Your Burning Questions |
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Oct 21 2013, 01:58 PM
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Found out the song he was playing was this Gimme Shelter by the stones;
http://www.totalsheetmusic.com/Gimme-Shelter-P1163662.aspx So the first chord I would play around D# minor pentatonic and switch to C# minor pentatonic for the next chords? How come this works, is it because the two keys share the B chord, so it's pivoting on that chord? Just trying to understand. |
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Oct 22 2013, 02:02 PM
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You could call it either depending on the bass note. If there is no basa player then I would probably go with Em since that's a more common chord.
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Oct 25 2013, 08:36 PM
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Cool, check out these two licks, they will both work over your key to get you going. Let me know how these turn out for you.
https://www.guitarmasterclass.net/guitar_fo...showtopic=47466 https://www.guitarmasterclass.net/guitar_fo...showtopic=49887 -------------------- |
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Oct 30 2013, 11:32 AM
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Hey Prof
Every now and again I find my self in awe of the sweet changes by gospel style pianists. I know some of the theory behind the basics of substitutions Tritone Sub, parallel major/minor, approaching from a semitone above below or a 5th etc. If I can find some good examples could we discuss the thinking behind them, so I could start encorporating them in my own compostions? -------------------- My SoundCloud
Gear Tyler Burning Water 2K Burny RLG90 with BK Emeralds Fender US Tele with BK Piledrivers Epiphone 335 with Suhr Thornbuckers PRS SE Custom 24-08 Ax8 Fessenden SD10 PSG Quilter TT15 |
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Oct 31 2013, 11:31 AM
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QUOTE (The Professor @ Oct 30 2013, 03:08 PM)  Great question! Here is a cool Gospel Blues form to check out in the mean time. Can you analyze this to start? A7/D7 Dm7 G7/A7/A7 D7/Dm7 G7/A7 Ab7/G7 F#7/ Bm7/E7#9/A7 F#7/Bm7 E7#9/ Ok here goes my analysis I7/IV7 iv7 G7/I7/I7 So we have an A blues with the Iv7 leading to it's parallel minor the G7 is throwing me a little I can hear it being used as a substitute for the v7 chord as it resolves nicely to the A7, but in terms of music theory I don't know why. G7 - GBDF E7 - EG#BD we have to common notes and two notes a half step away. On further thought and looking at it coming from the Dm7 (the iv7 of Am) rather than it going to the A7 , it is the VII7 of Am. D7/Dm7 G7/A7 Ab7/G7 F#7/ This line is more of the same but with a Chromatic walkdown to the VI7 F#7 - F# C# Bb E This gives us a common note to BM7 on the next line and a couple a half step away which help to move to it Bm7/E7#9/A7 F#7/Bm7 E7#9/ ii /Vi/i Vi7/ii7 V Here we have the classic 251 progression and again the VI7 which leads nicely back to the ii7 to the V7 ready to start again on the I7 The E7#9 (the hendrix chord is just adding a nice dissonant extention) This post has been edited by PosterBoy: Oct 31 2013, 11:32 AM -------------------- My SoundCloud
Gear Tyler Burning Water 2K Burny RLG90 with BK Emeralds Fender US Tele with BK Piledrivers Epiphone 335 with Suhr Thornbuckers PRS SE Custom 24-08 Ax8 Fessenden SD10 PSG Quilter TT15 |
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Nov 6 2013, 04:21 PM
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On the same subject of the gospel progressions etc I found this interesting tool
http://www.chordsoncards.com/main.sc Mainly for piano but they have brought out a set of cards for guitar It looks like you choose your key and then can find chord ideas based on your melody/top note or by bass note Maybe a nice way to get an interesting progression and then work out why it works -------------------- My SoundCloud
Gear Tyler Burning Water 2K Burny RLG90 with BK Emeralds Fender US Tele with BK Piledrivers Epiphone 335 with Suhr Thornbuckers PRS SE Custom 24-08 Ax8 Fessenden SD10 PSG Quilter TT15 |
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