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Edit: Just watched it. Rick's breakdowns really are great - there's so much more in here than a Lick Library lesson. He clearly loves Peter too.
Seriously: If you value it, take/fetch it yourself
The crazy thing was at the time, given the sales of the album he was set to soar into even higher orbit and as a fan of his playing I was really looking forward to his next album. And what did he do?
He released this:
WTF! Seriously.. I was a 17 year hard rock fan back then and there was no way I was walking into a shop and buying an album with that cover and title on it. What was he thinking of?
And yep.. Do You Feel Like We Do is superb on this live recording
I mean, it IS D dorian, because (as he mentions later) it has a B natural in the solo, but the whole “vi-I-ii” progression and his mentioning of the key of C major and his singling out of the E note early on in the solo at 2:50 as making it Dorian is really odd. The E has nothing to do with D Dorian, apart from confirming that it’s not Phrygian (which itself would be highly unusual, and we already know it because the C chord was not C minor).
It’s just a v-VII-i progression in D minor, so D minor is the i chord not the ii chord. The chords Am-C-Dm could be either D Aeolian or D Dorian; it’s only determined as Dorian on that first B natural in the solo at 3:33.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
The song is in D minor. When he plays the solo, he uses a raised 6th. This is called soloing in Dorian style.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
But I take it you’re not disputing that it’s Dorian, more is it a case that you disagree with him calling Dm the ii chord rather than calling it i?
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
But what if the same chords were used in a more 'conventional' order, such as Dm7 G C Am7? Is that i-IV-VII-v and if so, out of interest how would you analyse the changes to something like Autumn Leaves for example?
My argument being that it's not unnecessary or misleading at all. He's using the parent key approach, the riff before the solo and the solo itself are Dorian and he defines C as being the parent key to analyse against, in a VERY blasé manner it has to be said. It's a standard way of doing things, establish the parent key and analyse against that.
Anyways, I'm not being difficult. I just like to pull these things apart
I’ll PM you more thorough stuff but in general I just think that he’s introduced ambiguity where none is needed.
If one’s talking about ‘music’ (rather than notes), I’d rather base it off the home note rather than an arbitrary key related only by shared notes not by musical context. And seeing as Beato IS talking about the musical flow of the solo in D (phrasing, melody etc) introducing anything other than i-v-VII-i is just counter-productive (and wrong )
I do respect a lot of Beato’s output, but sometimes I think he looks at music from the wrong end.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Using the parent key approach easily groups the chords together to then be able to see if anything changes or is different, but in this case Dm7 is home and I think he makes that pretty clear, I think him mentioning C is in passing and an assumption on his part that people know about this stuff, as he flies through it all pretty quickly.
Anyway, enough derailment from me, we can continue to bicker via PM