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You know I thought about this some more, and although Mar Gaya
starts out like that, it doesn't stay that way. So forget what I
wrote below. The relationship between lead and rhythm changes
throughout the song; this probably creates the tension you hear.
BN
--- In , Brian Neal <brian@s...> wrote:
> Richard,
>
> That is very interesting and good timing. I usually only figure
out lead
> guitar parts. But the past few days I've been learning Mar Gaya,
both
> lead and rhythm, and that's exactly what's happening on that song.
Of
> course I don't know if you can say that for the majority of the
songs
> out there in the wild.
>
> Richard wrote:
>
> >A friend of mine who is a bedroom player and a great
> >(in his own mind, of course) critic of music (but
> >never does anything...yeah, one of those) told me
> >while we were attending the Crimson Ghosts/Phantom
> >Creeps show here a while back during one of John and
> >Gein's instro numbers that a lot of the lead work in
> >guitar driven instro music is done "over the fifth,"
> >as in whatever root chord/bass note is being played by
> >the bass/rhythm guitar, the lead guitar player will be
> >playing in the key of the fifth of the root as opposed
> >to the root, like if the rhythm player is strumming an
> >A then the lead guitar will play it's riff in E.
> >
> >
