3, a reworking of what the guitarist plays at the beginning of his “Ramblin’ Man” solo, you can see two key elements on display.įirst is the use of space in the form of staccato quarter notes, which serve to punctuate the eighth-note rhythms nicely. The major hexatonic excludes the 7th degree (F#) of the conventional seven-note (heptatonic) G major scale (G, A, B, C, D, E, F#), and it fuels much of what Dickey plays throughout his melodic and soloistic performance on this song as well as many others.īetts’ soloing style is characterized not only by his copious use of the major hexatonic scale but also by his tastefully poised melodic phrasing. The gold here is his use of the six-note G major hexatonic scale (G, A, B, C, D, E). 1 is a two-bar lick inspired by Dickey’s eloquence in the track’s opening moments. Sometimes all it takes is a modest call-and-response hook to sear a song’s identity into the hearts of millions, and “Ramblin’ Man” does just that. Take note: “Ramblin’ Man” was recorded in standard pitch and played as if it were in the key of G, but a tape machine function called varispeed was deliberately used in the mastering process to speed up the song a little, causing it to be heard a half step higher, in the concert key of A flat. In this lesson, we’ll investigate some of Dickey’s signature playing approaches on the album – including some that may fall under the radar – starting with a look at “Ramblin’ Man.” Despite losing two founding members, the Allman Brothers Band prevailed with Brothers and Sisters, while Betts furthered his own legend.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |