#2
I love the concept but sadly can't give much advice (I am still wondering the same thing). I've been told you need to learn music theory but that's it. Good luck ...
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Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
#3
^ you just need to change the major notes to minor

using a very simple example, if you had a song whose melody was in C major, you would change every E to E flat, every A to A flat and every B to B flat. And leave all the other notes the same. that should make it sound minor. I think.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#4
Quote by Dave_Mc
^ you just need to change the major notes to minor

using a very simple example, if you had a song whose melody was in C major, you would change every E to E flat, every A to A flat and every B to B flat. And leave all the other notes the same. that should make it sound minor. I think.


You don´t think it might be a better idea just to transpose it to the relative minor?

So if we took the example of playing a phrase in the key of C major that went C E F G B, take the same intervals but use the relative minor as the starting point. So C is the root in major, A is the root in minor. E is the third in major, C is the third in minor etc etc. Until you end up with the minor version of that phrase which would be A C D E G.

That is how i personally rearrange many songs to a new tonality, you use the same intervallic structure, but use the relative minor as the tonic.
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#5
i might think weirdly when it comes to music

that would work too, obviously. and maybe more easily.

if i were playing it i'd find it easier doing what i said (thinking back to when i played piano)- you can read it from the same music, but imagine that you just have a different key signature for the different sharps and flats...

as i said, though, i might be weird.

EDIT: i guess, just to beat a dead horse, with my way (and in my head ) i'm only changing a few notes (and not even really changing them, just remembering to sharpen or flatten them). whereas your way keeps all the same notes, but everything moves.

as i implied, though, i was thinking in terms of piano (because i used to do this for lulz when i played piano because I found it kind of funny... as i said, I'm weird). On guitar it may well (probably would) work far handier the way you said.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
Last edited by Dave_Mc at May 9, 2014,
#6
Quote by Dave_Mc
i might think weirdly when it comes to music

that would work too, obviously. and maybe more easily.

if i were playing it i'd find it easier doing what i said (thinking back to when i played piano)- you can read it from the same music, but imagine that you just have a different key signature for the different sharps and flats...

as i said, though, i might be weird.


Perhaps, i mean i use both the method i mentioned aswell as your method. They work for different situations.

To be fair though, most of us on here are pretty wierd.
Fusion and jazz musician, a fan of most music.

Quote by Guthrie Govan
“If you steal from one person it's theft, and if you steal from lots of people it's research”


Quote by Chick Corea
"Only play what you hear. If you don't hear anything, don't play anything."
#7


(also check my edit that I just did now)

But yeah both ways work absolutely fine, and it just depends on which works better and which suits the person better
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#8
Quote by Sickz
You don´t think it might be a better idea just to transpose it to the relative minor?

So if we took the example of playing a phrase in the key of C major that went C E F G B, take the same intervals but use the relative minor as the starting point. So C is the root in major, A is the root in minor. E is the third in major, C is the third in minor etc etc. Until you end up with the minor version of that phrase which would be A C D E G.

That is how i personally rearrange many songs to a new tonality, you use the same intervallic structure, but use the relative minor as the tonic.

I think it would just be easier to use the parallel key (not the relative key). You just flatten all the thirds and sixths and sometimes sevenths, depending on the harmony. That way you don't need to move all notes. But yeah, if you find your way easier, of course use it.

BTW. Check this out too. I think it sounds pretty cool:

https://www.youtube.com/watch?v=h7FzLX0Ql8M
Quote by AlanHB
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Last edited by MaggaraMarine at May 10, 2014,
#9
No wonder people say the black album is where the rot initially set in...
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#10
Quote by MaggaraMarine
I think it would just be easier to use the parallel key (not the relative key). You just flatten all the thirds and sixths and sometimes sevenths, depending on the harmony. That way you don't need to move all notes. But yeah, if you find your way easier, of course use it.

BTW. Check this out too. I think it sounds pretty cool:

https://www.youtube.com/watch?v=h7FzLX0Ql8M


Fair enough, as said, i use both ways and they are both viable. I mentioned the relative approach since some people find that easier, and Dave had already brought up the point of using the parallel key.
Fusion and jazz musician, a fan of most music.

Quote by Guthrie Govan
“If you steal from one person it's theft, and if you steal from lots of people it's research”


Quote by Chick Corea
"Only play what you hear. If you don't hear anything, don't play anything."
#12
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?