A Player's Guide to Chords and Harmony: Music Theory for by Jim Aikin

By Jim Aikin

This booklet leads readers in a step by step, easy-to-understand manner during the fundamentals of musical periods, scales, triads, extra advanced chord voicings, and the types of chord progressions utilized in hundreds of thousands of recognized songs. whereas firmly grounded in conventional track conception, it addresses the wishes and pursuits of readers who're more well-off with pop song. not like a few "chord and scale encyclopedia" books released for guitarists and jazz avid gamers, which provide you masses of scales and licks with no explaining the place they arrive from, Chords andHarmony "opens up the box" to provide an explanation for why a few chords and scales paintings good jointly whereas others conflict.

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Additional info for A Player's Guide to Chords and Harmony: Music Theory for Real-World Musicians (Backbeat Music Essentials)

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1. Jake Holmes, "Dazed and Confused," opening of the guitar solo 22 IN THE HOUSES OF THE HOLY plays a traditional virtuosic guitar solo. The lick that ends his guitar solo (the last heard before moving back to ^ time) occurs earlier on the album, right at the beginning, functioning as an introduction to the opening track, "Train Kept A Rollin'" (ex. 2). This is a trademark device of intertextuality for Page, who loves to find multiple contexts for his riffs, often beginning a piece in performance with a riff taken from another work in precisely this way.

Meter and rhythm (that is, time itself) were virtually suspended. Pitch, too, was indefinite. 61 The second part of Page's guitar solo (the "fast" solo) brings the piece to a climax. In live performance, this solo was marked by juxtapositions of a wide variety of musical styles—from funk to folk, blues, and rock—with no transition from one to the other. Page loves to try on one musical idea, explore it for a moment, and then abandon it for another, without an intervening transition. A perhaps less violent manifestation of this stylistic juxtaposition is a hallmark of several Led Zeppelin songs, the earliest being "Babe I'm Gonna Leave You" on the first album, which alternates between acoustic and electric sections.

DAZED AND CONFUSED 21 In Holmes's version, the instrumentation consists of acoustic and electric guitar, bass, and voice, with percussive effects created during the guitar solos by tapping on the body of the instrument. The acoustic folk style that marks the initial verses is replaced in the middle by an electric guitar solo, in which the instrument sounds timbrally close to a sitar. The pitch material of this solo is mostly Phrygian, with a few quarter-tone inflections added that beautifully color the line, circling around C, with a style of ornamentation that is evocative of Eastern, specifically Indian, melodic styles.

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