#1
Hi, so me and my band Smash Potatoes are doing a cover of O Canada but we are making it into a blues-rock version. I have learned and tabbed out O Canada for lead but I have no clue how to make a rhythm part for it, or find out what key it is in...

Heres the tab I wrote:




Please help?
#2
Look at the key signature... no sharps or flats. Look at the music... starts on E and ends on C. Looking at all the notes I'd say it goes from E Phrygian to C Ionian but i don't know much.
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#3
Quote by metal4all
Look at the key signature... no sharps or flats. Look at the music... starts on E and ends on C. Looking at all the notes I'd say it goes from E Phrygian to C Ionian but i don't know much.


Say what?
#4
Uhh... my guess is that it goes from C major (no sharps or flats) based around the note E (which would be the mode E Phrygian) then to C Ionian (modal name for C major) because it starts on E and ends on C but i honestly don't know. I'd wait for someone smart to reply.
“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

☮∞☯♥
#5
It seems to be in C major with a temporary modulation to G major and then going back. I haven't heard the song, so I have no clue about the chords though, so it might be A minor and E minor or something.
#6
G major or E minor both work. There are two sharps in the piece there, F# (11 on G String) and the G# (9 on the B strong). Those two key signatures only have F#, but that G# was a chromatic so those keys work.

Use chords that use mostly naturals, those would work like G, C, A minor, etc, etc.
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#7
You've tabbed the melody in the key of C. Note though that the Fs in bars 15-16 are both sharp (cadence is in the dominant)

Google should fairly quickly yield you a version with chords noted for accompaniment.
#8
Quote by Nick_
Note though that the Fs in bars 15-16 are both sharp (cadence is in the dominant)
What? Neither the tab nor the music have F# in those measures.

It's in C. And there are a lot of different ways to write accompaniment... feel free to take some liberty with it. (hint: for blues rock, consider re-writing it in 12/8)
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#10
Quote by Corwinoid
What? Neither the tab nor the music have F# in those measures.

It's in C. And there are a lot of different ways to write accompaniment... feel free to take some liberty with it. (hint: for blues rock, consider re-writing it in 12/8)


What would happen if I wrote it in 12/8?
#11
Makes the late 8ths swing 8ths, and gives a bluesy triplet feeling... and actually I'm going to retract that advice, because I can't make it sound good to give you an example either.
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#12
That's a mistake in his tab. Those bars have F#s. Trust me, I'm Canadian, I know my anthem.


I've never been a fan of 12/8 to create swing. A shuffle, maybe, but 12/8 just looks and sounds awkward in these situations.

Look up the band Big Sugar. They did a cover of O Canada that's probably similar to what you're trying to do.
#14
Quote by Nick_
Trust me, I'm Canadian...




sorry, had to
“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

☮∞☯♥
#16
Shut up about Canadians lol, but he's right brothas, we know our anthem.

EDIT: Ew, there's already feet behind him.
Last edited by st.stephen at May 26, 2008,
#18
Quote by Nick_
I've never been a fan of 12/8 to create swing. A shuffle, maybe, but 12/8 just looks and sounds awkward in these situations.
A shuffle is a 12/8 piece written in 4/4.
#19
Gratuitous use of compound time irritates me. Swing, to me has never had a consistent triplet feel; I dislike the "electric blues shuffle" sound with its obnoxious backing-track metronomic rhythm section (but that's taste); from my view, the legitimate use is when the strong triple metre sound is wanted (without the omitted second third); marches, dances, I want the second beat of those triple-groupings nice and present.

Using 12/8 to try to approximate a stylistic lean always looks and sounds awkward to me. I suppose I hold a bias when I comment on it.
#21
Absolutely not.

Depending on tempo and style, it may or may not fall in between, go beyond, or even be closer to straight 8ths then the triplet quarter-eighth.

I don't consider swing a notable rhythm.
#22
I disagree that it isn't notable. I think the standard 8 8 = 4 8 (under triplet) notation is fine at the beginning, and then the specifics can be left up to the performer.

My swing always falls in triplet rhythm, but that's just me.