Yeah, of course, and minor are 1 3b 5..

But I'm looking for something a bt more advanced. Like how to construct exotic chords outside of diminished/augmented etc and put them in different positions on the neck and whatnot

i believe the same concept would be used, if you know your diminish scale, you can contruct the chords the same way,
maybe you should consider the melodic minor scales and the modes within them, they got some real exotic sounding scales/ chords.

i have'nt really grasp the concept of using some of these yet,
but try an e riff of some sort and play the a melodic minor over it, its got a mexolydian sounding thing with an eastern, almost indian like sound.

This post was edited by CrimsonOdin on May 23 2010 11:50am

bamp

Still lookin eh. I'm not sure what else to tell you...

Do you understand the theory behind the "harmonic overtone series" within the notes? This would be the theory behind why notes and scales and chords work the way they do but it requires far too much thinking to process it when improvising. A 'C' for example doesn't just resonate at it's own frequency (32.7 hz.) There is a series of harmonic overtone series that follow. The octave above the root (C @ 65.4 hz,) the 5th above that (G @ 98 hz,) The next octave, then the third above that octave then the 5th then the flat 7th then the next octave then they get real quiet! Anyways....

So you have your series, Root-Octave-5th-Octave-3rd-5th-7b-Octave. If you play the notes in the key of C and use those prominent harmonic overtones as your chord extensions you'd get, C-E-G-Bb. Play the notes on the guitar at 8th fret Low E string, 7th fret A string 5th Fret D string and 4th fret G string. The chord is harmonically sound or, it works! If you raise lets say the G, (your 5th fret on D to 6th fret) and play the chord, the chord sounds 'wrong' or dissonant. This is because the G# is not harmonically apparent in the harmonic overtone series of the tone center you've chosen, C. Sooooo....

If you follow the harmonic overtone series far enough you'll get most of the notes within the scale. The furthest notes are the 4th and 7th, F and B. This is why the 4th and 7th are considered 'avoid notes' within the scale and furthermore why the 7b is widely accepted! That's just the Ionian mode...in the Key of C. Now do all the modes within all the scales. I think maybe thats what you should look more at, what notes not to play. There's fewer to remember. But then after that, start playing them in some improvisations and get used to them. Then you'll figure out how to use them.

There's really nothing though that you can 'remember' in improvising. If there was, how could you call it improvising?

trust your ears and the theory will follow

O_O

"Harmonic overtone series" = key? lol

big words for small words

Like.. what different scales can I play over what chords in what key? An example would work, like.. patterns I can just remember and play around in while soloing. you know.

pick a chord, learn it and the notes within it,
improvise using the notes from the chord.

Just use your ear. Listen to the chord progression and find the notes that fit. Whatever sounds good sounds good.