#1
I'm not sure what it's in

BM maybe?


x2444x - B Major
x4665x - C# Minor
x7999x - E Major
x9987x - B Major second inversion or B/F#
XX4676 - F# Major
x6644x - G# minor

the G#m and F#M are questionable, I'm not sure if I'll use them

the scales I am debating on using are B lydian, C Aeolian and E Idonian

here is a tab of the intro

e|----------------------------------------------------------------------------
B|-------4-------5----5h7p5------------9---------------------------------
G|---------4-------6------------------------9----8-------------------------
D|------4----4------6---------64------------9-----9-----------------------
A|-0h2---------4------------------76---7-------9--9----------------------
E|----------------------------------------------------------------------------


I think that's it, I'm in school so I can't play it, bbut that should be it

It's finger picked and hendrixy, a slow ballad

TDK
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
Last edited by TDKshorty at Dec 19, 2007,
#2
B Major is:



B  C# D#  E  F#  G#  A#    B
M  m  m   M  D7  m   m7b5  M


So you are indeed in the key of B Major, yeah.
#4
I just don't know what to do with it, I can't find anything to compliment it, because to me this is going to be like what RHCP did with UTB and it's just amazing

Our bassist has a bass line that compliments it and it's amazing
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
#5

e|--------------------------------------------------------------------------------------------------------------------------|
B|---------4---------5-------5h7p5---------------9-------------------------------5------------------------------------------|
G|-----------4--------6----------------------------9----------8--------------------6-4-----------------9---------6----------|
D|-------4-----4--------6----------6-4---------------9---------9--------6h7-6----------7-6-----------9---------7------6-----|
A|-0h2-----------4-----------------------7-6---7-----------------9-------------------------------5/7--------6--------4------|
E|----------------------------------------------------------7---------------------------------------------------------------|



Do you think that sounds good at all?


I think a little B Dorian would go well with it. It's a little different but cool (i think). I don't know.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#6
Quote by metal4all

e|--------------------------------------------------------------------------------------------------------------------------|
B|---------4---------5-------5h7p5---------------9-------------------------------5------------------------------------------|
G|-----------4--------6----------------------------9----------8--------------------6-4-----------------9---------6----------|
D|-------4-----4--------6----------6-4---------------9---------9--------6h7-6----------7-6-----------9---------7------6-----|
A|-0h2-----------4-----------------------7-6---7-----------------9-------------------------------5/7--------6--------4------|
E|----------------------------------------------------------7---------------------------------------------------------------|



Do you think that sounds good at all?


I think a little B Dorian would go well with it. It's a little different but cool (i think). I don't know.

This is a little something in B, it then goes to C#m then to E, a little passing chord,,,

B minor would be a big mistake. This is NOT pentatonic based music.

It's diatonic. Use B major and any of the modes for B major.

Maybe even some "jazz" scales.

But not B minor
#7
Quote by Clifford D
This is a little something in B, it then goes to C#m then to E, a little passing chord,,,

B minor would be a big mistake. This is NOT pentatonic based music.

It's diatonic. Use B major and any of the modes for B major.

Maybe even some "jazz" scales.

But not B minor

Give it a play before you criticize it. I think it sounds ok.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#8
Quote by TDKshorty
I just don't know what to do with it, I can't find anything to compliment it, because to me this is going to be like what RHCP did with UTB and it's just amazing

Our bassist has a bass line that compliments it and it's amazing

Here's B major scale harmonized a couple ways

B major - in thirds
|----------------------6---7---9---11-|
|---4---5---7---9---5---7---9---11-|
|---3---4---6---8---6---8---9---11-|
|---4---6---8---9---4---6---8----9-|
|---2---4---6---7-------------------|
|-------------------------------------|
-
B major - quartal chords (4ths)
|----------------------6---7----9---11-|
|---4---5---7---9---5----7---9---11-|
|---3---4---6---8---4----6---8---10-|
|---3---4---6---8---4----6---8----9-|
|---2---4---6---7---------------------|
|----------------------------------------|


Last edited by Clifford D at Dec 10, 2007,
#9
Quote by metal4all
Give it a play before you criticize it. I think it sounds ok.

I did, and to my ears the thing sounds more melodic With B major

Personally playing B minor over the E Major IV chord
or the C#m7, and the I chord sounds terrible. It's not a blues.

