Tim Reynolds - Message Board

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Tablature / Guitar Setup

Theory question - riff included

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T O P I C R E V I E W
GRock	Posted - 10/01/2003 : 12:14:18 PM hey all, i know i haven't been around for a while but school and work got to busy for the boards. i'm gonna try to stop by more often. anyways. i was practicing blues riffs last night and turnarounds and my finger slipped and i came up with this mostly by accident. i spent the rest of the night trying to figure a key for it. -------------------------------------------------------------- -------------------------------------7-9-6-7------------------ ------------------5-7-8-7------5-7-8---------7-8-5~~-7-8-5~~-- -------5---5-7~~----------7~~--------------------------------- -5-6-7---7---------------------------------------------------- -------------------------------------------------------------- the vibratos are where there is a one beat pause. there is a half beat pause on that first 8. now the question is what the heck key could i possibly play this in. an astute reader will notice that it has D, D#, E, F, F#, G, G#, and A. PLus there is a C note in there for good measure. arghh. that's 8 chromatic tones in a row. i am at a loss of where to put this and where i could play it. it sounds really cool. any help would be so so awesome.
7 L A T E S T R E P L I E S (Newest First)
GRock	Posted - 10/06/2003 : 4:50:38 PM quote: Originally posted by Poparad You don't have to make all the notes fit into one key, you could justify them just as passing chromatic notes that link together notes that are within the key. Especially in this one, because that's how they seem to be functioning. I would have to say it starts with an Am7 chord, and the passing tone is the #4/b5 (D#) which is totally a blues sound. I'm kind of hearing it move then to Dm7 in which case the G# functions the same way as it did on the Am7 chord, just transposed up a 4th to Dm. The F/F# going on towards the end there also fits that blues sound since it's blurring the major/minor quality of the D chord. theory rules as well too. word up dude.
Saint Jude	Posted - 10/06/2003 : 01:24:56 AM WHOLE TONE SCALE RULES!!!! . . . . . . . . . . . . . . . . sorry.
Poparad	Posted - 10/06/2003 : 01:06:58 AM You don't have to make all the notes fit into one key, you could justify them just as passing chromatic notes that link together notes that are within the key. Especially in this one, because that's how they seem to be functioning. I would have to say it starts with an Am7 chord, and the passing tone is the #4/b5 (D#) which is totally a blues sound. I'm kind of hearing it move then to Dm7 in which case the G# functions the same way as it did on the Am7 chord, just transposed up a 4th to Dm. The F/F# going on towards the end there also fits that blues sound since it's blurring the major/minor quality of the D chord.
GRock	Posted - 10/03/2003 : 11:18:50 AM quote: Originally posted by JemezFoodPeople a minor scale with raised 6th and 7ths is Melodic minor. just a raised 7th is harmonic. my bad. got a bit ahead of myself
JemezFoodPeople	Posted - 10/02/2003 : 3:54:39 PM a minor scale with raised 6th and 7ths is Melodic minor. just a raised 7th is harmonic.
GRock	Posted - 10/02/2003 : 3:01:17 PM yeah i was just wmessing around. and no i see harmonic minor! duh! it has the raised 6th and 7th degrees. it is so much more obvious when someone tells you. yeah i was just concerned with knowing the root so i'd be able to use the riff when jamming together. thanks so much.
JemezFoodPeople	Posted - 10/01/2003 : 1:17:34 PM the first half looks liek straight A minor blues. once you hit the 9th fret on the 2nd string ( G#), you enter the Harmonic minor system. I guess you are playing A minor blues, with a loose feel. Remember, it's not the key that's important, it's the feeling you get from it. not everything follows rules.

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