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Okay, here's a question: if I sit down and try and write a song, I usually can't
get beyond
creating a simple riff. That tends to get plugged into a I-IV-V progression, and
it all
quickly gets stagnant and doesn't go anywhere. It's pretty stifling. Any
suggestions on how
I might unlock my song writing potential?
--- In , Jonathan Villegas <jville.geo@y...> wrote:
> Rick,
>
> As a composer (as well as guitarist & bassist) I'd
> welcome more discussions about music theory. It would
> make for a nice balance to all the recent fan talk
> about bands and personalities!
>
> If you've a question, fire away and lets see what
> happens.
>
> Meanwhile, I'm thinking of writing a surf tune with
> IIm7-V-I changes in 7/4 time with a whole-step
> modulation somewhere in the middle.... :-)
>
> ~ Jonathan
>
>
> --- wrote:
>
> Message: 22
> Date: Wed, 29 Jun 2005 00:37:23 -0000
> From: "holyreveb" <holyreveb@y...>
> Subject: Surf - music theory and other geek speak
>
> I wanted to know if this is the right place for this
> or should there be
> a new group which just talks about music theory,
> composition,
> influnces , books etc as it would apply to Surf music.
>
>
> Rick
>
>
>
> ____________________________________________________
> Yahoo! Sports
> Rekindle the Rivalries. Sign up for Fantasy Football
>
Alter the riff with each new verse. Spice it up with extra notes from
the scale your in. If that doesn't work, change the octave you're
playing - or both. In ten years of playing with Rip Thrillby, that's
the extent of the lead guitar lesson I got. He used "Checkpoint Echo"
as the example.
As I've begun tackling lead guitar, I've found that small nugget of
advice very helpful. It will be more so if I ever get around to
learning the scales (grin).
Keep in mind, that the brain tires quickly of the predictable and its
the unexpected that stimulates the gray matter between the ears. I
could go into more detail on that but it might get boring in a hurry.
Happy Reverbs!
Spanky
On Jun 29, 2005, at 12:02 AM, Gavin Ehringer wrote:
> Okay, here's a question: if I sit down and try and write a song, I
> usually can't get beyond
> creating a simple riff. That tends to get plugged into a I-IV-V
> progression, and it all
> quickly gets stagnant and doesn't go anywhere. It's pretty stifling.
> Any suggestions on how
> I might unlock my song writing potential?
>
> --- In , Jonathan Villegas
> <jville.geo@y...> wrote:
> > Rick,
> >
> > As a composer (as well as guitarist & bassist) I'd
> > welcome more discussions about music theory. It would
> > make for a nice balance to all the recent fan talk
> > about bands and personalities!
> >
> > If you've a question, fire away and lets see what
> > happens.
> >
> > Meanwhile, I'm thinking of writing a surf tune with
> > IIm7-V-I changes in 7/4 time with a whole-step
> > modulation somewhere in the middle.... :-)
> >
> > ~ Jonathan
> >
> >
> > --- wrote:
> >
> > Message: 22Â Â Â Â Â Â Â
> >Â Â Â Date: Wed, 29 Jun 2005 00:37:23 -0000
> >Â Â Â From: "holyreveb" <holyreveb@y...>
> > Subject: Surf - music theory and other geek speak
> >
> > I wanted to know if this is the right place for this
> > or should there be
> > a new group which just talks about music theory,
> > composition,
> > influnces , books etc as it would apply to Surf music.
> >
> >
> > Rick
> >
> >
> > Â Â Â Â Â Â Â Â Â Â
> > ____________________________________________________
> > Yahoo! Sports
> > Rekindle the Rivalries. Sign up for Fantasy Football
> >
>
>
>
>
> .
> Visit for archived
> messages, bookmarks, files, polls, etc.
>
>
>
>
> YAHOO! GROUPS LINKS
>
>
> ⪠ Visit your group "SurfGuitar101" on the web.
> Â
> ⪠ To unsubscribe from this group, send an email to:
> Â
> Â
> ⪠ Your use of Yahoo! Groups is subject to the Yahoo! Terms of
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>
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>
[Non-text portions of this message have been removed]
Hi Gavin, I'm going to try my hand at a little song writing advice, I'm
self taught
and know what it's like trying to get started. I'm going to make it as
basic as I can, hopefully not insulting your intelligence in the
process.
I've had success coming up with riffs by writing some chord
progressions first. Nothing elaborate, as you progress you can throw in
some fancy chords, but for now stick to minor, major, and seventh
chords. Here's a sample of chords that go with the key of "C":
C Dm Em F G Am (G7) C. - there is no B chord in this pattern it's
really a G7. You can add a seventh note to any chord in the list, if
it sounds good to your ears.
Here's another one:
E F#m G#m A B C#m (B7) E - start to see the pattern?
I determined this list of chords by figuring out the notes of the C
major scale. Then by knowing the three notes that make up a specific
chord, you can tell where to shift the third (or middle note) in order
to make major or minor. Example: E major is E + G# + B, but in the C
major scale G is natural, so by lowering the G in the E major chord to
natural it becomes E minor instead. Now then, once you've worked this
all out, you'll have this list of tasty chords that you can mix and
match until you get something that sounds good. Keep in mind too that
there's no need to stick to 4 beats per chord, you can break them up
into 2 beats or hold them for 8, etc....
Once you've come up with a chord progression, record yourself playing
it and then attempt to come up with a riff that fits into the chords.
Most riffs in Surf fall into major scale, minor scale, pentatonic and
the "eastern, dick dale" kind of scale. As suggested earlier, these are
easily available by searching google. As you progress you'll realize
that the minor scale for a given chord (ex. Am (vi)) is the same as
the major scale for the third above it (ex.C (I)), and as a bonus, it
often works with the IV and V of that same I chord. So if you're
jamming C to Am to F to G, you don't even need to think about changing
the scale.
I hope this was of some use for you,
Have fun, that's what it's this is all about.
Danny
On Jun 28, 2005, at 10:02 PM, Gavin Ehringer wrote:
> Okay, here's a question: if I sit down and try and write a song, I
> usually can't get beyond
> creating a simple riff. That tends to get plugged into a I-IV-V
> progression, and it all
> quickly gets stagnant and doesn't go anywhere. It's pretty stifling.
> Any suggestions on how
> I might unlock my song writing potential?
>
> --- In , Jonathan Villegas
> <jville.geo@y...> wrote:
> > Rick,
> >
> > As a composer (as well as guitarist & bassist) I'd
> > welcome more discussions about music theory. It would
> > make for a nice balance to all the recent fan talk
> > about bands and personalities!
