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Old 01-05-2012, 10:18 AM   #71 (permalink)
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It's good to know a little bit about scales and keys. Knowing modes can help you to solo in a more interesting manner, but once you learn these you should just learn improvisation. It's also a good idea to play other songs by other guitarists that you like so that you can emulate them in your solos after developing somewhat of a muscle memory attuned to your instrument.
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Old 01-05-2012, 11:43 PM   #72 (permalink)
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Originally Posted by Rubato View Post
You're not taking into account the voice leading, dissecting a phrase into separate parts and explaining them as if they exist in a vacuum goes against the idea of music analysis, it's listened to as an organic whole so why shouldn't it be analysed as an organic whole? Every chord even the diatonic ones are deviations from the tonic, a vi in A major could just as likely be a iii in D major applying functions to them is useless without looking at their place within the phrase.
isn't just having a chord sequence based on its root chord, with the scalar elements of each key, say - I major, II minor, III minor, IV major, V major, VI minor and VII minor, the most widely-used tonality in most modern songs? - it's because they appeal most to the untrained ears

if you're gonna subsume it and lead it to another key/root chord, the tonality isn't really that appealing, at least to somebody who's already used to the "normal" tonality
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Old 01-06-2012, 01:45 AM   #73 (permalink)
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isn't just having a chord sequence based on its root chord, with the scalar elements of each key, say - I major, II minor, III minor, IV major, V major, VI minor and VII minor, the most widely-used tonality in most modern songs? - it's because they appeal most to the untrained ears

if you're gonna subsume it and lead it to another key/root chord, the tonality isn't really that appealing, at least to somebody who's already used to the "normal" tonality
not really, a lot of music makes use of elements from closely related keys and the relative minor that the untrained ear has no problem with. The more distant regions may leave the average listener a little stumped but sacrificing creativity for a wider audience isn't always a good thing.
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Old 02-05-2012, 04:21 PM   #74 (permalink)
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So if the chord progression is fast, it works fine to just solo in the key of the chord progression. But if the chord progression is slow and you have plenty of time to change it up over each chord, it sounds better if you do so. If I play a phrase over chord 1, I can end it with a chord tone of chord 2 as chord 2 comes up in the progression. So it's like my phrases are resolving on key with each chord change. I'm not sure but I think that's one way to go about it.

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Old 05-08-2012, 08:41 PM   #75 (permalink)
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you must hate my stuff then . . . LOL!
I compose polytonal and polyharmonic pieces and then work a melody into this chaotic soup using unequal tempered scales that move in & out of all the mayhem.
Are the videos on the TaRkHeM link in your sig an example of this?
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