Unnamed song (tab)

SDragon · April 04, 2007, 06:21:06 PM

I've been practicing playing guitar, lately, and even though I've only recently started to understand basic music theory (scales and chords, mostly), I've decided to try my hand at composing. This is just something I've come across practicing, but I thought it sounded nice, so here it is for critique and suggestions:

Code Select

--5-|-5--|5--5|--8-|-8--|8--8|
-5--|5--5|--5-|-8--|8--8|--8-|
5--5|--5-|-5--|8--8|--8-|-8--|
----|----|----|----|----|----|
----|----|----|----|----|----|
----|----|----|----|----|----|

And that's all I have so far, aside from an extremely tenetive bassline. It's all quarternotes, and as you can see, it's certainly not hard to play. What I like about it is that it seems to change from Am scale (first three measure) to a Gm scale (measures 4-6), but actually stays in A Blues; The tenetive bassline puts it in A Auxillary Diminished Blues. I'm not too entirely sure where to go from here, though. Thoughts? Suggestions?

Edit- Now that I look at it, the basline would still keep it in A Blues, so I think that's the scale I'm staying in.

Hibou · April 04, 2007, 09:14:46 PM

Yeah, usually a few notes outside the scale don't do a lot of harm in this case. You should probably throw a little more information up, like the intended tempo, any effects or special playing styles/techniques you might use, and the feel you're going for with the song. I should be able to give a better opinion then.

SDragon · April 05, 2007, 06:40:25 PM

Actually, this is entirely in the A Blues scale (think minor pentatonic, with an added 3b).

The only effects I even own so far are a flanger pedal, and the overdrive from my amp, but this sounds just as good clean as it does with either or both effects; I'm not sure which way I'll lean towards later on.

The tempo is... A little on the slower end of "moderate", I would say. Not having a metronome, I can't exactly say the BPM.

As for the feel, I think I'm just going to let that start to sort itself out in this early in creating it. That said, it does seem to take on a bit of a darker, kind of ominous sound. Almost like the pieces you'd hear at the beginning of 70's slasher flicks.

By the way, if anybody asks, I can give the tab for the bassline to give a better idea of the overall tone of the piece.

Hibou · April 05, 2007, 11:12:39 PM

I know the blues scale very well, it's one of my favorites :). The little piece is indeed quite dark, and might fit well in a carvinal-esque situation or in a slasher flick. My immediate impulse after completing the segment is to play an F major-type chord, followed by an E major-type chord which together last as long as the 5-5-5 notes (I'd do tab if I wasn't too lazy and I'd speak more theory-wise if I wasn't so rusty in that area), followed by a G# minor-type thing (lasting as long as the 8-8-8) before repeating it all over again.

The only suggestion I have about theory is to be more open to interpretation and possibility in regards to scales. This piece certainly has the notes that may be found in an A blues scale, but depending on what scale you apply to what key, it could also be a lot of other ones as well that apply to this piece depending on what you do with it. To avoid a lot of frustration, try and use scales primarily as chord-making tools and as bases for solos. :)

SDragon · April 06, 2007, 07:24:20 AM

Didn't think of using chords... But since I already have a dark tone, why not just use minors instead of majors? If we're talking barre chords, the F (or Fm) can be done right there at the eighth fret.

That said, an idea I just had (I haven't tried it out yet) is to repeat the first three measures (the 5's), then go back to the eigth fret and do a barre'd Cm for three measures? It would have all the notes from the 8's, and might allow me the option to use more frets and/or strings.

Hibou · April 06, 2007, 11:57:06 AM

Minors will work just fine, but I find often times that the right major chords (regular majors, inverted triads, sus chords or add9s or what have you) often add a bit of happiness or hope to the song, which can then be broken with another minor. Purely minor chords is just kind of dreary and doesn't always do much for the feel of a song. Contrast gives the minor chords much more strength.

SDragon · April 06, 2007, 12:48:16 PM

I like the Cm-F-G# progression... Though, for some reason, when I play it, my hand feels like moving in the other direction, to E instead of G#. Maybe I could try G#m closer to the neck, see how that feels?

Hibou · April 06, 2007, 01:49:58 PM

Perhaps. There's a lot you can change with the right position, timing, and notes. Just be careful of designating a chord or scale pattern too soon; depending on how a note or out-of-key chord is used and how often it is used, it may just be an off-key note, nothing more. :)

SDragon · August 23, 2007, 10:50:35 PM

Thought: Keeping the Cm-F-E progression as the bit written is played a second time, then following that with a key change to Em? It would probably come out something similar to:

[spoiler]

Code Select

--5-|-5--|5--5|--8-|-8--|8--8|  X2
-5--|5--5|--5-|-8--|8--8|--8-|  X2
5--5|--5-|-5--|8--8|--8-|-8--|  X2
----|----|----|----|----|----|
----|----|----|----|----|----|
----|----|----|----|----|----|

Code Select

--02|320-|----|  X2?
24--|---4|2024|  X2?
----|----|----|  (sample Em lick)
----|----|----|
----|----|----|
----|----|----|

[/spoiler]

Hibou · August 24, 2007, 07:10:37 PM

I find that key changes need quite a bit of building up between them, or at least some sort of connection by vocals or long rests (pauses). To change over you may want to use some chords to build a little bridge that include notes from both scales (and one chord might not be enough). Short lead licks would work well in your favor if you want to switch over.

SDragon · August 26, 2007, 04:37:00 PM

I don't usually find that so much of a problem, if the keys are close (A-E, C-G, etc. for example). I might end up working in more before the change, but my mind is currently a blank as to what.

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