Welcome to another lesson today. We're doing something a little different. I want to talk to you about writing riffs and songs using exotic scales.
Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful.
Be sure to check out The Ultimate Modal Poster!
Hey, what's up? This is Jake. Welcome to another lesson today. We're doing something a little different. I want to talk to you about writing riffs and songs using exotic scales.
So to demonstrate this I'll show you basically the song that I wrote using mix of mixolydian flat six take a quick listen to these Rifts that I put together and a lead line over the top of it.
So I thought that was a pretty unique sound. I've never really written an entire song and mixolydian Flat 6 before and my intent was to make a Jam track. It didn't turn out that way and ended up turning into like what I would think of as like a Joe Satriani song. I mean, I'm not Joe Satriani, but you know, that's what I would want. To be if I was you know, shredding lead lines all over the top of it and there's only three sections to that song. But literally it only uses the seven notes of E mixolydian flat 6. So if you don't know what that scale is, you'll have to check out my other video on the theory of it today. We're talking about how to apply scales and writing with them. So what I wanted to do is make a song with this in the first thing I did was write out the chords of E mixolydian flat 6, and that's all described in the other video as well. And to of the cords that I wanted to play with were the one chord which is e major and the 6 chord And which is C augmented now. I don't spend a lot of time playing with augmented chord. So I thought this would be a really good task. How do I make this augmented chord work and after I stopped strumming around on cords because for a while I was just doing open chords and I really didn't like where I was going with it. So as soon as I've got on my electric guitar and played power cords and Paul mutes think started making a little bit more sense. So check it out here zany power cord.
And then here's AC augmented bundle with those palms and once Started palm muting the power cord versions of these things. I started realizing. Okay. I can actually get something interesting out of this. So here's what it turned into total. It's basically just an E major and I use a little bit of other notes in the e in the scale and then it's a see augment and I use a few other notes in the scale as well. But it's essentially just those two things and then at the end of the Riff I do a very small scale run that starting on the 4th note of the scale for three two one.
Alright, so it's just two chords with Palm leaves and power cords to power cords with Palm leaves and then I do a little tiny scale run and that's the main In rip, so check out hear how it sounds.
All right, so I thought was pretty interesting. Especially that augmented is just awkward. I didn't I didn't want to stay on there too long. But just as a good task of learning how to you know, play solos over I kept that in there. Alright, so that's the main riff of the song and then I have like a chorus section.
Which is essentially just a minor to E major. So that would be a 4 Chord to a one chord and really in this version in this song that I'm presenting to you that chord progressions really being carried by like synthesizers and chords being played in the background. I don't really have a riff. Basically what I did is just played like an a power chord and then outlined the notes of like an A Minor add nine. And I played just a big Power.
So I'm implying a minor to E major here on my electric but really there's nothing too drastic going on. The synthesizers are also supporting that chord change of just minor for two one minor for two major one. And then eventually I bring in my natural seven chord, which is D major.
Okay, and somehow that takes me back to the one chord doesn't resolve that strongly but you know, this was a tricky key to work with. I really, you know, I'm used to doing like one core jams into core jams. I Using as much as I could hear and this is what it turned into now. I want you to check out this section. This is really interesting stuff here. Okay, this is essentially just a rhythmic pattern on one note just on E. Okay. It is a pretty interesting Rhythm pattern and I thought it was fun to play. I just kind of fell out of the middle of nowhere and the base is doing the exact same Rhythm pattern and the guitars are just doing these problems. So just take a listen to a really quick. I'm going to walk you through what's actually happening.
so the rhythm you're hearing there is one end and a 3 4 and a 2 N 3 n 4 1 e n and a three four and a two and three and four one and two three four and a two and three and four one and a three a four and a two and three and four now that is just One note that's just a knee right on top of that. We've got some organs playing some notes that really make this sound like it's in the key of E minor but magically there's not there is nothing going on here that makes this in the key of E minor but automatically my brain and I'm sure your brain is hearing it as a minor section.
Why well, there are a lot of notes from the minor scale being played right here specifically the 7th note in the six note and the fifth note of an E minor scale, but there is no major 3rd being played right now. There's no G sharp ringing out. So it's Serving your ear. It's basically hiding the fact that this could be major from us, but it's really interesting that this section is not inherently minor this this section is still theoretically could be mixolydian flat-six as soon as you start playing that major 3rd on top of it, but I really thought it was intriguing just by like, you know, the Rhythm itself and the choice of instruments. I have that distorted organ and these chugging power cords. It really makes this scream out to be a minor section.
So in practice if you're shredding over this you're free to to solo with the minor scale on top of the section. Why not? There's Nothing in here that is telling you you have to be in mixolydian flat-six. If you really add up all these notes, it could go both ways and you as a lead guitar player you get to choose. Do I want to stay in mixolydian flat 6 for this section, or do I want to go into minor because the section seems like it's asking for minor so I thought that was pretty interesting and I didn't really expect it to sound that way when I wrote it. I just wrote The Rhythm laid some notes on top of their on the organ and didn't even realize I was avoiding that G sharp until until I heard it and I realized wow, that sounds minor I We had to check it to make sure I didn't throw in a note there that made it minor but nope. It's just it's ambiguous and it feels really minor. Okay, so really those are the only three sections of this of this thing that I made here and eventually I think what I'm going to do is write guitar solos on top of the entire thing and try and turn it into a full instrumental track. So here's what I'm going to do. I'm going to take that track. I'll post it in the description without the guitar solos so you can play along to it and use it as a Jam track and you can use the mixolydian flat 6 scale through the entire thing in the key of E and for that bridge section Those chugging Paul means you're free to explore other scale options with that as well. Okay, as far as what I'm going to do with this song. I may end up writing additional guitar solos for it and try and release it trying to release it as an entire track, but for right now, I'm just going to leave you with the guitar solo. I wrote for the main riff. All right, so I hope you enjoy that and I will see you again next time.