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Ok mono_tones, you are right, that made no sense to
me. What made me give credence to it is the fact that
most of the "stock" surf songs we all know seem to
conform to this when you look at them; the two easiest
examples are Pipeline and Penetration. The rhythm
riff for Pipeline is in Em (E-B-G-B...or 1-5-3-5) and
the lead riff appears to follow Bm (by virtue of the
fact that it begins and ends on B) even though all the
notes it plays are in Em. (At least I think this is
the case, I don't have my guitar and I'm in a hurry).
In Penetration the rhythm part is in Gm and the lead
part is in Dm, and though I don't have my guitar right
now but I don't think that the lead is in Gm but in
Dm, or is it that Gm is simply not the key of the song
as I've always assumed from the rhythm part? Perhaps
a more correct way of saying "playing over the fifth"
in this base would be for the rhythm guitar to play
"under the fourth?" I've no experience with real
composition, just making simple rock songs out of
chord progressions. It never occured to me before
that the rhythm/bass note being played through an
entire riff was not actually the root.
Richard
--- mono_tones_1 <> wrote:
> But, more then likely, bass/backing guitar are
> simply playing the
> chord, and that scale you refer to is not the scale
> of E but a
> different A scale. In your example, it would
> probably actually be E
> minor (aeolic - sp?) which has one # (F#), and so
> being A minor #6
> scale (forgot he right name for that scale) anyway,
> it's a rather
> common scale with an Am and a D (f#!) in the
> backing, allowing for
> nice bluesy double tone on g and b strings.
> something similar happens in Margaya: just because
> you start the
> melody on the 5th of a scale, doesn't make it a
> different scale.
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