Thank you. I would like to use this backing track for my upcoming video. It's about my old Gibson ES135 and my Headrush Prime. Great job 👍👍👍 and best wishes from Bavaria, Roger
Nice. This is not the key of G major - G major has the F# note; this should be called G Mixolydian (the notes of the C major scale with G as the root note).
Thank you for your comment and for your thoughts. Is it possible that two different terms are being mixed up? As I understand it, it is like this: The key determines the tonic and whether the whole song is in major or minor. The scale used in each case determines the position of the semitones. Key and scale are two different criteria that affect different issues. In a "blues in F" - although you can certainly distinguish between a major blues and a minor blues - the melody note E will hardly ever appear above the F major or F7 chord, but it might appear above the C7 chord. "mixolydian" is not a key and the term "in the key of G major" does not define a scale. Does this make sense? In any case: thank you for playing along! Have fun! 👍😎
@@reinholdtracks Thanks for your reply. There are 24 keys in music - 12 major and 12 minor. Therefore, technically, the G Mixolydian mode is in the key of C major! However, this usage can be confusing, so we just say, I'm in so and so mode (or scale). So, these chords are in the Key of C major, not G major (as it doesn't have F#). I have seen people refer to modes as the key (perhaps to communicate better). I checked with ChatGPT, Copilot, and Gemini, and they seem to concur. Thanks for your wonderful tracks!
Thank you again for your considerations and thank you for playing along my tracks!! Yes, you make many correct points. Let me summarize my view of things again: The key of a piece of music determines the relationships between the chords. The key in particular determines which chord is the tonic. This necessarily determines which chord is the subdominant and which chord is the dominant. Depending on whether the key is given as major or minor, the tonic chord is either a major or a minor chord. You can imagine the key as a house and the tonic as the foundation of this building. The different scales, on the other hand, are more like the bricks or building blocks that make up this house. There are many different scales, such as Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian and a multitude of other scales. Depending on which note we start with, very different scales are created, because the relative position of the semitones also shifts due to different starting points. The scale that appears at a very specific time and at a very specific point in the piece of music is therefore a very variable property, while the key of the piece ensures stable cohesion and, above all, determines where the tonic is and whether this tonic chord is a major or a minor chord. In a "Blues in F major", you can use the notes of the F mixolydian scale for the tonic chord F major. But this does not change the key of F major, even if F mixolydian actually arises on the 5th degree of the B flat major scale and the note E flat does not appear at all in the pure F major scale. Yes, keys and scales are closely interwoven and interact - but they describe and determine different aspects or properties of the notes and chords and their relationships with one another.
@@reinholdtracks My point is quite simple: usually, say a song is in the key of X major, then it wouldn't have its harmonic structure (chords) with notes outside the notes of an X major key (in a diatonic construct). But, of course, there are exceptions. To make things interesting (and create tension), the melody section can wander outside the box. This especially happens a lot in blues. As you say, blues in X" (no need to even specify major or minor if one is using all dominant 7th chords in harmony) is not a diatonic construct (even in its harmonic structure), and therefore, we can use X major or minor pentatonic scales, X Dorian, etc, or any other non-diatonic notes as "colour" notes - in fact that is what makes blues so interesting for me. Anyway, this was a good discussion.
I decided to use your backing track for a video from my series about guitar pedals. Link attached and thank you very much th-cam.com/video/ZrR58UiF93s/w-d-xo.html 👍😃
Nailed It With This One
Well Done ,
Cheers
👍😎 Thank you!
Thank you. I would like to use this backing track for my upcoming video. It's about my old Gibson ES135 and my Headrush Prime. Great job 👍👍👍 and best wishes from Bavaria, Roger
Yes please, go for it! 👍😎
Nice. This is not the key of G major - G major has the F# note; this should be called G Mixolydian (the notes of the C major scale with G as the root note).
Thank you for your comment and for your thoughts.
Is it possible that two different terms are being mixed up?
As I understand it, it is like this:
The key determines the tonic and whether the whole song is in major or minor.
The scale used in each case determines the position of the semitones.
Key and scale are two different criteria that affect different issues.
In a "blues in F" - although you can certainly distinguish between a major blues and a minor blues - the melody note E will hardly ever appear above the F major or F7 chord, but it might appear above the C7 chord.
"mixolydian" is not a key and the term "in the key of G major" does not define a scale.
Does this make sense? In any case: thank you for playing along! Have fun! 👍😎
@@reinholdtracks Thanks for your reply. There are 24 keys in music - 12 major and 12 minor. Therefore, technically, the G Mixolydian mode is in the key of C major! However, this usage can be confusing, so we just say, I'm in so and so mode (or scale). So, these chords are in the Key of C major, not G major (as it doesn't have F#). I have seen people refer to modes as the key (perhaps to communicate better). I checked with ChatGPT, Copilot, and Gemini, and they seem to concur. Thanks for your wonderful tracks!
Thank you again for your considerations and thank you for playing along my tracks!!
Yes, you make many correct points.
Let me summarize my view of things again:
The key of a piece of music determines the relationships between the chords.
The key in particular determines which chord is the tonic.
This necessarily determines which chord is the subdominant and which chord is the dominant. Depending on whether the key is given as major or minor, the tonic chord is either a major or a minor chord. You can imagine the key as a house and the tonic as the foundation of this building.
The different scales, on the other hand, are more like the bricks or building blocks that make up this house. There are many different scales, such as Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian and a multitude of other scales. Depending on which note we start with, very different scales are created, because the relative position of the semitones also shifts due to different starting points. The scale that appears at a very specific time and at a very specific point in the piece of music is therefore a very variable property, while the key of the piece ensures stable cohesion and, above all, determines where the tonic is and whether this tonic chord is a major or a minor chord.
In a "Blues in F major", you can use the notes of the F mixolydian scale for the tonic chord F major. But this does not change the key of F major, even if F mixolydian actually arises on the 5th degree of the B flat major scale and the note E flat does not appear at all in the pure F major scale.
Yes, keys and scales are closely interwoven and interact - but they describe and determine different aspects or properties of the notes and chords and their relationships with one another.
@@reinholdtracks My point is quite simple: usually, say a song is in the key of X major, then it wouldn't have its harmonic structure (chords) with notes outside the notes of an X major key (in a diatonic construct). But, of course, there are exceptions. To make things interesting (and create tension), the melody section can wander outside the box. This especially happens a lot in blues. As you say, blues in X" (no need to even specify major or minor if one is using all dominant 7th chords in harmony) is not a diatonic construct (even in its harmonic structure), and therefore, we can use X major or minor pentatonic scales, X Dorian, etc, or any other non-diatonic notes as "colour" notes - in fact that is what makes blues so interesting for me. Anyway, this was a good discussion.
You are correct. Though g major scale can obviously be used over this, the chord progression itself are the notes from the g mixolydian.
I decided to use your backing track for a video from my series about guitar pedals. Link attached and thank you very much
th-cam.com/video/ZrR58UiF93s/w-d-xo.html
👍😃
Very cool! 👍😎 Thank you & thank you for playing along!