Hey Joe I have a small problem, i was playing away the other day and all of a sudden i started to lose sound, it went down in volume and then up again and it kept doing it, i have the problem befour i had the head of my amp changed and it did not do it for a while, but it has started again????????? i can.t have worn 2 marshall heads out already could i?, has anyone got any sugestions? could it be my guitar leads, is it worth getting some planet waves? could some one please help me.

Cheers

of course, what i posted last night, was just looking at things from theory's perspective. You're right, i don't know of any instrument which has a different G# to Ab. And if you put it on a guitar it would be such a small fret spacing it'd be impossible to play. Does anyone know how the Buzzy Feiten system works (that Joe uses)? I assume it's something like tempering a piano.

Phrygian Dominant: Man! We are on the same wavelength!! I was playing that today (La Villa Strangiato)!! Then I played the Greg Howe version....Doesn't do RUSH justice though!!!! I love the way that tune slowly fades in on the intro!!

Thanks Peter....We were talking about two different amps.... BTW, Did I say Legacy!! Ooops! My bad dude, I haven't been myself lately since I can't go to JOE's concert here :-( But all is well, cause I have the DVD....

Peace all, /\/\ike

SOTD: Full Throttle....Greg Howe....A very interesting G3 prospect I might add :-)

Kinger - lol... lol so the answer to your problem...Local Person is quite right... you can only have one of each note value... so in the key of C# you have two very odd notes... they don't actually fit the conventional chromatic note schema... the notes are B# and E#..... these notes are eal values and have to exists to satisfy the rules of the scale... like having 7 different note values that can only occur once... to your ears E# sounds just like F, to your fingers and eyes E# is the same string and fret as F... infact, to the laws of physics, the frequency of the waveform for E# is the same as F..... so what is the difference???

the scale of G 'anything' will always contain 7 notes over the tonic of G... the type of scale [major / minor / etc] determines if the subsequent notes are sharp, natural or flat... but what ever happens the notes following the G will always be...
2nd - some kind of A
3rd - some kind of B
4th - some kind of C
5th - some kind of D
6th - some kind of E
7th - some kind of F so there will be 'one of each of the available note values'.

If the tonic of a given scale was F then the 7 notes in order would be: F, G, A, B, C, D, E. However, the type of scale used at the time would determine if it was: F, G, A, Bb, C, D, E or F, G, Ab, Bb, C, Db, Eb etc etc....

So.. yes you work out the 'pitches' correctly but you gave then notes the wrong values... working out C# was therefore a bit of a trick question to prove out this 'anomoly'.. and to prove that, in theoretical terms E# and F are completely different... because with Cas a tonic, E# is a major 3rd and F is a diminished 4th..... easy to prove too.... C, D, E, is threenotes... C, D, E, F is four notes

also... if C major is... C, D, E, F, G, A, B then C# is all of those notes.. but sharpened... C#, D#, E#, F#, G#, A#, B#

clarky, local person and everyone else SEE!!!!! this is why i hate the theory part...

so as i now understand it: if the tonic note is # then the subsequent notes will also be sharpened, and the same goes for a flattened tonic note?

but we have to avoid using the same written notes twice (only one F, only one G and so on) by sharpening or flattening adjacent notes in the scale? does this apply with every # or b tonic? it seems so easy to write all the scales incorrectly if the rules keep changing.

i was looking for a logic to this but i guess i'll have to accept it 'as is'

i've read everyones posts a few times and it is clear(er) now. but it threw me completely with the note name changes. thank you for all your help. i am learning slowly and i'm trying to catch up

Mr Nick - A# and Bb are not the same note...only the same pitch...A and A# together in the key of F is not correct... A is the 3rd of F. Bb is the 4th. A# does not represent the 4th, as it represents a 'sharpened major 3rd'.... there can be only a sinlge 3rd and a single 4th in a scale... if for some reason in a piece of music at a given point in time you needed an augmented 4th [in F it would be B] then you could introduce a 'sharppened major 3rd but only as an accidental - which gives A - A# - B..... however, in terms of tonality, the 3rd is a very important note so from a music grammar perspective, introducing the accidental on the 4th is more elegant - A - Bb - B.... or decending you'd use a b5th.... Cb - Bb - A... either way, the note A can never be used to represent a 4th in the key of F... A can only be the 4th of Eb or E....

in the key of 'F anything'.... the 3rd is always 'some kind of A' and the 4th is always 'some kind of B'.....

also, the most common cause for a 'double sharp' is the use of harmonic / melodic minor during a cadence...

Phrygian Dominant: WORD brotha'!! RUSH....nuff said :-)

AVARICE: Is this Mr. Stuart Hamm a member of T2J?!?! lol....

Clarky: I can imagine what you are going through..BTW, I got a JEM90ham asking me to buy it, and I am at a crossroads, lol! Should I go for it or get a regular production JEM 7V or JS etc?!?!....

Peace fellow SATCHaholics :-) /\/\ike

Hello joe how are you today. I have some question for you. I hope you can answer this question. First, I want to ask you : who are your guitar`s teacher? who are your favorite guitar`s player? i have heard when ten years old,youhave teached, is that true ? Now, are you opening guitar`s course?

just that all I can ask to you. Perhaps my english grammar is not good.thank`s for your attention. I hope you want give your gear.keep cool on your BLUES.