> >
> > If you've a question, fire away and lets see what
> > happens.
> >
> > Meanwhile, I'm thinking of writing a surf tune with
> > IIm7-V-I changes in 7/4 time with a whole-step
> > modulation somewhere in the middle.... :-)
> >
> > ~ Jonathan
> >
> >
> > --- wrote:
> >
> > Message: 22Â Â Â Â Â Â Â
> >Â Â Â Date: Wed, 29 Jun 2005 00:37:23 -0000
> >Â Â Â From: "holyreveb" <holyreveb@y...>
> > Subject: Surf - music theory and other geek speak
> >
> > I wanted to know if this is the right place for this
> > or should there be
> > a new group which just talks about music theory,
> > composition,
> > influnces , books etc as it would apply to Surf music.
> >
> >
> > Rick
> >
> >
> > Â Â Â Â Â Â Â Â Â Â
> > ____________________________________________________
> > Yahoo! Sports
> > Rekindle the Rivalries. Sign up for Fantasy Football
> >
>
>
>
>
> .
> Visit for archived
> messages, bookmarks, files, polls, etc.
>
>
>
> YAHOO! GROUPS LINKS
>
> ⪠ Visit your group "SurfGuitar101" on the web.
> Â
> ⪠ To unsubscribe from this group, send an email to:
> Â
> Â
> ⪠ Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> Service.
>
>
There's been some good suggestions so far. Here's some others.
Try starting with an interesting chord pattern aside from I IV V. Then sing a
melody before you attempt to play one.
Get together with another aspiring songwriter and collaborate.
Listen to a song that you like and rewrite it. Of course you want it to be
different enough so as not to get sued or to have people say, "hey that sounds
like Miserlou". Don't do this too often 'cause you'll end up with a bunch of
derivative tunes. But an occasional throw back number isn't so bad.
-Marty
----- Original Message -----
From: Gavin Ehringer
To:
Sent: Tuesday, June 28, 2005 10:02 PM
Subject: [SurfGuitar101] Re: Surf - music theory and other geek speak (Song
writing)
Okay, here's a question: if I sit down and try and write a song, I usually
can't get beyond
creating a simple riff. That tends to get plugged into a I-IV-V progression,
and it all
quickly gets stagnant and doesn't go anywhere. It's pretty stifling. Any
suggestions on how
I might unlock my song writing potential?
--- In , Jonathan Villegas <jville.geo@y...>
wrote:
> Rick,
>
> As a composer (as well as guitarist & bassist) I'd
> welcome more discussions about music theory. It would
> make for a nice balance to all the recent fan talk
> about bands and personalities!
>
> If you've a question, fire away and lets see what
> happens.
>
> Meanwhile, I'm thinking of writing a surf tune with
> IIm7-V-I changes in 7/4 time with a whole-step
> modulation somewhere in the middle.... :-)
>
> ~ Jonathan
>
>
> --- wrote:
>
> Message: 22
> Date: Wed, 29 Jun 2005 00:37:23 -0000
> From: "holyreveb" <holyreveb@y...>
> Subject: Surf - music theory and other geek speak
>
> I wanted to know if this is the right place for this
> or should there be
> a new group which just talks about music theory,
> composition,
> influnces , books etc as it would apply to Surf music.
>
>
> Rick
>
>
>
> ____________________________________________________
> Yahoo! Sports
> Rekindle the Rivalries. Sign up for Fantasy Football
>
.
Visit for archived messages,
bookmarks, files, polls, etc.
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[Non-text portions of this message have been removed]
Here's two very good books you should own:
The Jazz Theory Book by Mark Levine published by SHER Music Co.
The Progressive Guitarist Practical Theory for Guitar by Don Latarski
published by Warner Bros Publications
NOTE: Get both of them they really compliment each other
Here's cool one: You can lead into any chord from a Diminished chord
a 1/2 step below. So for example say you want to resolve to Ami. Play
a Ab Dim chord before the Ami, the Dim chord will pull to a
resolution. Also you can use any note from the Ab DIM as it's root
and lead into the Ami.
As for I IV V in C so its:
I (Cmaj7) ii (Dmi7) iii (Emi7) IV (Fmaj7) V (G7) iv (Ami7) iiv (Bdim)
Try this:
I (Cmaj7) iii (Emi7)iv (Ami7) can sub for each other
ii (Dmi7) and IV (Fmaj7) can sub for each other
V (G7) and iiv (Bdim) can sub for each other
Anyway this is a huge subject
--- In , "Gavin Ehringer"
<gavinehringer@e...> wrote:
> Okay, here's a question: if I sit down and try and write a song, I
usually can't get beyond
> creating a simple riff. That tends to get plugged into a I-IV-V
progression, and it all
> quickly gets stagnant and doesn't go anywhere. It's pretty
stifling. Any suggestions on how
> I might unlock my song writing potential?
>
> --- In , Jonathan Villegas
<jville.geo@y...> wrote:
> > Rick,
> >
> > As a composer (as well as guitarist & bassist) I'd
> > welcome more discussions about music theory. It would
> > make for a nice balance to all the recent fan talk
> > about bands and personalities!
> >
> > If you've a question, fire away and lets see what
> > happens.
> >
> > Meanwhile, I'm thinking of writing a surf tune with
> > IIm7-V-I changes in 7/4 time with a whole-step
> > modulation somewhere in the middle.... :-)
> >
> > ~ Jonathan
> >
> >
> > --- wrote:
> >
> > Message: 22
> > Date: Wed, 29 Jun 2005 00:37:23 -0000
> > From: "holyreveb" <holyreveb@y...>
> > Subject: Surf - music theory and other geek speak
> >
> > I wanted to know if this is the right place for this
> > or should there be
> > a new group which just talks about music theory,
> > composition,
> > influnces , books etc as it would apply to Surf music.
