Yngwiemalmsteen
Member
I realize guitarists usually change keys in order to accommodate for their singers voice range/skill.
But let's just take instrumental melodic rock, like neoclassical metal for example.
I've listened to a really great CD "Concerto Suite for Electric Guitar and Orchestra in E flat minor"
As the title of the CD suggests, it's all done in the key of E.
Seems like A & E are the most popular keys in Rock guitar.
And I will go further and say that I think E is the most common due to the 2 open E strings on a guitar, it just seems to be the best suited & most logical key to guitar.
If using the diatonic Aeolian,minor/Ionian,major scale, with Phrygian and Harmonic and Melodic Minor as well, maybe even substituting Major with Lydian from time to time and of course throwing in a fair share of chromatic runs and diminished arpeggios ... Is there really any need to ever go into any other keys besides the key of E?
Can't all the emotions etc just as easily be expressed within the context I laid out above in the key of E, for neoclassical instrumental shred, without the need for changing to other keys or composing songs in other key?
Seems like endless variety & diversity can be had in just the one key using the scales & modes I mentioned in this style of music.
Am I wrong or missing something?
YJM
But let's just take instrumental melodic rock, like neoclassical metal for example.
I've listened to a really great CD "Concerto Suite for Electric Guitar and Orchestra in E flat minor"
As the title of the CD suggests, it's all done in the key of E.
Seems like A & E are the most popular keys in Rock guitar.
And I will go further and say that I think E is the most common due to the 2 open E strings on a guitar, it just seems to be the best suited & most logical key to guitar.
If using the diatonic Aeolian,minor/Ionian,major scale, with Phrygian and Harmonic and Melodic Minor as well, maybe even substituting Major with Lydian from time to time and of course throwing in a fair share of chromatic runs and diminished arpeggios ... Is there really any need to ever go into any other keys besides the key of E?
Can't all the emotions etc just as easily be expressed within the context I laid out above in the key of E, for neoclassical instrumental shred, without the need for changing to other keys or composing songs in other key?
Seems like endless variety & diversity can be had in just the one key using the scales & modes I mentioned in this style of music.
Am I wrong or missing something?
YJM