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Global warming? Squirrels
Recession? Squirrels
Reduction of habitat of the Eurasian squirrel? Squirrels. Red squirrels are the overlords, the squirrel civil war is spiralling out of control.
I might be a conspiracy theorist but Squirrels shot JFK ... look on the grassy knoll what are there? trees.
Russel T Davis's success is entirely down a misunderstanding, if he hadn't said "I love nuts" he'd have been backed by a consortium of foxes thinking "he's a bit thick, all the good eating is on the hen" ...
but I digress. The whichness of where and the whyness of what is utterly redundant in music, unless you're making a documentary for TV land... but if you're making music as GuyBoden says "ears" make more use of them.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Again this is your assertion - I am glad I've rattled your cage... maybe the doors open, now.
Knowledge is good, practical knowledge is better and application is king.
Some harmonica players don't know why they play an F harp when playing over tunes written in the key of C.
Folk Violinists are musically literate but defer to flyshit at all times.
Pianists aren't taught about chords, simply harmony.
[-O<
Bandcamp
Spotify, Apple et al
That was sarcasm by the way.
Bandcamp
Spotify, Apple et al
a few thoughts re soloing over the A and then to the C. Clearly both chords are in different keys and as such they each have their own sets of scale / mode possibilities. What would make me choose one set over another would be context.
if the vibe was bluesy / classic rock [and provided that there were no G# notes knocking around from other instruments / voclas], then I'd probably consider the A to be an A7 [even if the 7th was not sounding. This would open up A mixolydian. The A mixo would in turn open up Am pentatonic as it' blue pentatonic'. The C# in the A chord vs the C in the pentatonic would of course clash.. however, you'd be mindful that when you play the C from the scale, give it a little bend towards the C#. The bend can even not quite get there [a micro-tone bend], but as it is heading in the direction of C# it'll be enough to de-emphasise the C / C# clash. Personally I'd most likely be playing licks that switch between A mixo, Am penta [blue], Amaj penta and Dmaj penta. The reason this works is cos you're mixing it up and not simply sticking to one tonality for the entire time the chord is sounding.
if this were a different more melodic context I'd me more inclined to be largely diatonic to the centre key [in this case A mixo]. Note though that Amixo and Cmaj share many notes. Knowing what these are can help with the transition.. for example.. when the A chord sounds, bend D to E a few beats before the transition to C. Leaving hanging there as the chord changes to C. The note E is also in the key of C so your bend will remain consonant through out the transition. Think of it as a pivot note [a note shared between the key of origin and the target key]. lil' tricks like this can make for some very nice transitions..
http://m.soundcloud.com/nosoapnoradio/where-to-begin
My band, Red For Dissent