> >
> >
> > Rick
> >
> >
> >
> > ____________________________________________________
> > Yahoo! Sports
> > Rekindle the Rivalries. Sign up for Fantasy Football
> >
that's not a very strong resolution, it does resolve however, but is
more suited for prolonging the tonic, or I (Am) rather than resolving
a phrase. so if you were to do a more lengthy progression, it could go
Am, G#dim, Am, Dm, Am, E(7), Am, or something along those lines, and
be used very effectively. the V and V7 (in this example E or E7)
chords resolve the strongest back to I, but that doesn't mean you have
to resolve that way every time to get back (also a good method of
changing keys: for this example: Am, G#dim, Am, G, C). IV and iv (Dm)
(caps represent major, lowercase minor) also work, but not as well.
also, another kinda cool trick is to do a vi or VI chord instead of a
one at the end of a phrase, too much sounds silly and makes it sound
like you don't know whether you're writing the song in major or minor.
but it could be used as a transition into a bridge in the other key.
this being said, i think for the most part rock n roll sounds its best
when it's straight forward and not over done, but using more
complicated methods can make some great music, too, as well as being
generally helpful in understanding music itself. in general, just play
something that sounds good.
eric
--- In , "holyreveb" <holyreveb@y...> wrote:
>
>
> Here's two very good books you should own:
>
> The Jazz Theory Book by Mark Levine published by SHER Music Co.
>
> The Progressive Guitarist Practical Theory for Guitar by Don Latarski
> published by Warner Bros Publications
>
> NOTE: Get both of them they really compliment each other
>
> Here's cool one: You can lead into any chord from a Diminished chord
> a 1/2 step below. So for example say you want to resolve to Ami. Play
> a Ab Dim chord before the Ami, the Dim chord will pull to a
> resolution. Also you can use any note from the Ab DIM as it's root
> and lead into the Ami.
>
> As for I IV V in C so its:
> I (Cmaj7) ii (Dmi7) iii (Emi7) IV (Fmaj7) V (G7) iv (Ami7) iiv (Bdim)
>
> Try this:
> I (Cmaj7) iii (Emi7)iv (Ami7) can sub for each other
> ii (Dmi7) and IV (Fmaj7) can sub for each other
> V (G7) and iiv (Bdim) can sub for each other
>
> Anyway this is a huge subject
>
> --- In , "Gavin Ehringer"
> <gavinehringer@e...> wrote:
> > Okay, here's a question: if I sit down and try and write a song, I
> usually can't get beyond
> > creating a simple riff. That tends to get plugged into a I-IV-V
> progression, and it all
> > quickly gets stagnant and doesn't go anywhere. It's pretty
> stifling. Any suggestions on how
> > I might unlock my song writing potential?
> >
> > --- In , Jonathan Villegas
> <jville.geo@y...> wrote:
> > > Rick,
> > >
> > > As a composer (as well as guitarist & bassist) I'd
> > > welcome more discussions about music theory. It would
> > > make for a nice balance to all the recent fan talk
> > > about bands and personalities!
> > >
> > > If you've a question, fire away and lets see what
> > > happens.
> > >
> > > Meanwhile, I'm thinking of writing a surf tune with
> > > IIm7-V-I changes in 7/4 time with a whole-step
> > > modulation somewhere in the middle.... :-)
> > >
> > > ~ Jonathan
> > >
> > >
> > > --- wrote:
> > >
> > > Message: 22
> > > Date: Wed, 29 Jun 2005 00:37:23 -0000
> > > From: "holyreveb" <holyreveb@y...>
> > > Subject: Surf - music theory and other geek speak
> > >
> > > I wanted to know if this is the right place for this
> > > or should there be
> > > a new group which just talks about music theory,
> > > composition,
> > > influnces , books etc as it would apply to Surf music.
> > >
> > >
> > > Rick
> > >
> > >
> > >
> > > ____________________________________________________
> > > Yahoo! Sports
> > > Rekindle the Rivalries. Sign up for Fantasy Football
> > >
Gavin,
Great question. It helps to think of songwriting as
taking a journey with hills and dales and sidetrips.
One cool move is to use the cycle of fifths as part of
a chord progression. In key of C for example: C, G7,
D- and then back to C, or go to A-7 for a bluesier
end.
It might help, too, to try some chord
extensions...nothing extreme like in be-bop jazz, but
9ths instead of 7ths and -7th (minor 7ths) instead of
plain minor should be fine in surf rock music. This
helps to open up the sound and lets you play more
interesting melodies and solos.
You can also change the key within a song (also called
modulation). How this is done depends on the song.
Some go right into the new key. Other modulate using a
chord sequence to smooth out the change. Various
strategies exist for key changing chord sequences. One
of them is the II-V-I jazzbo trick, with the I chord
being the new key center.
There's lots of ways to go beyond the limitations of
the typical 3-chord rock song!
~ Jonathan
--- wrote:
Message: 13
Date: Wed, 29 Jun 2005 05:02:41 -0000
From: "Gavin Ehringer"
<>
Subject: Re: Surf - music theory and other geek speak
(Song writing)
Okay, here's a question: if I sit down and try and
write a song, I
usually can't get beyond
creating a simple riff. That tends to get plugged into
a I-IV-V
progression, and it all
quickly gets stagnant and doesn't go anywhere. It's
pretty stifling.
Any suggestions on how
I might unlock my song writing potential?
__________________________________
Do you Yahoo!?
Yahoo! Mail - Helps protect you from nasty viruses.
Another thing to be something I call modal chords. Take any scale
lets say Ami Aeolian for example (1 2 b3 4 5 b6 b7) . Lay down a bass
line which has (A) as it's root. Now create chords at random using
any 3 notes of the Aeolian scale, just experiment with what sounds
interesting.
--- In , Jonathan Villegas
<jville.geo@y...> wrote:
> Gavin,
>
> Great question. It helps to think of songwriting as
> taking a journey with hills and dales and sidetrips.
>
> One cool move is to use the cycle of fifths as part of
> a chord progression. In key of C for example: C, G7,
> D- and then back to C, or go to A-7 for a bluesier
> end.
>
> It might help, too, to try some chord
> extensions...nothing extreme like in be-bop jazz, but
> 9ths instead of 7ths and -7th (minor 7ths) instead of
> plain minor should be fine in surf rock music. This
> helps to open up the sound and lets you play more
> interesting melodies and solos.
>
> You can also song (also called
> modulation). How this is done depenchange the key within ads on the
song.
> Some go right into the new key. Other modulate using a
> chord sequence to smooth out the change. Various
> strategies exist for key changing chord sequences. One
> of them is the II-V-I jazzbo trick, with the I chord
> being the new key center.
>
> There's lots of ways to go beyond the limitations of
> the typical 3-chord rock song!
>
> ~ Jonathan
>
> --- wrote:
>
> Message: 13
> Date: Wed, 29 Jun 2005 05:02:41 -0000
> From: "Gavin Ehringer"
> <gavinehringer@e...>
> Subject: Re: Surf - music theory and other geek speak
> (Song writing)
>
> Okay, here's a question: if I sit down and try and
> write a song, I
> usually can't get beyond
> creating a simple riff. That tends to get plugged into
> a I-IV-V
> progression, and it all
> quickly gets stagnant and doesn't go anywhere. It's
> pretty stifling.
