Welcome!
Just a few a ground rules first...

Promotion, advertising and link building is not permitted.

If you are keen to learn, get to grips with something with the willing help of one of the net's original musician forums
or possess a genuine willingness to contribute knowledge - you've come to the right place!

Register >

- Close -
Results 1 to 9 of 9

Thread: A Go Go John Scofield Album Theory Analysis

  1. #1
    Registered User
    Join Date
    May 2010
    Location
    Park Ridge IL
    Posts
    33

    A Go Go John Scofield Album Theory Analysis

    A Go Go John Scofield Album Theory Analysis

    Please if you know anything in terms of music theory about the John Scofield album a go go please explain here particularly the song a go go. (great song by the way) =]

    Thanks
    Sean

  2. #2
    Registered User JonR's Avatar
    Join Date
    Dec 2002
    Location
    Twickenham, UK
    Posts
    4,959
    The main section is B dorian mode - Bm7 chord, with occasional E7. The melody is all B minor pent, with occasional bluesy bends.
    The bridge chord riff (beginning 2:28 in the video below) is G minor pent, seemingly played as power chords (G, F and Bb roots).
    http://www.youtube.com/watch?v=hWc99ZeG6w8
    There is a brief chromatic chord riff (A-G#-A-G#-A-G#-A-A#) before the guitar solo, but this isn't any kind of key change, it just makes a nice punctuation to mark the boundary between head and solo.

  3. #3
    Registered User
    Join Date
    May 2010
    Location
    Park Ridge IL
    Posts
    33

    a go go

    Quote Originally Posted by JonR View Post
    The main section is B dorian mode - Bm7 chord, with occasional E7. The melody is all B minor pent, with occasional bluesy bends.
    The bridge chord riff (beginning 2:28 in the video below) is G minor pent, seemingly played as power chords (G, F and Bb roots).
    http://www.youtube.com/watch?v=hWc99ZeG6w8
    There is a brief chromatic chord riff (A-G#-A-G#-A-G#-A-A#) before the guitar solo, but this isn't any kind of key change, it just makes a nice punctuation to mark the boundary between head and solo.
    cool thanks good stuff

  4. #4
    Registered User
    Join Date
    May 2010
    Location
    Park Ridge IL
    Posts
    33
    Quote Originally Posted by JonR View Post
    The main section is B dorian mode - Bm7 chord, with occasional E7. The melody is all B minor pent, with occasional bluesy bends.
    The bridge chord riff (beginning 2:28 in the video below) is G minor pent, seemingly played as power chords (G, F and Bb roots).
    http://www.youtube.com/watch?v=hWc99ZeG6w8
    There is a brief chromatic chord riff (A-G#-A-G#-A-G#-A-A#) before the guitar solo, but this isn't any kind of key change, it just makes a nice punctuation to mark the boundary between head and solo.
    what scales/arpeggios is he using to solo?

  5. #5
    †Guitar Hero† ndrewoods's Avatar
    Join Date
    Jul 2011
    Location
    MN
    Posts
    34
    Quote Originally Posted by JonR View Post
    The main section is B dorian mode - Bm7 guitar chords, with occasional E7. The melody is all B minor pent, with occasional bluesy bends.
    The bridge chord riff (beginning 2:28 in the video below) is G minor pent, seemingly played as power chords (G, F and Bb roots).
    http://www.youtube.com/watch?v=hWc99ZeG6w8
    There is a brief chromatic chord riff (A-G#-A-G#-A-G#-A-A#) before the guitar solo, but this isn't any kind of key change, it just makes a nice punctuation to mark the boundary between head and solo.
    Hey cool. You can't seem to see any analysis that is done in this album by John Scofield drumdead.
    Last edited by ndrewoods; 08-29-2011 at 09:59 AM.

  6. #6
    JazzNerd gersdal's Avatar
    Join Date
    Jul 2002
    Location
    Norway - South West coast
    Posts
    1,321
    For those who are interested in Scofield music he has a lot of sheet music on his website. Cool to play from the masters own sheets

    E.g.
    http://www.johnscofield.com/sheetmusic/agogo.pdf

  7. #7
    Registered User
    Join Date
    Sep 2011
    Posts
    3

    Jeep on 35

    I've got most of Jeep On 35 down, but he does this chord progression at 1:26 and the same progression again at 1:44. I come close to approximating it, but can't get it exactly.
    .. Anyone got a clue?

  8. #8
    Registered User JonR's Avatar
    Join Date
    Dec 2002
    Location
    Twickenham, UK
    Posts
    4,959
    Quote Originally Posted by LittleMrJ View Post
    I've got most of Jeep On 35 down, but he does this chord progression at 1:26 and the same progression again at 1:44. I come close to approximating it, but can't get it exactly.
    .. Anyone got a clue?
    As I suspect you may have got already, it's essentially Fmaj7 Gm7 Am7 Bbmaj7. But there's higher extensions on most of those: #11 on both maj7s, I think (certainly the Bb), 9ths on probably all except the Am*, which I think has an 11th.
    IMO you can do without these, although the #11 on F is interesting as it's out of key. It's like a Em triad on top of an F triad, basically.
    There's obviously a lot of overlap between the chords, and it sounds like the organ holds the Am11 (certainly most of it) while the bass goes up to Bb. That will of course produce a "Bbmaj13#11" sound.

    * My Transcribe software shows a B peak on the Am chord, but I think that's a rogue signal, maybe a harmonic of the E.

  9. #9
    Registered User
    Join Date
    Sep 2011
    Posts
    3
    [QUOTE=JonR;148475]As I suspect you may have got already, it's essentially Fmaj7 Gm7 Am7 Bbmaj7. But there's higher extensions on most of those: #11 on both maj7s, I think (certainly the Bb), 9ths on probably all except the Am*, which I think has an 11th.
    IMO you can do without these, although the #11 on F is interesting as it's out of key. It's like a Em triad on top of an F triad, basically.
    There's obviously a lot of overlap between the chords, and it sounds like the organ holds the Am11 (certainly most of it) while the bass goes up to Bb. That will of course produce a "Bbmaj13#11" sound.

    Thanks for that. The whole album lends itself to improve, but I wanted to keep that lick true. I only apply the extensions on the second pass, or rather, accent them more, since I'm basically using the same fingerings.

Similar Threads

  1. A couple of questions about music theory
    By Maddox in forum Piano & Keys Forum
    Replies: 3
    Last Post: 02-22-2010, 12:02 PM
  2. Classic John Scofield Band Video (Blue Matter)
    By zildjidan in forum Guitar Technique
    Replies: 3
    Last Post: 11-23-2009, 09:06 PM
  3. modes of harmonic and melodic minor
    By rafapak in forum Improvisation
    Replies: 22
    Last Post: 11-18-2009, 12:51 AM
  4. Classical Theory/Jazz Theory & Analysis
    By rmuscat in forum Music Theory
    Replies: 14
    Last Post: 01-12-2005, 03:03 PM

Tags for this Thread

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •