My dad showed me this last night - it's at 3:50. Played by the master, Dann Huff. Fab solo, but listen to all those fucking key changes!
I've worked it out - it's a minor VI-VII-i but modulating through several different keys. Here's how I've written it down:
Chorus - C#m
Solo pt. 1 - Em, starting on B (b7 of above key)
Solo pt. 2 - G#m, starting on a D# (#7 of above key)
Solo pt. 3 - Cm, starting on G (#7 of above key)
Solo pt. 4 - F#m, starting on F# (#4 of above key)
Solo pt. 5 - Am, starting on C (#4 of above key)
Chorus - C#m
Em is the tonic minor of the relative major of the previous key (C#m) in the chorus, then it leaps up a major third to G#m, then another major third to Cm - but then a tritone to F#m, then a minor third to A, then a major third to return to C#m. I've just tried playing those notes as an arpeggio and that makes no sense either, not that that was likely to be particularly relevant anyway.
Anyone have the faintest clue how to explain how this sounds so great?
- "I'm going to write a very stiff letter. A VERY stiff letter. On cardboard."
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My band, Red For Dissent
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What is probably bending the ear are the changes and that occasionally he's anticipating the key change before it happens. What isn't helping is that the changes definitely feel pretty 'crow barred' in. That he kinda approaches each change in the same way emphasises this.
It's all in the ear of the beholder, but I think it's a pretty cool solo :-)
My band, Red For Dissent
I think the leading notes help the ear to accept the changes... IMHO
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?