> Any suggestions on how
> I might unlock my song writing potential?
>
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! Mail - Helps protect you from nasty viruses.
>
--- In , Twangler <twangler@p...> wrote:
> Alter the riff with each new verse. Spice it up with extra notes
from
> the scale your in. If that doesn't work, change the octave you're
> playing - or both. In ten years of playing with Rip Thrillby, that's
> the extent of the lead guitar lesson I got. He used "Checkpoint
Echo"
> as the example.
Hey Spanky! When I learned Checkpoint Echo I noticed the same thing.
Each verse was slightly different, causing me to go "damn, I thought I
had it figured out, now there's this extra little thingy to go learn".
Despite making learning the song a bit harder, it really adds to the
song.
I also noticed really subtle variations in each verse on a lot of
Volcanos songs (again, causing a lot of learning frustrations for me).
I asked guitarist Rick Mills what was up with all the little changes,
and he told me that was completely unintentional. What was happening
was that he was trading leads/verses with co-guitarist Chris, and each
guy was simply playing each part slightly differently. He was really
proud of that unintentional side effect. I think it makes them sound
more organic and interesting.
BN
When using a minor as a (1) I'm usually working in a composite minor
chord progression but the bass line plays a big role in how my use
dim chords function. Most of time I come up with a melody or hook I
like and build from there. Lately I have been spending more time
writing melody and bass line only. Listen to them separately and then
finish the arrangement. However truth is I written some of best
stuff camping with just my acoustic or just banging out nonsense
watching TV with no real thought other than I just like what I'm
playing at time.
--- In , "Eric" <cirecc@y...> wrote:
> that's not a very strong resolution, it does resolve however, but is
> more suited for prolonging the tonic, or I (Am) rather than
resolving
> a phrase. so if you were to do a more lengthy progression, it could
go
> Am, G#dim, Am, Dm, Am, E(7), Am, or something along those lines, and
> be used very effectively. the V and V7 (in this example E or E7)
> chords resolve the strongest back to I, but that doesn't mean you
have
> to resolve that way every time to get back (also a good method of
> changing keys: for this example: Am, G#dim, Am, G, C). IV and iv
(Dm)
> (caps represent major, lowercase minor) also work, but not as well.
> also, another kinda cool trick is to do a vi or VI chord instead of
a
> one at the end of a phrase, too much sounds silly and makes it sound
> like you don't know whether you're writing the song in major or
minor.
> but it could be used as a transition into a bridge in the other key.
> this being said, i think for the most part rock n roll sounds its
best
> when it's straight forward and not over done, but using more
> complicated methods can make some great music, too, as well as being
> generally helpful in understanding music itself. in general, just
play
> something that sounds good.
> eric
>
> --- In , "holyreveb" <holyreveb@y...>
wrote:
> >
> >
> > Here's two very good books you should own:
> >
> > The Jazz Theory Book by Mark Levine published by SHER Music Co.
> >
> > The Progressive Guitarist Practical Theory for Guitar by Don
Latarski
> > published by Warner Bros Publications
> >
> > NOTE: Get both of them they really compliment each other
> >
> > Here's cool one: You can lead into any chord from a Diminished
chord
> > a 1/2 step below. So for example say you want to resolve to Ami.
Play
> > a Ab Dim chord before the Ami, the Dim chord will pull to a
> > resolution. Also you can use any note from the Ab DIM as it's
root
> > and lead into the Ami.
> >
> > As for I IV V in C so its:
> > I (Cmaj7) ii (Dmi7) iii (Emi7) IV (Fmaj7) V (G7) iv (Ami7) iiv
(Bdim)
> >
> > Try this:
> > I (Cmaj7) iii (Emi7)iv (Ami7) can sub for each other
> > ii (Dmi7) and IV (Fmaj7) can sub for each other
> > V (G7) and iiv (Bdim) can sub for each other
> >
> > Anyway this is a huge subject
> >
> > --- In , "Gavin Ehringer"
> > <gavinehringer@e...> wrote:
> > > Okay, here's a question: if I sit down and try and write a
song, I
> > usually can't get beyond
> > > creating a simple riff. That tends to get plugged into a I-IV-V
> > progression, and it all
> > > quickly gets stagnant and doesn't go anywhere. It's pretty
> > stifling. Any suggestions on how
> > > I might unlock my song writing potential?
> > >
> > > --- In , Jonathan Villegas
> > <jville.geo@y...> wrote:
> > > > Rick,
> > > >
> > > > As a composer (as well as guitarist & bassist) I'd
> > > > welcome more discussions about music theory. It would
> > > > make for a nice balance to all the recent fan talk
> > > > about bands and personalities!
> > > >
> > > > If you've a question, fire away and lets see what
> > > > happens.
> > > >
> > > > Meanwhile, I'm thinking of writing a surf tune with
> > > > IIm7-V-I changes in 7/4 time with a whole-step
> > > > modulation somewhere in the middle.... :-)
> > > >
> > > > ~ Jonathan
> > > >
> > > >
> > > > --- wrote:
> > > >
> > > > Message: 22
> > > > Date: Wed, 29 Jun 2005 00:37:23 -0000
> > > > From: "holyreveb" <holyreveb@y...>
> > > > Subject: Surf - music theory and other geek speak
> > > >
> > > > I wanted to know if this is the right place for this
> > > > or should there be
> > > > a new group which just talks about music theory,
> > > > composition,
> > > > influnces , books etc as it would apply to Surf music.
> > > >
> > > >
> > > > Rick
> > > >
> > > >
> > > >
> > > > ____________________________________________________
> > > > Yahoo! Sports
> > > > Rekindle the Rivalries. Sign up for Fantasy Football
> > > >
Gavin:
Here are a couple of tips that might help you get
"unstuck":
1. bounce your ideas off of a friend...go jam with friends
and try your new riff/ chord sequence out on
them...colaborate.
2. Base your chord sequences on scale positions. In other
words, figure out the "scale" that your new riff is in, and
then build chords off of that scale. For example, if your
riff is in the Am scale, then maybe you could come up with
chords based upon notes in that compose the Am scale...
3. Get a drummer or drum machine going with different
rhythms...it can spark new creativity.
4. Get a chord book and try some new chord shapes...or tey
the chords you know in different position. This could lead
to interesting new chord sequences or sounds.
5. Try writing/composing on a different instrument: a bass,
an organ, a xylophone, a flute...if it sounds cool on the
bass or on the organ, you could sort of "reverse engineer"
the guitar parts.
