The following videos were live streams that discuss those 5 riff examples in great detail.
Here is the tablature for all 5 examples.
Questions or comments? Leave 'em in the comments section!
The 5 exercises using the half-whole diminished scale shown in this blog entry were covered in this live stream:
Here are the exercises all together in a much shorter video:
These are the scale shapes used in those 5 exercises:
Here are all of the exercises individually:
If you have any questions or suggestions for new live stream lessons, please share them in the comments section!
In the live stream on 4/21/18 a couple things were discussed.
The first thing (after a couple minutes of improv to start the stream) is how you can stop the bending of your guitar string without doing a bend release.
Then, to answer a special request, Happy Birthday was played in both a Major and Minor key.
***I believe at one point in the live stream I incorrectly said that the key of A minor was the relative minor key to A Major. That is WRONG!!! What I meant to say is that the key of A minor is the PARALLEL key to A Major***
This blog entry contains the resources used in putting together the live stream that covered the scales Hirojoshi (sometimes spelled Hirajoshi) and Kumoi.
Video Demonstrations of Ten Japanese Riffs
Hirojoshi (aka: Hirajoshi) Scale Guitar Riffs
Kumoi Guitar Scale Riffs
The Difference Between Kumoi and Hirojoshi
The Kumoi Scale has the following intervals = 1, 2, b3, 5 and 6
The Hirojoshi Scale has the following intervals = 1, 2, b3, 5 and b6
The only difference between these two scales is that the Kumoi has a natural 6, and the Hirojoshi has a flat 6.
People Naming the Scales Incorrectly
If you go by what the Guitar Grimmoire says, and a few websites, the intervals I listed above are correct.
In this video, the Hirojoshi scale is demonstrated, but the teacher calls it the Kumoi scale instead: www.youtube.com/watch?v=eDXOCNq9UH4
Here's that lesson on Guitar World's website: www.guitarworld.com/what-world-kumoi-japanese-scale-tab-and-video
If you look at the comment left at the bottom of the lesson, someone states that the Hirojoshi scale is indeed being used, and not the Kumoi.
Even wikipedia has the Hirajoshi scale listing notes/intervals that are actually the Kumoi scale, according to the Grimmoire.
Oli Herbert of All That Remains does a lesson for Guitar World on the Hirajoshi scale, and uses the same intervals that the Grimmoire does. www.guitarworld.com/lessons/investigating-hirajoshi-scale
Here's another site that has the intervals for Hirojoshi the same as the Grimmoire (although it begins on the 2nd instead of the first): www.pianoscales.org/hirajoshi.html
Scale Name Sources
The following links are websites I used in gathering information for the live stream this blog entry is based on.
Here is the Archived Live Stream Guitar Lesson
These 5 polyrhythm examples are written for two different guitars.
If you need help understanding polyrhythms in greater detail, please take a look at these previous polyrhythm/polymeter lessons:
The polyrhythms demonstrated in this lesson are:
You will see the tablature for the polyrhythm example followed by a video demonstration. This will be for all five examples.
The following is the full video lesson. You gotta watch it at least for the intro!
If you have any questions about this material please leave them in the comments section. DO IT!!!
For even MORE info on polyrhythms for guitar, check out the lesson posted by Musical U
This submission from Dean C. gets quite creative with the use of his scale knowledge.
Looks like there's even a Bsus4b5 chord used in one part of his performance; a chord rarely used in music. Very cool!
Another split screen performance, this submission from Dustin J. took a very different approach musically.
The bass line in the backing track ends up creating a lot of dissonance against the guitars that were written and performed. Yet, everything fits quite well.
Very unexpected and VERY cool!
Alex really took advantage of using split screen performances for this entry.
There are lots of changes in this submission loaded with creativity!
This entry, from Zane C., demonstrates a really good use of going between chords and riffs/licks.
He also does a good job of throwing in variety to change things up a bit as the song plays on. Very well done!
Something I really like about this entry is the fact that Mark didn't use ANY distortion. At all. Not even once!
With a contest geared towards inspiring the use of chords and riffs, I didn't think anyone would submit something clean. And, it's the first entry received! Still, everything fits very well!
There's even some chords used that step away from the key that the bass line is based in. This really helps sparks some interest in the song writing.
John Taylor - guitar and bass instructor for Mile High Shred.