And I know what you're saying, I can also play the B minor pent
and get that blues hit. but it's too much of a stretch
The chords are diatonic and so is the soloing .
Not to say there isn't room in there for a little
blues if you must. but on the changes, keep it B major
B major has plenty of cool blues/jazz sounds if
you (the universe, not you personally) know what you're doing.

But if B blues/pent you must,

Just hope it's not a wedding march.


Last edited by Clifford D at Dec 10, 2007,
#10
Quote by Clifford D
I did, and to my ears the thing sounds more melodic With B major

Personally playing B minor over the E Major IV chord
or the C#m7, and the I chord sounds terrible. It's not a blues.

And I know what you're saying, I can also play the B minor pent
and get that blues hit. but it's too much of a stretch
The chords are diatonic and so is the soloing .
Not to say there isn't room in there for a little
blues if you must. but on the changes, keep it B major
B major has plenty of cool blues/jazz sounds if
you (the universe, not you personally) know what you're doing.

But if B blues/pent you must,

Just hope it's not a wedding march.



Play what i wrote over the chords, not just the Bminor scale. Also it was meant to be played more on top of the F#maj G#min part.

If you still don't like it, that's fine. I guess i play a little unorthodox (a nice term for bad) but i like it and it works out.

“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#11
Quote by metal4all
Play what i wrote over the chords, not just the Bminor scale. Also it was meant to be played more on top of the F#maj G#min part.

If you still don't like it, that's fine. I guess i play a little unorthodox (a nice term for bad) but i like it and it works out.


What did you write?

Did I miss something?
#12
Quote by Clifford D
What did you write?

Did I miss something?

The tab in my other post. I added notes on to the original. It's sorta the Bminor scale but just screwed around with.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#13
Quote by metal4all
The tab in my other post. I added notes on to the original. It's sorta the Bminor scale but just screwed around with.

Of course you can rewrite the op's post.

I was talking about the op's post, and so was everyone else.

As far as your post and it's rewritten line, I still want to hear your logic behind
this being based on B dorian. any D# in the op's post is not in B dorian and you have the D# peppered all over.
#14
Quote by Clifford D
Of course you can rewrite the op's post.

I was talking about the op's post, and so was everyone else.

As far as your post and it's rewritten line, I still want to hear your logic behind
this being based on B dorian. any D# in the op's post is not in B dorian and you have the D# peppered all over.

what do you mean by op's post?

I said it's kinda in B dorian and the D# is for dissonance.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#15
Quote by metal4all
what do you mean by op's post?

I said it's kinda in B dorian and the D# is for dissonance.

The addition of the D# makes it B mixolydian and that has more to do with
what's going on than the B minor dorian. I'm telling you it's based on major
not minor. Mixo could work.

But I totally think you should play what you feel and hear and think.

So go for it.

How does all this relate to the ops original question? Did his question get
answered, haven't heard from him/her.
#16
I'm back, I was in school and had work

I like it, but I don't really want it to be jazzy sound, with those chords, but I'll try it

I don't think Metal4all's tab has a flow to it, and that's just me, I'll record it sooner or later and put it up

the sequence of chords I use are at the top in that order
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
Last edited by TDKshorty at Dec 10, 2007,
#18
Quote by Clifford D
And that's what happens when you try to be a mind reader.

Fuck you. I was trying to help out. Sorry i'm not a damn expert with music theory but i'm still learning.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#19
Quote by metal4all
Fuck you. I was trying to help out. Sorry i'm not a damn expert with music theory but i'm still learning.

Hey man, My statement of "And that's what happens when you try to be a mind reader."
was aimed at me, not you, me, for me trying to think like the op (original poster)
He liked your suggestions better so I conceded. I was wrong to mind read the op.
That's what I was saying.

And then you come back at me with "**** you"
I don't see where I deserved that responce.
Every thing I said in my posts is correct, and as far as I could tell,,
non threatening. Nor did I challenge you. I mearly stated facts.
I know a whole lot more about music and guitar than this. This post
is a straight up, no big mystery type tune. If it's a challenge
to understand what I was talking about then learn what I was talking about.
There are plenty of people on this forum that know what I'm talking about.


update:
The op changed his post, he said he liked yours, then changed it to
he thinks it doesn't flow. Now that's an example of your mind reading not hitting the mark.
Just like what happened to me.

