#1
Hey, I'm not sure if this is the right forum... But does anyone know what scales opeth use for there solos.
#4
I'm gonna be cliche and say analyze the notes. Look at the melody and chord progression. I can't remember what the solo sounds like right now. lol
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#5
i quickly checked a tab i had in my gp folder and it was in e natural minor. didnt bother to double check by actually listening to the song thou.
#6
most, if not all of their songs are just standard diatonic scales and pentatonics
#7
They may also use altered scales specifically to fit over a given chord at a given time. Theoretically you could come up with the most god awful sounding chord without a name, and if you play notes over it that are the same notes that made up that god awful chord, the notes would work against the chord perfectly (not claiming that the overall sound would be considered pleasant or even desirable to listen to!). A lot of bands throw in a crazy outside chord, and make it fit by skillfully adjusting the scale at that point to accommodate that chord, by using one or more of the notes in that chord in the lead as it passes over it
#8
Quote by Sean0913
They may also use altered scales specifically to fit over a given chord at a given time. Theoretically you could come up with the most god awful sounding chord without a name, and if you play notes over it that are the same notes that made up that god awful chord, the notes would work against the chord perfectly (not claiming that the overall sound would be considered pleasant or even desirable to listen to!). A lot of bands throw in a crazy outside chord, and make it fit by skillfully adjusting the scale at that point to accommodate that chord, by using one or more of the notes in that chord in the lead as it passes over it


i think you're giving opeth's harmony a bit too much credit lol, i dont think this applies to them. opeth mainly play the same scales regardless of whatever harmony was being played, they dont really utilize the changes as well as they should
#9
Maybe that's because Mikael hardly knows any theory. He works everything out by ear.
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#10
i think its just because its not an important thing to do in his line of music
#11
I know quite a few of their songs have dominant phrygian / harmonic minor spice to them.
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#12
Quote by motoko
i think you're giving opeth's harmony a bit too much credit lol, i dont think this applies to them. opeth mainly play the same scales regardless of whatever harmony was being played, they dont really utilize the changes as well as they should



Im surprised to see that statement. I'm wondering if you have some specific song examples examples of this. I find Opeth to be quite intelligent and specific musically and harmonically.

For any given song do you have their chord progressions and a harmonic analysis of the scales that they use over that chord progression, and specifically are the chords simply Minor Diatonic? I hear some real sophistication and interesting things harmonically going on with them...including the use of Phrygian Dominant, Diminished, Whole Tone and Harmonic Minor.

Id be interested to see this, and quite surprised.
#14
Quote by Sean0913
Im surprised to see that statement. I'm wondering if you have some specific song examples examples of this. I find Opeth to be quite intelligent and specific musically and harmonically.

For any given song do you have their chord progressions and a harmonic analysis of the scales that they use over that chord progression, and specifically are the chords simply Minor Diatonic? I hear some real sophistication and interesting things harmonically going on with them...including the use of Phrygian Dominant, Diminished, Whole Tone and Harmonic Minor.

Id be interested to see this, and quite surprised.


?

have you actually looked at their songs? they dont do anything remarkable harmonically. from knowledge ive only seen ONE chord voicing that was nice, the overwhelming majority of them are very standard indeed, just triads and some adds but ive never heard any really nice upper structure chords apart from a few random examples

i dont know about you, but hearing stuff such as diminished and harmonic minor in heavy metal music is neither sophisticated nor interesting

i dont think there are very many intelligent bands harmonically, stick to jazz if you want that
#15
Quote by ReynboLightning
^what this guy said.
Opeth do ALOt of out of the ordinary stuff...


no
#16
Quote by motoko
?

have you actually looked at their songs? they dont do anything remarkable harmonically. from knowledge ive only seen ONE chord voicing that was nice, the overwhelming majority of them are very standard indeed, just triads and some adds but ive never heard any really nice upper structure chords apart from a few random examples

i dont know about you, but hearing stuff such as diminished and harmonic minor in heavy metal music is neither sophisticated nor interesting

i dont think there are very many intelligent bands harmonically, stick to jazz if you want that


I suppose it depends on your point of reference. Are you talking about Atonal music being more harmonically interesting? Or are you wanting to hear a 13th in dark metal, or maybe a m7b9? I have never tried to or heard anyone try to play like John McLaughlin or Alan Holdsworth for a Dark metal context before, I suppose it could be tried.
#17
Start Sarcasm


Don't mention John McLaughlin around motoko, he's a lame ass pentatonic shredder.

Besides he's not jazz, and there's absolutley no harmonical interest in any music besides jazz. Ron Jarzombek's Circle of Tones stuff and 12 Tone stuff is lame. John McLaughlin's hyper-lydian sequence (a sequence of alternating major and minor thirds) that was used to construct the song A Lotus on Irish Streams is lame ass, and Dream Theater using inversions of quartal harmony moving in contrary motion at the start of Erotomania is nonsense. I suppose Joe Satriani's Pitch Axis theory is rubbish, and all the wonderfull songs he used it to bring forth are peices of shit.

End Sarcasm


You seriously need to widen your narrow perception (to motoko)

I'm sure you have the potential to be a really nice guy, and a good musician, but on this forum you're just being an ass. If you don't like metal, don't post in threads about it and feel the need to tell the world that its shit.

I've looked over a whole lot of your posts everything from

Blotted Sceince is shit
Porcupine Tree is shit
Frank Gambale is shit
John McLaughlin is shit
Some Pat Metheny Trio stuff is shit

I hope for you if you ever become/or sustain being a working guitarist/musician, that somone will dismiss your art for a blanket statement so you can finally realise why what you're doing is so wrong!

The problem with you is you have your boundaries upon which you would never cross

"I could never stoop so low as to play any of that untalented uninspired rock music"

This seems to be your attitude.

If you only want to play and listen to jazz, best of luck to you (in all seriousness) but please don't come onto UG and feel the need to insult the art that others may enjoy by calling it "lame ass shit" or some other derogitory comment. The music that we listen to is just as valid as the music you listen to (and vice versa)

As soon as you set boundaries like that, you set boundaries within yourself
You don't seem to care if a peice of music inspired somone or touched somone or meant something to somone. If it's not jazz its uninspired shit. Its all music
Its all sound Why do you feel the need to put it into catagories?

In finishing, I'd like to ask you a question: According to you, what is the point of music?

On topic, I love the Opeth song Patterns In The Ivy that song is quite interesting harmonically

starts off in A Minor (there is both an F and F# later, so you can see this as in A Aeolian or A Dorian)

Then goes into F Lydian, F (I'm more inclined to call this Mixo, but it could fit under the umbrella of Ionian) G Aeolian/Dorian check it out (If you havn't already!)
Last edited by jesse music at Dec 13, 2009,