I hope that some of these ideas prove helpful for you.
-dp
--- Gavin Ehringer <> wrote:
> Okay, here's a question: if I sit down and try and write
> a song, I usually can't get beyond
> creating a simple riff. That tends to get plugged into a
> I-IV-V progression, and it all
> quickly gets stagnant and doesn't go anywhere. It's
> pretty stifling. Any suggestions on how
> I might unlock my song writing potential?
>
> --- In , Jonathan Villegas
> <jville.geo@y...> wrote:
> > Rick,
> >
> > As a composer (as well as guitarist & bassist) I'd
> > welcome more discussions about music theory. It would
> > make for a nice balance to all the recent fan talk
> > about bands and personalities!
> >
> > If you've a question, fire away and lets see what
> > happens.
> >
> > Meanwhile, I'm thinking of writing a surf tune with
> > IIm7-V-I changes in 7/4 time with a whole-step
> > modulation somewhere in the middle.... :-)
> >
> > ~ Jonathan
> >
> >
> > --- wrote:
> >
> > Message: 22
> > Date: Wed, 29 Jun 2005 00:37:23 -0000
> > From: "holyreveb" <holyreveb@y...>
> > Subject: Surf - music theory and other geek speak
> >
> > I wanted to know if this is the right place for this
> > or should there be
> > a new group which just talks about music theory,
> > composition,
> > influnces , books etc as it would apply to Surf music.
> >
> >
> > Rick
> >
> >
> >
> > ____________________________________________________
> > Yahoo! Sports
> > Rekindle the Rivalries. Sign up for Fantasy Football
> >
>
>
>
>
> .
> Visit for
> archived messages, bookmarks, files, polls, etc.
>
> Yahoo! Groups Links
>
>
>
>
>
>
>
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Danny wrote:
"...that the minor scale for a given chord (ex. Am 7) is
the same as the major scale for the third above it..."
AKA: "relative minor" & "relative major"...
...for those interested in some music theory "geek speak"
-dp
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eric wrote:
"...also a good method of changing keys: for this example:
Am, G#dim, Am, G, C..."
AKA: "modulation", changing from one key to another
mid-song. (more music theory geek-speak)
-dp
--- Eric <> wrote:
> that's not a very strong resolution, it does resolve
> however, but is
> more suited for prolonging the tonic, or I (Am) rather
> than resolving
> a phrase. so if you were to do a more lengthy
> progression, it could go
> Am, G#dim, Am, Dm, Am, E(7), Am, or something along those
> lines, and
> be used very effectively. the V and V7 (in this example E
> or E7)
> chords resolve the strongest back to I, but that doesn't
> mean you have
> to resolve that way every time to get back (also a good
> method of
> changing keys: for this example: Am, G#dim, Am, G, C). IV
> and iv (Dm)
> (caps represent major, lowercase minor) also work, but
> not as well.
> also, another kinda cool trick is to do a vi or VI chord
> instead of a
> one at the end of a phrase, too much sounds silly and
> makes it sound
> like you don't know whether you're writing the song in
> major or minor.
> but it could be used as a transition into a bridge in the
> other key.
> this being said, i think for the most part rock n roll
> sounds its best
> when it's straight forward and not over done, but using
> more
> complicated methods can make some great music, too, as
> well as being
> generally helpful in understanding music itself. in
> general, just play
> something that sounds good.
> eric
>
> --- In , "holyreveb"
> <holyreveb@y...> wrote:
> >
> >
> > Here's two very good books you should own:
> >
> > The Jazz Theory Book by Mark Levine published by SHER
> Music Co.
> >
> > The Progressive Guitarist Practical Theory for Guitar
> by Don Latarski
> > published by Warner Bros Publications
> >
> > NOTE: Get both of them they really compliment each
> other
> >
> > Here's cool one: You can lead into any chord from a
> Diminished chord
> > a 1/2 step below. So for example say you want to
> resolve to Ami. Play
> > a Ab Dim chord before the Ami, the Dim chord will pull
> to a
> > resolution. Also you can use any note from the Ab DIM
> as it's root
> > and lead into the Ami.
> >
> > As for I IV V in C so its:
> > I (Cmaj7) ii (Dmi7) iii (Emi7) IV (Fmaj7) V (G7) iv
> (Ami7) iiv (Bdim)
> >
> > Try this:
> > I (Cmaj7) iii (Emi7)iv (Ami7) can sub for each other
> > ii (Dmi7) and IV (Fmaj7) can sub for each other
> > V (G7) and iiv (Bdim) can sub for each other
> >
> > Anyway this is a huge subject
> >
> > --- In , "Gavin Ehringer"
> > <gavinehringer@e...> wrote:
> > > Okay, here's a question: if I sit down and try and
> write a song, I
> > usually can't get beyond
> > > creating a simple riff. That tends to get plugged
> into a I-IV-V
> > progression, and it all
> > > quickly gets stagnant and doesn't go anywhere. It's
> pretty
> > stifling. Any suggestions on how
> > > I might unlock my song writing potential?
> > >
> > > --- In , Jonathan
> Villegas
> > <jville.geo@y...> wrote:
> > > > Rick,
> > > >
> > > > As a composer (as well as guitarist & bassist) I'd
> > > > welcome more discussions about music theory. It
> would
> > > > make for a nice balance to all the recent fan talk
> > > > about bands and personalities!
> > > >
> > > > If you've a question, fire away and lets see what
> > > > happens.
> > > >
> > > > Meanwhile, I'm thinking of writing a surf tune with
> > > > IIm7-V-I changes in 7/4 time with a whole-step
> > > > modulation somewhere in the middle.... :-)
> > > >
> > > > ~ Jonathan
> > > >
> > > >
> > > > --- wrote:
> > > >
> > > > Message: 22
> > > > Date: Wed, 29 Jun 2005 00:37:23 -0000
> > > > From: "holyreveb" <holyreveb@y...>
> > > > Subject: Surf - music theory and other geek speak
> > > >
> > > > I wanted to know if this is the right place for
> this
> > > > or should there be
> > > > a new group which just talks about music theory,
> > > > composition,
> > > > influnces , books etc as it would apply to Surf
> music.
> > > >
> > > >
> > > > Rick
> > > >
> > > >
> > > >
> > > >
> ____________________________________________________
> > > > Yahoo! Sports
> > > > Rekindle the Rivalries. Sign up for Fantasy
> Football
> > > >
>
>
>
>
> .
