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Date Posted: 15:47:33 03/31/06 Fri
Author: Robert
Subject: Re: radomositylicousnessathon
In reply to: 23 's message, "radomositylicousnessathon" on 13:17:39 03/31/06 Fri

Twan, That's why I listen to so much jazz and world music. Everything in the western scale has been done to death, except some of the more augmented and dimished chordal stuff. When you start working through the modes, you can start to sound too "prog" too. Simple pentatonic melodies are timeless, and instantly catchy. Sooner or later, everybody will cop everybody if we all stay in the same bag.

I can tip you off to some things I've "liberated" over the years. The intro vocal meoldy to Beautiful in Spring is me riffing on an old Carly Simon melody (That's the Way I Always Heard it Should Be). At least, that's where I obtained the idea for the melodic line over the diminished arpegio in the right, and the augmented arpegio in the left, which by themselves would create quite a dissonant chord...which = prog to the average listener.

Then there's The guitar part in the hook of Big Sleep. It's a syncopated Zep thing turned around backwards that I copped from The Song Remains the Same concert footage (I think...). From Innocense is a straight rip of Four Sticks rhythmically. Take It guitar part was something I always heard in my head playing behind the marching band in McCartney's Let 'Em In, just in a different key. Crushing Beuty is a rip off of Ten Years Gone...just took the intro chords from that song and started dicking with them until they were turned around a bit.

There's a funny story about given to fly that Ed told once. Plant came to see them on a tour stop, and before PJ went on, Plant asked Ed "So, you gonna play my song tonight?" lol. ed dedicated it to Plant when they played it that night too.

The real trick is to tap into the heart of what makes those riffs work. That's Why I can listen to Cochese and hear 10 different songs (Including Cornell's own Get on the Snake), and not be too bent up about it.

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