Black starts in the Key of A-Major/F#Minor and then modulates to E-Minor/G-Major.
I believe Mike's solo is just played within the pentatonic scale of the modulated key.
Take a look at the music - The tune switches keys in the chorus (it goes from 3-sharps in the verse to 1-sharp in the chorus).
And with a little music theory, you know that 3#'s = A.Major (or it's relative F#Minor) AND 1# = E.Minor (or it's relative G.Major).
You can pretty much modulate a key down by removing sharps (or flats) without it sounding to abrasive - but it's modulating the
key up that might not sit well with some listeners (adding a sharp or two when there wasn't one sometimes sounds disagreeable).
Corroborating this as you see, some people didn't even know that the key had changed at all
Its just the E pentatonic scale:
12--15----
12---14
12---14
12---14
12---14
-12---15
With some minor notes in their, all based around the riff:
---12--13--15---13---12--13--12
Which means you can throw in some minor notes like:
--12-14-15
12-13-15
11-12-14----
2006: Hartford 2008: Camden 2, Hartford 2010: Hartford 2013: Wrigley, Worcester x2, Hartford 2015: NYC 2016: Philly 2, MSG x2, Boston 2, (TOTD Philly 2, MSG) 2018: Prague, Krakow, Berlin, Boston x2 2022: San Diego, Sacramento, Las Vegas
Ah, I see. Yeah, I get it. But say I don't have sheet music to determine the amount of sharps, and whatnot. Than how would I determine what to solo?
I typically use Ionian (Major) or Aeolian (Minor) MODES to figure out my key if I don't have the notation.
You've got 12 places to try since there are 12 total notes in music (including all the sharps/flats). Just
work your way up the fretboard playing either Major/Minor MODE until you find a place that works well.
It may take you a few times around to actually find the place that works the best - then of coarse you
can just blues/pentatonic it out - Here you go: http://i174.photobucket.com/albums/w83/ianvomsaal/Scales--Modes-Diagrams-Fingerings.jpg
Comments
I believe Mike's solo is just played within the pentatonic scale of the modulated key.
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And with a little music theory, you know that 3#'s = A.Major (or it's relative F#Minor) AND 1# = E.Minor (or it's relative G.Major).
You can pretty much modulate a key down by removing sharps (or flats) without it sounding to abrasive - but it's modulating the
key up that might not sit well with some listeners (adding a sharp or two when there wasn't one sometimes sounds disagreeable).
Corroborating this as you see, some people didn't even know that the key had changed at all
<b><font color="red">CONTACT ME HERE</font>: www.myspace.com/ianvomsaal</b>
♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫
12--15----
12---14
12---14
12---14
12---14
-12---15
With some minor notes in their, all based around the riff:
---12--13--15---13---12--13--12
Which means you can throw in some minor notes like:
--12-14-15
12-13-15
11-12-14----
2008: Camden 2, Hartford
2010: Hartford
2013: Wrigley, Worcester x2, Hartford
2015: NYC
2016: Philly 2, MSG x2, Boston 2, (TOTD Philly 2, MSG)
2018: Prague, Krakow, Berlin, Boston x2
2022: San Diego, Sacramento, Las Vegas
You've got 12 places to try since there are 12 total notes in music (including all the sharps/flats). Just
work your way up the fretboard playing either Major/Minor MODE until you find a place that works well.
It may take you a few times around to actually find the place that works the best - then of coarse you
can just blues/pentatonic it out - Here you go: http://i174.photobucket.com/albums/w83/ianvomsaal/Scales--Modes-Diagrams-Fingerings.jpg
<b><font color="red">CONTACT ME HERE</font>: www.myspace.com/ianvomsaal</b>
♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫ ♫