> Visit for
> archived messages, bookmarks, files, polls, etc.
>
> Yahoo! Groups Links
>
>
>
>
>
>
>
____________________________________________________
Yahoo! Sports
Rekindle the Rivalries. Sign up for Fantasy Football
--- Gavin Ehringer <>
wrote:
> Okay, here's a question: if I sit down and try and
> write a song, I usually can't get beyond
> creating a simple riff. That tends to get plugged
> into a I-IV-V progression, and it all
> quickly gets stagnant and doesn't go anywhere.
This is my formula as well.
My advice--be content with writing bad songs. :D
I mean, we can't all be monster songwriters. Why, I
wrote a bad song just an hour or so ago. I plan on
recording it as soon as I can.
Richard
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Alright holyreverb,
I'm pulling you over for unnecessary over-complication of a simple scale. It is
superflous to refer to the A minor scale as "Aeolian" and "Modal" even if it is
correct.
Is this whole preoccupation with modes fallout from the heavy metal era? I don't
recall anyone before that era talking about modes except for maybe some jazzers.
-Marty
-----Original Message-----
From: holyreveb
Sent: Jun 29, 2005 9:35 AM
To:
Subject: [SurfGuitar101] Re: Surf - music theory and other geek speak (Song
writing)
Another thing to be something I call modal chords. Take any scale
lets say Ami Aeolian for example (1 2 b3 4 5 b6 b7) . Lay down a bass
line which has (A) as it's root. Now create chords at random using
any 3 notes of the Aeolian scale, just experiment with what sounds
interesting.
--- In , Jonathan Villegas
<jville.geo@y...> wrote:
> Gavin,
>
> Great question. It helps to think of songwriting as
> taking a journey with hills and dales and sidetrips.
>
> One cool move is to use the cycle of fifths as part of
> a chord progression. In key of C for example: C, G7,
> D- and then back to C, or go to A-7 for a bluesier
> end.
>
> It might help, too, to try some chord
> extensions...nothing extreme like in be-bop jazz, but
> 9ths instead of 7ths and -7th (minor 7ths) instead of
> plain minor should be fine in surf rock music. This
> helps to open up the sound and lets you play more
> interesting melodies and solos.
>
> You can also song (also called
> modulation). How this is done depenchange the key within ads on the
song.
> Some go right into the new key. Other modulate using a
> chord sequence to smooth out the change. Various
> strategies exist for key changing chord sequences. One
> of them is the II-V-I jazzbo trick, with the I chord
> being the new key center.
>
> There's lots of ways to go beyond the limitations of
> the typical 3-chord rock song!
>
> ~ Jonathan
>
> --- wrote:
>
> Message: 13
> Date: Wed, 29 Jun 2005 05:02:41 -0000
> From: "Gavin Ehringer"
> <gavinehringer@e...>
> Subject: Re: Surf - music theory and other geek speak
> (Song writing)
>
> Okay, here's a question: if I sit down and try and
> write a song, I
> usually can't get beyond
> creating a simple riff. That tends to get plugged into
> a I-IV-V
> progression, and it all
> quickly gets stagnant and doesn't go anywhere. It's
> pretty stifling.
> Any suggestions on how
> I might unlock my song writing potential?
>
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! Mail - Helps protect you from nasty viruses.
>
.
Visit for archived messages,
bookmarks, files, polls, etc.
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------------------------------------------------------------------------------
[Non-text portions of this message have been removed]
"I'm pulling you over for unnecessary over-complication of a simple
scale" Classic, I laughed my ass off.
--- In , "Marty Tippens"
<mctippens@e...> wrote:
> Alright holyreverb,
>
> I'm pulling you over for unnecessary over-complication of a simple
scale. It is superflous to refer to the A minor scale as "Aeolian"
and "Modal" even if it is correct.
>
> Is this whole preoccupation with modes fallout from the heavy metal
era? I don't recall anyone before that era talking about modes except
for maybe some jazzers.
>
> -Marty
>
> -----Original Message-----
> From: holyreveb
> Sent: Jun 29, 2005 9:35 AM
> To:
> Subject: [SurfGuitar101] Re: Surf - music theory and other geek
speak (Song writing)
>
> Another thing to be something I call modal chords. Take any scale
> lets say Ami Aeolian for example (1 2 b3 4 5 b6 b7) . Lay down a
bass
> line which has (A) as it's root. Now create chords at random using
> any 3 notes of the Aeolian scale, just experiment with what sounds
> interesting.
>
>
> --- In , Jonathan Villegas
>
> <jville.geo@y...> wrote:
> > Gavin,
> >
> > Great question. It helps to think of songwriting as
> > taking a journey with hills and dales and sidetrips.
> >
> > One cool move is to use the cycle of fifths as part of
> > a chord progression. In key of C for example: C, G7,
> > D- and then back to C, or go to A-7 for a bluesier
> > end.
> >
> > It might help, too, to try some chord
> > extensions...nothing extreme like in be-bop jazz, but
> > 9ths instead of 7ths and -7th (minor 7ths) instead of
> > plain minor should be fine in surf rock music. This
> > helps to open up the sound and lets you play more
> > interesting melodies and solos.
> >
> > You can also song (also called
> > modulation). How this is done depenchange the key within ads on
the
> song.
> > Some go right into the new key. Other modulate using a
> > chord sequence to smooth out the change. Various
> > strategies exist for key changing chord sequences. One
> > of them is the II-V-I jazzbo trick, with the I chord
> > being the new key center.
> >
> > There's lots of ways to go beyond the limitations of
> > the typical 3-chord rock song!
> >
> > ~ Jonathan
> >
> > --- wrote:
> >
> > Message: 13
> > Date: Wed, 29 Jun 2005 05:02:41 -0000
> > From: "Gavin Ehringer"
> > <gavinehringer@e...>
> > Subject: Re: Surf - music theory and other geek speak
> > (Song writing)
> >
> > Okay, here's a question: if I sit down and try and
> > write a song, I
> > usually can't get beyond
> > creating a simple riff. That tends to get plugged into
> > a I-IV-V
> > progression, and it all
> > quickly gets stagnant and doesn't go anywhere. It's
> > pretty stifling.
> > Any suggestions on how
> > I might unlock my song writing potential?
> >
> >
> >
> > __________________________________
> > Do you Yahoo!?
> > Yahoo! Mail - Helps protect you from nasty viruses.
> >
>
>
>
>
> .
> Visit for archived
messages, bookmarks, files, polls, etc.
