#1
E
B
G                      x4                          x4
D 12p8p5p0h5h8          12p7p5p0h4h7
A
E



I was messing around on the guitar the other day and came up with an really cool lead line. I originally thought it would be in D minor with accidentals as the D is used as a pedal tone (don't know if im correct there). But i then realised that it could easily be in the key of G harmonic minor and found out that the lick definately feels resolved on G.

I wanted to use this progression behind the lead


E
B
G
D   5             4
A   5             4
E   3             2


But i didnt know if the 5th of the F5 would clash with the lead line. Im playing with a decent amount of distortion so powerchords sound the best. theoretically will the F#5 really clash or should it be OK?

or would i be safer playing something like this

E
B
G
D   5      5      5     5      5         4     4     4      4      4
A
E      33    33    33    33        22    22   22    22    22

or this


E
B
G
D   5             4
A
E   3             2
#3
Obviously, you're free to do whatever you want, but I like to view that tapping lick as an arpeggio. At first it's Gm, and then you kind of move to Gsus2maj7.

I didn't try playing it but Gm - Gsus2 seems to make some sense under that lick.
E:-6
B:-0
G:-5
D:-6
A:-0
E:-3
Last edited by Flibo at Sep 28, 2011,
#4
Quote by mrbabo91
E
B
G x4 x4
D 12p8p5p0h5h8 12p7p5p0h4h7
A
E



I was messing around on the guitar the other day and came up with an really cool lead line. I originally thought it would be in D minor with accidentals as the D is used as a pedal tone (don't know if im correct there). But i then realised that it could easily be in the key of G harmonic minor and found out that the lick definately feels resolved on G.

I wanted to use this progression behind the lead


E
B
G
D 5 4
A 5 4
E 3 2


But i didnt know if the 5th of the F5 would clash with the lead line. Im playing with a decent amount of distortion so powerchords sound the best. theoretically will the F#5 really clash or should it be OK?

It sounds ok cuz the tension is going to be resolved when you return to the G power chord. I presume your talking about the m9 interval between the C# on the 4th fret A string, and the D on the 12th fret D string?
#5
Quote by Flibo
Obviously, you're free to do whatever you want, but I like to view that tapping lick as an arpeggio. At first it's Gm, and then you kind of move to Gsus2maj7.

I didn't try playing it but Gm - Gsus2 seems to make some sense under that lick.


Gsus 2 sounds like it would work up until i turn the distortion on. I have nothing to record with atm so i cant really see what sounds best either
#6
Quote by mdc
It sounds ok cuz the tension is going to be resolved when you return to the G power chord. I presume your talking about the m9 interval between the C# on the 4th fret A string, and the D on the 12th fret D string?


Yes i am. Maybe it would be worth changing the lick to


E
B
G                      x4                          x4
D 12p8p5p0h5h8          [B]13[/B]p7p5p0h4h7
A
E
then i can maybe keep the F#5 in there
#7
You could treat it as pitch axis theory a la Satch Boogie. Just stay on the G5 chord.
#8
Quote by mdc
You could treat it as pitch axis theory a la Satch Boogie. Just stay on the G5 chord.


Funny enough, satch boogie is where i got my inspiration from for this lick

I've heard guthrie govan talk about pitch axis theory. I'll have to go watch the vid again
#9
Quote by mrbabo91
: I've heard guthrie govan talk about pitch axis theory. I'll have to go watch the vid again

This might help as well. Lessons -> PA
Last edited by mdc at Sep 28, 2011,
#10
it's not Gsus2maj7, it's D major, basically just i-V in G minor. you could try lowering the middle note a fret, so

d-4
a-3
e-2

that might work, V7, and with distortion should sound ok because it's a fifth and still not using any 3rd that might muddle the sound with the distortion.
#11
^Good spot.

-4
-5
-2

...would be better, I think. Kinda reminiscent of Brian May's riff in One Vision.
#12
played it on piano there mdc, and your way seems best! if it sounds good with distortion we're sorted!
#13
Hopefully! We should be able to get away with distortion with a 1st inversion triad... if it's played power chord stylie!
Last edited by mdc at Sep 28, 2011,
#14
Quote by gavk
played it on piano there mdc, and your way seems best! if it sounds good with distortion we're sorted!



Both your ideas sounded pretty good with distortion. You also gave be a good idea for a clean arpeggio section later on in the song where i can use both chords you suggested.
#16
Quote by mrbabo91
Both your ideas sounded pretty good with distortion. You also gave be a good idea for a clean arpeggio section later on in the song where i can use both chords you suggested.


The system WORKS!!
#17
^ Just realized, are our options power chords or dyads? On second thoughts, lets just leave it lol!
Last edited by mdc at Sep 28, 2011,
#18
Quote by gavk
it's not Gsus2maj7, it's D major, basically just i-V in G minor. you could try lowering the middle note a fret, so

d-4
a-3
e-2

that might work, V7, and with distortion should sound ok because it's a fifth and still not using any 3rd that might muddle the sound with the distortion.

Isn't Gsus2maj7 equivalent to D/G? I did realize that but didn't think of the i-V. Thanks for the correction
E:-6
B:-0
G:-5
D:-6
A:-0
E:-3
#19
Quote by Flibo
Isn't Gsus2maj7 equivalent to D/G? I did realize that but didn't think of the i-V. Thanks for the correction

Yes naming it this way would make it a lot easier for a musician to interpret if they saw that on a chart, for sure.

The other name for it would be Gmaj9(no 3rd). If I saw "Gsus2maj7" on a chart, my fingers would panic lol!
Last edited by mdc at Sep 28, 2011,