And don't forget man........ you're in a thread FILLED with awsome guitarists.... led_zep is a meanie in SRV blues, Pix will chomp off your head with his Satriani infuesed licks, Jemi and Zero can solo faster then they can run, and I will personally unleash a Black Label beating......

echo... the guitarist who could own me in guitar any day, any time.

never heard anything of yours, rough stuff or not... i'd like to hear your style, your sound, etc...

anyway, I like it the rough way.

ahem...

I think it's just a list of scales and doesn't explain much on how to use them in a song context

sigh...... just came back from class and realized how crappy a solo-er I am..... Take away my Pentatonics, and I can't solo for crap!!!!

Relying on Minor, Major and the Arpeggios while doing chord changes...... urgh...... somehow..... I just kept going back to the pentatonics......

I REALLY need some new inspiration WITHOUT relying on the pentas..... any recommendations???

Augmented
An Augmented triad consists of a starting tone, a tone a Major Third above the starting tone, and a third tone another Major Third above the second tone. The interval between the starting tone and the third tone is an Augmented Fifth, and it is this interval that gives the chord its name.

An example of an Augmented triad would consist of the tones C, E and G#.

The Augmented triad is a symmetrical chord, meaning that, if you were to add the octave of the starting tone to the top of the chord (another C, in this example), you'd have a chord made up al all Major Thirds: C - E - G# (Ab) - C.

What this means in practical terms is that the Root of an Augmented chord can be determined only by how the chord is spelled. Again referring to the example, and using the exact same tones:
C - E - G# = C Augmented (C+)
E - G# - B# © = E Augmented (E+)
Ab - C - E = Ab Augmented (Ab+)

Diminshed
The Diminished triad constists of a starting tone, a second tone a Minor Third above that, and a third tone a [/b]Minor Third[/b] above the second tone. The interval between the starting and third tones is a Diminished Fifth, and this is how the chord gets its name.

The Diminished triad often acts like a Dominant 7 chord without a root.

An example of a Diminished triad would be C - Eb - Gb

If we add a fourth tone another Minor Third above the third tone, we create the Fully-Diminished chord. An example of this chord would be:

C - Eb - Gb - Bbb (B double-flat = enharmonic A)

The fully-diminished chord, like the augmented triad, is symmetrical. Naming the chord depends entirely on how the chord tones are spelled and/or notated on the score.

Using the same tones, we can assign a fully-diminished chord one of four names:

C - Eb - Gb - Bbb = C diminished (C dim or C0 (imagine a small zero))

D# - F# - A - C= D# diminished

F# - A - C - Eb= F# diminished

A - C - Eb - Eb= A diminished

You can lower any tone of a fully-diminished chord to produce a Dominant 7 chord, and the tone you lowered will be the root of that 7 chord.

For example, if you lower the F# of the fully-diminished F#dim chord (F# - A - C - Eb) one-half step, the lowered tone (F) becomes the root of an F7 chord:
F - A - C - Eb

Practicing this all over the fingerboard will produce some very interesting insights and will improve your chord knowledge tremendously. Try it, and have fun.