>
>
>
>
>
> --------------------------------------------------------------------
----------
> YAHOO! GROUPS LINKS
>
>
> a.. Visit your group "SurfGuitar101" on the web.
>
> b.. To unsubscribe from this group, send an email to:
>
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of Service.
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> --------------------------------------------------------------------
----------
>
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>
>
> [Non-text portions of this message have been removed]
d boone (minutemen) was from the LA Punk days (early 1980s)
he talked a mess of modes...so did our old pals Chet
Atkins, James Jamerson and Carol Kaye...
and besides, Dick Dale invented modes before he moved into
his record shop in Balboa, even though he doesn't
acknowledge it anymore...(okay, well maybe that's just an
urban surf legend I just made up...it seemed to fit really
well right there...)
;)
-dp
--- Marty Tippens <> wrote:
> Alright holyreverb,
>
> I'm pulling you over for unnecessary over-complication of
> a simple scale. It is superflous to refer to the A minor
> scale as "Aeolian" and "Modal" even if it is correct.
>
> Is this whole preoccupation with modes fallout from the
> heavy metal era? I don't recall anyone before that era
> talking about modes except for maybe some jazzers.
>
> -Marty
>
> -----Original Message-----
> From: holyreveb
> Sent: Jun 29, 2005 9:35 AM
> To:
> Subject: [SurfGuitar101] Re: Surf - music theory and
> other geek speak (Song writing)
>
> Another thing to be something I call modal chords. Take
> any scale
> lets say Ami Aeolian for example (1 2 b3 4 5 b6 b7) . Lay
> down a bass
> line which has (A) as it's root. Now create chords at
> random using
> any 3 notes of the Aeolian scale, just experiment with
> what sounds
> interesting.
>
>
> --- In , Jonathan Villegas
>
> <jville.geo@y...> wrote:
> > Gavin,
> >
> > Great question. It helps to think of songwriting as
> > taking a journey with hills and dales and sidetrips.
> >
> > One cool move is to use the cycle of fifths as part of
> > a chord progression. In key of C for example: C, G7,
> > D- and then back to C, or go to A-7 for a bluesier
> > end.
> >
> > It might help, too, to try some chord
> > extensions...nothing extreme like in be-bop jazz, but
> > 9ths instead of 7ths and -7th (minor 7ths) instead of
> > plain minor should be fine in surf rock music. This
> > helps to open up the sound and lets you play more
> > interesting melodies and solos.
> >
> > You can also song (also called
> > modulation). How this is done depenchange the key
> within ads on the
> song.
> > Some go right into the new key. Other modulate using a
> > chord sequence to smooth out the change. Various
> > strategies exist for key changing chord sequences. One
> > of them is the II-V-I jazzbo trick, with the I chord
> > being the new key center.
> >
> > There's lots of ways to go beyond the limitations of
> > the typical 3-chord rock song!
> >
> > ~ Jonathan
> >
> > --- wrote:
> >
> > Message: 13
> > Date: Wed, 29 Jun 2005 05:02:41 -0000
> > From: "Gavin Ehringer"
> > <gavinehringer@e...>
> > Subject: Re: Surf - music theory and other geek speak
> > (Song writing)
> >
> > Okay, here's a question: if I sit down and try and
> > write a song, I
> > usually can't get beyond
> > creating a simple riff. That tends to get plugged into
> > a I-IV-V
> > progression, and it all
> > quickly gets stagnant and doesn't go anywhere. It's
> > pretty stifling.
> > Any suggestions on how
> > I might unlock my song writing potential?
> >
> >
> >
> > __________________________________
> > Do you Yahoo!?
> > Yahoo! Mail - Helps protect you from nasty viruses.
> >
>
>
>
>
> .
> Visit for
> archived messages, bookmarks, files, polls, etc.
>
>
>
>
>
>
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>
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
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> Yahoo! Groups Links
>
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>
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>
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yeah, i also like to write songs in ionian (major), you sound silly if
you are referring to major and minor keys in their modal names. yeah,
a lot of modes don't sound too good. one of my profs made me learn
every mode of every key. he would just spout out "Gb phrygian" and i'd
have to play it without hesitation.
eric
--- In , "Marty Tippens"
<mctippens@e...> wrote:
> Alright holyreverb,
>
> I'm pulling you over for unnecessary over-complication of a simple
scale. It is superflous to refer to the A minor scale as "Aeolian" and
"Modal" even if it is correct.
>
> Is this whole preoccupation with modes fallout from the heavy metal
era? I don't recall anyone before that era talking about modes except
for maybe some jazzers.
>
> -Marty
>
> -----Original Message-----
> From: holyreveb
> Sent: Jun 29, 2005 9:35 AM
> To:
> Subject: [SurfGuitar101] Re: Surf - music theory and other geek
speak (Song writing)
>
> Another thing to be something I call modal chords. Take any scale
> lets say Ami Aeolian for example (1 2 b3 4 5 b6 b7) . Lay down a bass
> line which has (A) as it's root. Now create chords at random using
> any 3 notes of the Aeolian scale, just experiment with what sounds
> interesting.
>
> y
> --- In , Jonathan Villegas
>
> <jville.geo@y...> wrote:
> > Gavin,
> >
> > Great question. It helps to think of songwriting as
> > taking a journey with hills and dales and sidetrips.
> >
> > One cool move is to use the cycle of fifths as part of
> > a chord progression. In key of C for example: C, G7,
> > D- and then back to C, or go to A-7 for a bluesier
> > end.
> >
> > It might help, too, to try some chord
> > extensions...nothing extreme like in be-bop jazz, but
> > 9ths instead of 7ths and -7th (minor 7ths) instead of
> > plain minor should be fine in surf rock music. This
> > helps to open up the sound and lets you play more
> > interesting melodies and solos.
> >
> > You can also song (also called
> > modulation). How this is done depenchange the key within ads on the
> song.
> > Some go right into the new key. Other modulate using a
> > chord sequence to smooth out the change. Various
> > strategies exist for key changing chord sequences. One
> > of them is the II-V-I jazzbo trick, with the I chord
> > being the new key center.
> >
> > There's lots of ways to go beyond the limitations of
> > the typical 3-chord rock song!
> >
> > ~ Jonathan
> >
> > --- wrote:
> >
> > Message: 13
> > Date: Wed, 29 Jun 2005 05:02:41 -0000
> > From: "Gavin Ehringer"
> > <gavinehringer@e...>
> > Subject: Re: Surf - music theory and other geek speak
> > (Song writing)
> >
> > Okay, here's a question: if I sit down and try and
> > write a song, I
> > usually can't get beyond
> > creating a simple riff. That tends to get plugged into
> > a I-IV-V
> > progression, and it all
> > quickly gets stagnant and doesn't go anywhere. It's
> > pretty stifling.
