Or the e-minor chord family , majority of iron maiden songs are on those
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Yes as do many others.
Biffy Clyro play in a Drop D tuning for example. Mark Knopfler plays in all sorts, open G etc etc. Brothers in Arms is in the key of G#m which is the same as tuning down half a step and playing Am.
This is what I need to learn…somehow!
Yes, so do I some more!!!
Its all about the ‘interval’ really. The best thing I ever did to advance my learning was to print off a picture of the standard E tuning for the fretboard, so you can memorise each note across the frets. Came on no end 3-6 months after doing that, because I was able to see the interval relationships better.
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I used this as I don’t recollect the notes immediately out of the top of my head. The point is that you still can play the “C” after playing the “G major key”. and the “C” after the “G”.
Basically you can’t play the “A” after playing the “G” for example… So this gives you a list of what notes/chords can be played after the preceeding ones. There’s only 7 possibilities there.
That’s one area I’m doing now. I’m basically going through the chromatic scale all over the fret board naming each note as I go. Fingers and brain gets a work out that way. Flats and sharps will follow that.
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Yes, good stuff then. One thing I would like to tell writers of guitar tuition books - when the fck are you going to tell students about the old thumb ligament that you have to tear and repair to do barre chords! Fcking painful that was.
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Goto admit You’ve confused me a bit there. But that’s why I’m learning i guess. That’s pretty much as I play thesong other than substituting the C add 9 instead of the C. It’s more accurate and an easier transition from the G and to the D. It’s also easier to play the little single note fills between the chords.
https://www.youtube.com/watch?v=fbU1zYzD-Tw
Truly groundbreaking for 1973, the guitar solo by Fripp is just divine, even if unplayable for mere mortals.
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I haven’t heard this in at least a week. Thanks for reminding how neglectful I’d been of their genius
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@Noo_Noo Think of the stuff that @Sithbare and @Barnestormer posted as a starting point. There are loads of things happening in music that don’t confine to that, starting with something as simple and common as blue notes for example.
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After that impossible Fripp solo here’s further examples of microtonality,
Robert Johnson Drunken Hearted Man
and
Hans Abrahamsen’s vocal composition ‘Let me tell you’
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Blue notes indeed (or if you’re being posh microtones…)
Yeah , more a starting point into understanding how to compose. At some point , a keyboard is probably more useful here…
yeah. I guess I’m trying to address where I see my weaknesses. And that is basically what note to play when.
I can carry on guessing but that gets frustrating after a while, plus it sounds awful.
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It’s all good and you have to start somewhere. I’m just saying don’t get too confused in the beginning when you learn a song and think “Wait a minute, that note isn’t even supposed to be there…” 
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Fair comment. Referring back to Dead or Alive, it obviously works I’d just like to understand how this fits despite it appearing to be “incorrect” in strict terms.
That is a also a favourite solo of mine. Sambora knows his onions
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Let us be the judges of that. Have you got recordings?
No, but take my word for it.
@Barnestormer is this an album you’ve got into by Fripp and Eno?
It slipped by me completely until about a year ago
This is the track I’d pick if I had to.
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