. there about 2 bars of 4/4 in the whole song and it cycles through about 11 keys

04-25-2005, 06:11 PM	#19
Drew Fear the Polo! Join Date: Aug 2004 Location: Somerville, MA Posts: 21,655 Thanked: 154 Feedback Score: 8 reviews	Edited the tabs to make the meadable. Flobanez, a suggestion for posting tabs - write them out in Notepad or some similar sketch-type word editor that uses proportional (fixed width) fonts, then post them with "code" brackets so they show up proportionally. Verify I got everything right, too, that last one was a bit tricky to work out what you were trying to show. -D "...and everything under the sun is in tune, but the sun is eclipsed by the moon." http://www.metalguitarist.org

04-26-2005, 10:41 AM	#20
Shawn Ibanez 7s Join Date: Apr 2005 Location: Southern Maine Posts: 24,509 Thanked: 146 Feedback Score: 15 reviews	Thanks. I like the way it looks now that it's edited. How'd you do that? -Shawn

04-26-2005, 10:48 AM	#21
Drew Fear the Polo! Join Date: Aug 2004 Location: Somerville, MA Posts: 21,655 Thanked: 154 Feedback Score: 8 reviews	Just like I described - I used my Mod-ly superpowers to copy your original tab into Notepad, which uses a proportional font by default, then just deleted all the extra "-"'s until everything seemed to line up the way you wanted it to, then put {code} and {/code} at either end, just using the non-shifted form. Alternately, you can just use the "Code" button in advanced view. "...and everything under the sun is in tune, but the sun is eclipsed by the moon." http://www.metalguitarist.org

04-26-2005, 11:24 AM	#22
FoxMustang ss.org Regular Join Date: Mar 2005 Location: St. Louis, MO Posts: 338 Thanked: 0 Feedback Score: 1 reviews	Not to be nit-picky - but proportional width font = variable width font. Notepad uses a fixed width font by default. Carry on Tony

04-26-2005, 01:41 PM	#24
Drew Fear the Polo! Join Date: Aug 2004 Location: Somerville, MA Posts: 21,655 Thanked: 154 Feedback Score: 8 reviews	Hahaha, oops... thanks Fox! Changed accordingly - let me know if it's closer, as I'm still not 100% sure what you're asking. -D "...and everything under the sun is in tune, but the sun is eclipsed by the moon." http://www.metalguitarist.org

04-26-2005, 06:28 PM	#25
Shawn Ibanez 7s Join Date: Apr 2005 Location: Southern Maine Posts: 24,509 Thanked: 146 Feedback Score: 15 reviews	What Im asking is Exactly what you did. You fixed it. It's 100% better. Thanks! I appreciate it.

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