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Looking at it now though, I've used notes from Cmin Minor Pentatonic but targeted the Maj 3rd of the major chord. At the chord change near the end I've pretty much just run down and back up Diatonically.
However, for the original solo, over the repeated section (Cm7 to Bb/C) I'm pretty sure he throws in a couple of very quick passing A notes instead of Ab, which would make it C Dorian mode. At least that's what I use when I play my copy of the original solo, but again I don't claim to be right.
Being somewhat, well, challenged in the theory dept, I nearly always start with a minor pentatonic. If someone tells me it's in some specific mode I will give that a go. This time, as I said, I think I'm going to try and incorporate the melody - the solo section here is the same as the verse, up a tone, which is why it modulates up at the beginning and down again at the end.
I started with C minor pentatonic, too, but then threw in C major, C phrygian and C locrian too. And some other notes (deliberately). I know exactly why I put in each note, and I know exactly the type of effect I wanted to create with each particular note. At least that's what I keep telling myself when I listen back and my ears hurt.
“Theory is something that is written down after the music has been made so we can explain it to others”– Levi Clay
“Theory is something that is written down after the music has been made so we can explain it to others”– Levi Clay
“Theory is something that is written down after the music has been made so we can explain it to others”– Levi Clay