#1
I use the notes G# A# B C D# E and throw in the G natural in some places.

Anyone help with what key this could possibly be in?

I was looking at the B major and this looks like it except the flat 2nd/C natural here screws that.
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and they don't sound any more special than
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#2
it's some sort of G# key, i believe you are missing a note though, which would be the natural G that you throw in. to tell you the truth i don't think that's an established scale, i could be wrong though.

hey there you just made up your own scale congratulations!. key of G#br00tlz
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#3
It looks Modal (partial signature or conflicting signature//(shifts keys throughout)). but thats just my guess.
#4
Quote by Eternal_One
I use the notes G# A# B C D# E and throw in the G natural in some places.

Anyone help with what key this could possibly be in?

I was looking at the B major and this looks like it except the flat 2nd/C natural here screws that.



the G natural would be F## i think the F## is usually wrotten as Fx or something but can't remember right now

so you have G# A# B C D# E F##
song stuck in my head today


#5
Quote by Eternal_One
I use the notes G# A# B C D# E and throw in the G natural in some places.

Anyone help with what key this could possibly be in?

I was looking at the B major and this looks like it except the flat 2nd/C natural here screws that.

Depends, what are you playing it over?

Assuming there's no backing it looks to me like you're going to resolve to B major with the C as a passing note.
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Last edited by steven seagull at Apr 23, 2008,
#6
A# B C, since these are 3 semitones in a row, they dont fit into any mode, no mode contains 3 consecutive semitones (at least none of the usual suspects)
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#7
Whhwhw

Ive never seen a scaled spaced like that.
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#8
Quote by sacamano79
A# B C, since these are 3 semitones in a row, they dont fit into any mode, no mode contains 3 consecutive semitones (at least none of the usual suspects)


ha beat me to it this is exactly what i waa thingking. I know an 8 tone scale that has 3 semitones in a row but that scale is way off of hot it is
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#9
Quote by steven seagull
Depends, what are you playing it over?

Assuming there's no backing it looks to me like you're going to resolve to B major with the C as a passing note.

Agreed, but TS, could you provide the context please? As steven seagull stated, it's hard to say definitively without having the rest of the music there.
#10
mmm ok well theres no backing over it yet and I sorta came up with it for piano but if tabbed:

D||----------------------------------|----------------------------------||
A||------14------13------------------|--------------------------10------||
F||----------15------14--------------|------------------------------11--||
C||--------------------------15--16--|----------------------10----------||
G||--13------------------13----------|------16--17--16------------------||
D||----------------------------------|--14--------------14--------------||



It doesn't sound "off". Sounds really dark if you had to play it so was just wondering what chords I could use over it or where I can go from there
Proud Owner of:

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Jackson WRMG

Quote by madbasslover
What's the big deal with Gibsons, anyway?
I've heard loads of Gibsons being played before
and they don't sound any more special than
any other guitar.

^UG's King Of Fail.
Last edited by Eternal_One at Apr 24, 2008,
#11
Quote by Eternal_One
mmm ok well theres no backing over it yet and I sorta came up with it for piano but if tabbed:

It doesn't sound "off". Sounds really dark if you had to play it so was just wondering what chords I could use over it or where I can go from there



D||----------------------------------|----------------------------------||
A||------14------13------------------|--------------------------10------||
F||----------15------14--------------|------------------------------11--||
C||--------------------------15--16--|----------------------10----------||
G||--13------------------13----------|------16--17--16------------------||
D||----------------------------------|--14--------------14--------------||
       G#m                              Em


works for me...that chromatic shift from D# to E leads you nicely into an Em chord. A progression of G#m Em B F# would give you a nice strong resolution , switching it around to G#m Em F# B , or perhaps modulating from B to Bmaj7, gives a bit more of a cadential feel, going G#m Em D# might work nicely for suspension, etc etc
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#12
Quote by sacamano79
A# B C, since these are 3 semitones in a row, they dont fit into any mode, no mode contains 3 consecutive semitones (at least none of the usual suspects)


Hmpf. Blues please? :<

And the large blues scale has got like 6 semitones in a row.
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#13
Quote by steven seagull
D||----------------------------------|----------------------------------||
A||------14------13------------------|--------------------------10------||
F||----------15------14--------------|------------------------------11--||
C||--------------------------15--16--|----------------------10----------||
G||--13------------------13----------|------16--17--16------------------||
D||----------------------------------|--14--------------14--------------||
G#m Em


works for me...that chromatic shift from D# to E leads you nicely into an Em chord. A progression of G#m Em B F# would give you a nice strong resolution , switching it around to G#m Em F# B , or perhaps modulating from B to Bmaj7, gives a bit more of a cadential feel, going G#m Em D# might work nicely for suspension, etc etc



Thx a million dude! Those chords work perfectly =)
Proud Owner of:

Jackson RR3
Jackson WRMG

Quote by madbasslover
What's the big deal with Gibsons, anyway?
I've heard loads of Gibsons being played before
and they don't sound any more special than
any other guitar.

^UG's King Of Fail.