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jimmybrown11

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Guitar 101: Learning Harmony Through Six-Note Hexatonic Scales, Part 4

Over the past three columns we’ve looked at several cool-sounding hexatonic (six-note) scales and learned how to create new ones by combining two triads (three-note chords) that don’t duplicate any notes. Now I’d like to show you an easy way to transpose your favorite hexatonic scales to different keys and get more musical mileage out of them by viewing them from different harmonic perspectives.

Guitar 101: Learning Harmony Through Six-Note Hexatonic Scales, Part 3

At the end of my last column I promised you that we would continue surveying some more cool-sounding hexatonic (six-note) scales, with the emphasis gradually shifting toward the exotic. But first I need to address a small, but important, mistake that accidentally got printed in that lesson (June 2001 issue): the final chord in last month’s FIGURE 1, which was correctly labeled E, should have been tabbed two frets higher up the neck, as depicted here in FIGURE 1E. Sorry about that!

Guitar 101: Learning Harmony Through Six-Note Hexatonic Scales, Part 2

Last time we learned how to combine two completely different triads (three-note chords) to create a six-note hexatonic scale. Using E major and F# minor triads to illustrate, we generated the blissful, gospel-flavored E major hexatonic scale (E F# G# A B C#) and looked at some neat examples of the many things you can do with it. As I mentioned at the end of the lesson, there’s a virtual mother lode of cool and unusual hexatonic scales waiting to be unearthed. All you have to do to find them is combine any two triads that don’t share any common tones (hint: combining E major and E minor won’t give you six different notes because both triads contain E and B).

Guitar 101: Learning Harmony Through Six-Note Hexatonic Scales, Part 1

Anyone who’s ever made an effort to learn some music theory knows that one of the biggest turn-offs is the sound of the major scale harmonized in triads (three-note chords). But before you dismiss the intellectual approach to learning music as being hopelessly tedious and uninspiring, realize that it doesn’t have to be that way.

Guitar 101 - Mastering Rhythm & Syncopation, Part 5: Quintuplets and Nightmare Licks

In part 4 we covered quarter-note triplets, 16th-note triplets and sextuplets and learned how to create tricked-out hemiola licks by taking a repeating note pattern and changing its rhythm so that the pattern begins, or "pops," on a different part of the beat each time it's repeated (rhythmic displacement). Now we're going to dive deeper into the rhythmic realm and explore a new subdivision, quintuplets-five evenly spaced notes per beat-and learn how to create psychedelic "nightmare" licks.

Guitar 101 - Mastering Rhythm & Syncopation, Part 4: More Fun with Triplets and Hemiola

In this lesson I'm going to show you more slick hemiola tricks that will help expand your phrasing vocabulary.

Guitar 101 - Mastering Rhythm & Syncopation, Part 3: Triplets and Hemiola

As promised at the end of our last lesson, we're now going to learn how to count, read and play triplets.

Quick Lick: Megadeth - "Hangar 18"

In the following video, Guitar World's Jimmy Brown shows you how to play the intro riff to "Hangar 18" from Megadeth's 1990 album, Rust In Peace.

Quick Lick: Slayer - "South of Heaven"

In the following video, Guitar World's Jimmy Brown shows you how to play the main riff to "South of Heaven," the title track to Slayer's 1988 classic.

Quick Lick: Metallica - "Sad But True"

In the following video, Guitar World's Jimmy Brown shows you how to play the main riff to "Sad But True" from Metallica's multi-platinum self-titled album from 1991.