> > Any suggestions on how
> > I might unlock my song writing potential?
> >
> >
> >
> > __________________________________
> > Do you Yahoo!?
> > Yahoo! Mail - Helps protect you from nasty viruses.
> >
>
>
>
>
> .
> Visit for archived
messages, bookmarks, files, polls, etc.
>
>
>
>
>
>
------------------------------------------------------------------------------
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>
>
> a.. Visit your group "SurfGuitar101" on the web.
>
> b.. To unsubscribe from this group, send an email to:
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Service.
>
>
>
>
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>
>
>
>
> [Non-text portions of this message have been removed]
It's only modulation if you change keys for an extended period of
time, otherwise it's called tonicization. The best method for
modulation or tonicization is to use an authentic cadence (V/x-I/x),
preferrably a perfect authentic cadence (where the lead voice goes to
the new root note by step). You don't have to though, sometimes you
could be a little more abrupt, and that can be cool too, as long as it
doesn't sound rediculous. It's best to modulate or tonicize into keys
whose tonic triad is within the original key, to change into a key
whose I chord is in the original key. For major this would be : vi
(relative minor, same key signature), V (is usually pleasant sounding
because it can resolve well into the modulation and resolve well back
into the original key), iii, IV, and ii. The best sounding keys to
modulate to while in a major key are V, vi, and iii. For minor III
(relative major, same key sig.), iv, VI, v, VII. The best sounding for
minor typically are: III, v, and VI. It sounds weird in a minor key to
modulate to a major V even though that is the better to use a major
five chord (major dominant) in minor to lead back to I (tonic), this
probably due to the leading tone. It wouldn't sound like a resolution
into the other key.
eric
--- In , DP <noetical1@y...> wrote:
> eric wrote:
>
> "...also a good method of changing keys: for this example:
> Am, G#dim, Am, G, C..."
>
> AKA: "modulation", changing from one key to another
> mid-song. (more music theory geek-speak)
>
If d boone talked of modes, he was the rare exception in the punk rock world.
Maybe Greg Ginn was another. Dick Dale may have used modes but he probably
didn't know it. He didn't pontificate on the virtues of modes. Few if any of the
early surf guitarists or rock guitarists in general talked of the technical
mechanics of the guitar. In the best days of rock guitar, it was about making
bitchin' sounds without really knowing a heck of a lot about what your doing in
terms of harmony. As rock progressed into more technical forms, it fit the image
of a Robert Fripp or a Steve Hacket to sound more educated. As much as I love
those guys, a lot of what they said sounded like psuedo-intellectual b.s.
I haven't found what I'm reading here about modes and resolutions and tonic
shifting to be the most helpful or useful way to approach surf guitar. Those
discussions are much more useful in the approach to jazz guitar. Then again, are
we now in an era of progressive surf guitar? Dave Wronski certainly plays some
head-turning harmony.
-Marty
----- Original Message -----
From: DP
To:
Sent: Wednesday, June 29, 2005 9:34 PM
Subject: Re: [SurfGuitar101] Re: Surf - music theory and other geek speak
(Song writing)
d boone (minutemen) was from the LA Punk days (early 1980s)
he talked a mess of modes...so did our old pals Chet
Atkins, James Jamerson and Carol Kaye...
and besides, Dick Dale invented modes before he moved into
his record shop in Balboa, even though he doesn't
acknowledge it anymore...(okay, well maybe that's just an
urban surf legend I just made up...it seemed to fit really
well right there...)
;)
-dp
--- Marty Tippens <> wrote:
> Alright holyreverb,
>
> I'm pulling you over for unnecessary over-complication of
> a simple scale. It is superflous to refer to the A minor
> scale as "Aeolian" and "Modal" even if it is correct.
>
> Is this whole preoccupation with modes fallout from the
> heavy metal era? I don't recall anyone before that era
> talking about modes except for maybe some jazzers.
>
> -Marty
>
> -----Original Message-----
> From: holyreveb
> Sent: Jun 29, 2005 9:35 AM
> To:
> Subject: [SurfGuitar101] Re: Surf - music theory and
> other geek speak (Song writing)
>
> Another thing to be something I call modal chords. Take
> any scale
> lets say Ami Aeolian for example (1 2 b3 4 5 b6 b7) . Lay
> down a bass
> line which has (A) as it's root. Now create chords at
> random using
> any 3 notes of the Aeolian scale, just experiment with
> what sounds
> interesting.
>
>
> --- In , Jonathan Villegas
>
> <jville.geo@y...> wrote:
> > Gavin,
> >
> > Great question. It helps to think of songwriting as
> > taking a journey with hills and dales and sidetrips.
> >
> > One cool move is to use the cycle of fifths as part of
> > a chord progression. In key of C for example: C, G7,
> > D- and then back to C, or go to A-7 for a bluesier
> > end.
> >
> > It might help, too, to try some chord
> > extensions...nothing extreme like in be-bop jazz, but
> > 9ths instead of 7ths and -7th (minor 7ths) instead of
> > plain minor should be fine in surf rock music. This
> > helps to open up the sound and lets you play more
> > interesting melodies and solos.
> >
> > You can also song (also called
> > modulation). How this is done depenchange the key
> within ads on the
> song.
> > Some go right into the new key. Other modulate using a
> > chord sequence to smooth out the change. Various
> > strategies exist for key changing chord sequences. One
> > of them is the II-V-I jazzbo trick, with the I chord
> > being the new key center.
> >
> > There's lots of ways to go beyond the limitations of
> > the typical 3-chord rock song!
> >
> > ~ Jonathan
> >
> > --- wrote:
> >
> > Message: 13
> > Date: Wed, 29 Jun 2005 05:02:41 -0000
> > From: "Gavin Ehringer"
> > <gavinehringer@e...>
> > Subject: Re: Surf - music theory and other geek speak
> > (Song writing)
> >
> > Okay, here's a question: if I sit down and try and
> > write a song, I
> > usually can't get beyond
> > creating a simple riff. That tends to get plugged into
> > a I-IV-V
> > progression, and it all
> > quickly gets stagnant and doesn't go anywhere. It's
> > pretty stifling.
> > Any suggestions on how
> > I might unlock my song writing potential?
> >
> >
> >
> > __________________________________
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> > Yahoo! Mail - Helps protect you from nasty viruses.
> >
>
>
>
>
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