Tag Info

New answers tagged

6

Of course there are infinite ways one might explore a scale or harmony compositionally, but one aspect of the pitch collection that made it interesting to Scriabin is that it can be used to resolve in a more-or-less traditional manner to a number of different distantly related harmonic areas. First off, a reminder about the harmonic possibilities of a ...


2

The notes from the Lydian dominant, containing a b7 and a #4 (#11) work over the dominant chords, as in 7th, 9th and 13ths. As with any scale with a #4 - plain Lydian is an example - that actual note gives a dissonance to the phrase it's used in, therefore needs to be used with care. This gives a feeling of tension, sometimes almost signalling a modulation ...


0

There is also certain composers who adhered to a very loose definition of scale. Debussy did this a lot. You would see a piece that you would feel is in E and then suddenly you are confronted with accidentals that make you wonder what exactly is going on. There is also the fact that modulations occur and they are not always defined to the dominant or ...


0

You ask for a systematic method. If there is only tab to follow, unless you know all the note names on guitar, it's difficult. When the music is there too, it's easier, provided you can name the dots. Make a list of all the notes used, not including the accidentals with a #, b or natural before them. There should be 7, but not all notes are used in every ...


3

With tabs you need to know some theory first on how to determine the key by the chord progression. A quick and simple way to do this is to find the first and/or last chord of the song. But learn I - IV - V twelve bar blues and how to solo with pentatonics first before hitting the modes. You need to understand basic theory before you get into anything beyond ...



Top 50 recent answers are included