Metropoulos Forum

JimiJames wrote:at roughly 1:20

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-----------------6(7)---6-7-9-6(7)---6-7-9-6(7)--6-7-9-6(7)--6------------------------
----------6-7-9------9--------------9-------------9-------------9---7-9-6-7-6---6-------
---5-7-9--------------------------------------------------------------------------9---7^---
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So, E Mixolydian? It also fits a common pattern for Ed. He doesn't necessarily use this type of theory, but theory fits his playing...or his playing fits theory.

There is much rhyme & reason in Ed's playing & writing !

In the Chorus (M.A.) Bouncing off the E & G then C to D, is off G Major or its relative minor E Aeolian.
That B section Lives in A Major, but played on the (B) Dorian, but the intro pattern is D Lydian
Why it does not sound heavily influenced by Lydian is because you are not hearing the contrast off the 1 but off the 2...
(The rhythmic pattern has a sextuplet feel.)

JimiJames wrote: That B section Lives in A Major, but played on the (B) Dorian, but the intro pattern is D Lydian :

and/or E Mixolydian is in the ballpark, no? At least I am in the right key

Actually, Yes ! It fits !
WHY ?
For that little section Michael 's on the B (2 of A)
Ed's on the 1 which is A Major.
So, in your theory if given this, then you are correct that an E Mixolydian can be played over that section. The 5 of A.
As long as you remind your audience when your phrasing coming back to the 1. (more on that later...)

so for just that small section:
Ed on A the 1
Michael on B the 2
You on E the 5

Once in a while you hear an unfamiliar chord and probably are curious to know how to build upon just that one lone chord.
Or maybe it was a pretty chord that an Artist did or does and want to explore the possibilities of incorporating these type chords in your own playing & style.

On each string; all you are simply doing is moving up the scale starting on each strings interval.
In this voicing I am playing an A drone string over the diatonic chords to familiarize myself what it sounds like.
(I could even change one note if need be; to compliment a melody or harmonized with another instrument.)

On the left is a chord from an Allan Holdsworth tune that I'll use as an example. Once I figured out what scale sounded best over it, I charted out the scale and simply connected the dots. . . .

That's one of the best thongs you've shared here.

mightymike wrote:That's one of the best thongs you've shared here.

I would only share my thong with you guy's, though. Who says Theory can't be sexy ?

Well, I sure do hope for this guys sake,
that the pistola he's precariously holding, is not loaded....


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yeayea, this was an eye-opener for me. (ehh, the Chord Theory not Mr. Sexy Gunslinger) Making ALL
the chords sound like they are from the same family !
A HUGE tool if you are a Singer/Songwriter/Composer etc... Writing your own Arrangements with
a library of "new" chords that now finally fit !
Creating Chord Progression's for your own backing tracks now seem more appealing. You could experiment with different Modes of the scale, and in doing so, you are now forming your own voice.
Most importantly... YOU sound like You !

My eyes cannot un see what they have seen.......

Now then...
What needs to be explained or understood or ... analyzed.

What song should we dissect...

...