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Grateful Dead Music Forum

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 #3601  by mikeohiostate
 Fri Feb 24, 2006 1:43 pm
Can someone please tell me the key Sugar Magnolia is in, and the scales I can use with it..
Thanks!
-Mike

 #3603  by strumminsix
 Fri Feb 24, 2006 2:06 pm
Main verse in A
Chorus/Bridge in G
Ending walks up a full step to B

I'd use major or Mixo in A and B for the first and end jams respectively.

 #3688  by spilly
 Tue Feb 28, 2006 5:35 pm
the chorus is in D not G

 #3689  by strumminsix
 Tue Feb 28, 2006 6:02 pm
spilly wrote:the chorus is in D not G
STOP CORRECTING ME!!!!!!! :x

:lol: :lol: :lol: :lol: :lol: :lol: :lol:

Ya, I know, you are right. Sometimes at work my brain doesn't switch gears all that well! :?

 #3721  by spilly
 Thu Mar 02, 2006 1:34 am
my brain also loves to stop working. Most of the time it's a mess, but sometimes it's just great

 #3740  by tigerstrat
 Fri Mar 03, 2006 2:28 am
By that way of thinking, part of the verse is in D also :lol:

The best thing to do imho, is not think of the key constantly making these temporary modulations back and forth, but to think of this song as being in A major, albeit with a subbed VII chord (G maj... w/ a flatted root!) ...and of course modulating permanently up one step at the "night is dyin'" lyric.

werxferme.

 #3755  by spilly
 Sat Mar 04, 2006 3:11 am
you can't think of the song as being in A major because of those damned G majors poppinging up left and right. you could consiter the song to be in A7 though (mind you not A major 7) that would put fit the profile in my thinking, but A major has a G#, not a G.

 #3759  by strumminsix
 Sat Mar 04, 2006 9:40 am
I'd tackle it with an A mixo.

 #3761  by tigerstrat
 Sat Mar 04, 2006 10:58 am
It's a mixo mode, yes. I guess I'm still getting used to thinking of a mode as a key. I tend to think of modes in relation to major or minor keys, and the resulting tone substitutions, which I suppose "adds a step" of theoretical thinking while trying to play live. Not sure which way is really "correct", but I suppose its best to have lots of ways to get past the "thinking" part of music, and in to the "good stuff".

 #3767  by spilly
 Sat Mar 04, 2006 1:30 pm
I find the trick to not thinking about it is to start off simple. when I solo on this tune I usually stick to the whole tones,(A, B, D, E, F#)
becuase that's how i hear it, once I get a grip on my basic movements I'll start to play around and find ways to complicate the whole thing, with songs like this your not always deligated to a certain key or scale, you can mess around with suttle key changes and such.

for this tune though I usually just stick to the whole tones, here's an examle of what I like to do, try playing around with something like this


E-------------------------5-
B---------------5-----5h7---
G-----2---2h4/6-----4-------
D-2h4---4-------------------
A---------------------------
e---------------------------

E-7-7b9-(9)r7p5---5---------5-
B---------------7-----7p5h7---
G-----------------------------
D-----------------------------
A-----------------------------
e-----------------------------

you'll have to play with time a little, but you'll get the idea,

 #29307  by GratefulPat
 Wed Nov 07, 2007 3:45 pm
the key is A. play an a mixo
 #64230  by runninaground
 Fri Aug 07, 2009 10:23 pm
Try to learn the scales or whatever, but notice that jerry will Rarely play up or down a scale hitting all the notes - play what sounds right, and try to be more melodic/musical than technical .. . . . . . i guess . . ..works for me