Well you keep working with your music, even though you rewrote the ops
tune, it did have a nice sound to it, and flow. Just not the right one for the
op or the theory behind it.
But you obviosly have a good melodic sence.

Just be nice.
#20
Hey Shorty

Don't think "jazz" with the chords I posted. Just think potential notes
maybe used in a scale or chord.

My first example is simply taking what you did, and adding 7th chords.
you used triads.
There is no right or wrong with both sets of chords.
It's all the key of "B"


Here's how I might think the key of "B"

|.B.|...|.C#.|...|.D#.|.E.|...|.F#.|...|.G#.|...|.A#.|

(the extended B major scale) up 13 tones from root

B... C#... D#... E... F#... G#... A#... B... C#... D#... E... F#... G#
|..............|.............|................|..............|................|.............|
B............D#..........F#.............A#...........C#............E............G#

This is the original notes of the scale, now in thirds
it has a name

The Super Arpeggio
B D# F# A# C# E G#

it's a loop,,

it's how chords are made
B = B D# F# = R, 3, 5 = I chord = Ionian

C#minor = C# E G# = R, b3, 5 = II chord = Dorian

D#minor = D# F# A# = R, b3, 5 = III chord = Phrygian

E = E G# B = R, 3, 5 = IV chord = Lydian

F# = F# A# C# = R, 3, 5= V chord = Mixolydian

G# = G# B D# = R, b3, 5 = VI chord = Aeolian

A# diminished = A# C# E = R, b3, b5 = VII chord = Locrian


* 7th chords go R, 3, 5, 7 = B D# F# A#


All these chords are potential chords in your tune


They can all be reduced to three chords

.......II...................V.....................I
......C#m7............F#7................Bmaj7
subs
.......IV..................VII..................III
.......Emaj7..........A#m7b5.........C#m7
...................................................VI
.................................................G#m7

II and IV = same thing

V and VII = same thing

I , III and VI = same thing


Just mix it up,

I left the Jazzzz out.


is that overkill?


Last edited by Clifford D at Dec 11, 2007,
#21
Quote by Clifford D
Hey man, My statement of "And that's what happens when you try to be a mind reader."
was aimed at me, not you, me, for me trying to think like the op (original poster)
He liked your suggestions better so I conceded. I was wrong to mind read the op.
That's what I was saying.

And then you come back at me with "**** you"
I don't see where I deserved that responce.
Every thing I said in my posts is correct, and as far as I could tell,,
non threatening. Nor did I challenge you. I mearly stated facts.
I know a whole lot more about music and guitar than this. This post
is a straight up, no big mystery type tune. If it's a challenge
to understand what I was talking about then learn what I was talking about.
There are plenty of people on this forum that know what I'm talking about.


update:
The op changed his post, he said he liked yours, then changed it to
he thinks it doesn't flow. Now that's an example of your mind reading not hitting the mark.
Just like what happened to me.

Well you keep working with your music, even though you rewrote the ops
tune, it did have a nice sound to it, and flow. Just not the right one for the
op or the theory behind it.
But you obviosly have a good melodic sence.

Just be nice.

I'm sorry. I thought your post (and thats what happens when you try to be a mindreader)was directed to me. Thank you for the comment on the melodic sense btw. You have a really good understanding of theory which is what i wish i had. Again, sorry.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#22
Quote by Clifford D
Hey Shorty

Don't think "jazz" with the chords I posted. Just think potential notes
maybe used in a scale or chord.

My first example is simply taking what you did, and adding 7th chords.
you used triads.
There is no right or wrong with both sets of chords.
It's all the key of "B"


Here's how I might think the key of "B"

|.B.|...|.C#.|...|.D#.|.E.|...|.F#.|...|.G#.|...|.A#.|

(the extended B major scale) up 13 tones from root

B... C#... D#... E... F#... G#... A#... B... C#... D#... E... F#... G#
|..............|.............|................|..............|................|.............|
B............D#..........F#.............A#...........C#............E............G#

This is the original notes of the scale, now in thirds
it has a name

The Super Arpeggio
B D# F# A# C# E G#

it's a loop,,

it's how chords are made
B = B D# F# = R, 3, 5 = I chord = Ionian

C#minor = C# E G# = R, b3, 5 = II chord = Dorian

D#minor = D# F# A# = R, b3, 5 = III chord = Phrygian

E = E G# B = R, 3, 5 = IV chord = Lydian

F# = F# A# C# = R, 3, 5= V chord = Mixolydian

G# = G# B D# = R, b3, 5 = VI chord = Aeolian

A# diminished = A# C# E = R, b3, b5 = VII chord = Locrian


* 7th chords go R, 3, 5, 7 = B D# F# A#


All these chords are potential chords in your tune


They can all be reduced to three chords

.......II...................V.....................I
......C#m7............F#7................Bmaj7
subs
.......IV..................VII..................III
.......Emaj7..........A#m7b5.........C#m7
...................................................VI
.................................................G#m7

II and IV = same thing

V and VII = same thing

I , III and VI = same thing


Just mix it up,

I left the Jazzzz out.


is that overkill?




I don't really understand that, lol, I don't know any traditional theory or anything like that ahah
I'm about to take a music theory class after Christmas break

but those chords were very jazz sounding to me, if you were refering to playing them as chords

but they didn't if you were referring to them as playing the singular notes in all the chords as a scale type thing


lol
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
#23
I've decided to use E Ionian for the scale.

But there is just an unimaginable sound that I can't get on my guitar
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
#24
the scales I am debating on using are B lydian, C Aeolian and E Idonian


The chord determines the mode. You cannot, for instance, play E phrygian over a C major chord. The notes CDEFGAB will always be the major scale when played over a C major chord, or when the tonal center is C. The order in which you play the notes is irrelevant.

I haven't played it, but from how it's been described, it resolves to B. Since the chords are diatonic to B major, you would play B major over it.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
Last edited by Archeo Avis at Dec 19, 2007,
#25
oh, i've had this melody forever and iv' posted here before about it.

Somebody gave me the key it was in and some scales to us

B Lydian (B C# D# E# F# G# A# B):
|---------------------------------------7---|
|---------------------------------9-11-----|
|------------------------8-10-11----------|
|-----------------8-9-11-------------------|
|---------8-9-11---------------------------|
|-7-9-11-----------------------------------|


C Aeolian (C D Eb F G Ab Bb C):
|--------------------------------------------8---|
|--------------------------------------9-11-----|
|-----------------------------8-10-12----------|
|--------------------8-10-12-------------------|
|-----------8-10-11----------------------------|
|-8-10-11----------------------------------


E Ionaian (E F# G# A B C# D# E):
|----------------------------------------------------12|
|---------------------------------------------14-16---|
|----------------------------------13-14-16----------|
|-----------------------13-14-16---------------------|
|------------12-14-16--------------------------------|
|-12-14-16-------------------------------------------|


I havn't attempted to learn theory until recently
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
#26
Scales are not box shapes, they're collections of notes that cover the entire fretboard. None of those modes fit over your progression. Your song is in B major.
I wrote a primer on modes that you can find here (I hope this link isn't against the rules. If so, I'll remove it.) It's not entirely complete, but it should set you in the right direction.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
Last edited by Archeo Avis at Dec 19, 2007,
#27
I've kind of started to realize this more, ecspecially with the E Ionian, which I believe Frusciante uses for some live Californication intros and I've tried to make up my own and build onto what he has written and just play my own thing

but i'm probably wrong, I just noticed alot of the notes E Ionian go with Californication

I'm going to read it
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
#28
well i played "metal4all's" interpretation and I liked it .
the chords "B ", "A" "D#m7b5" and "C#m" seem to follow his progression well .
all i would suggest is this chord to bridge back to the original riff .
EADGBE:x4454
(E/F#)
all together you could have this :

B 2 beats C#m 2 beats
E 4 Beats

then metal4all's part

B 4 beats A 4beats
D#m7b5 2 beats
C#m 2 beats
finishing on my suggestion
E/F# for 4 beats ( or 3 beats and a rest ! )
#29
the thing about his is that it's off, mine is meant to be finger picked, like the 2 notes at the beginning of each chord, except for the hammer on at the start

I'm going to record it and put it up in a minute
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
#30
bump

it says I can't upload it because it's in the wrong format

it's in MP3, what's it supposed to be?
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
#31
Quote by TDKshorty
bump

it says I can't upload it because it's in the wrong format

it's in MP3, what's it supposed to be?

You need to convert it to 128kps bitrate and 44.1 KHz sample rate.