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Eyes Scale?

PostPosted:Fri Jun 20, 2008 12:15 am
by warrenMFKNhaynes
Could someone tab out a good eyes scale? the normal E major scale just dosen't seem to fit. some help here would be fantastic. Thanks

PostPosted:Fri Jun 20, 2008 12:28 am
by Chuckles
Are you talking about the general jam over the Emaj7 progression, the solos, what?

I've just been taking on this tune in earnest in the past couple of months, and in general I find that the E major is it, but you have to stay off the tonic for the Emaj7 portions. Use the D# a hell of a lot and all will be clear, young jedi.

For the other parts - the Emaj7->B and the Emaj7->B->A jams - I follow the chords rather than the scale, introducing those notes not found in the Emaj scale incrementally where appropriate.

Sorry.. it's late and what I've given you is about as clear as mud. :oops:

- on edit -

Actually, I thought it though the beer haze and I stay with the Emaj scale, but use the B and the A as the "tonic" during that progression.

Still, instead of playing that decending bent F# into E as the intro lick (which a lot of people do based on what they *think* they hear on the studio cut), try going to the D# and play from there. My band bases all our transitions on the E D# C# waterfall.

PostPosted:Fri Jun 20, 2008 6:21 am
by bucketorain
CAGED works pretty good for this song and the Em7 jam...

PostPosted:Fri Jun 20, 2008 6:54 am
by pappypgh
Yep....Emaj7. Hit the D# alot. During the jams, you can solo over the Bm & the A, as well. It's not so bad.

GOTTA stay away from E BLUES. That b7 does NOT belong in this tune.


PostPosted:Fri Jun 20, 2008 8:52 am
by Pete B.
Study through this:

You are basically mapping the Do-Re-Me-etc...scale, up and down the neck.

Build your scalar muscle memeory by way of repetition training.

It is now impossible to play a wrong note!
It is now possible to rise above the blatant scale mapping exersizes and improvise creative and meaningful solos off the top of your head (I'm still working on that part).

PostPosted:Fri Jun 20, 2008 8:58 am
by old man down
I've been working on this song every morning lately, on nylon string guitar. (Sounds really good before even the birds are up.)

I still like the two scales, the E major for the Emaj7 jam and the A major for the Bm jam.

One other thing, you can get the chords to form a circlular, repetitive idea on the jam by trying the jam with:

Emaj7 A Emaj7 Emaj7 A Emaj7

Bm A D Bm A D

Emaj7 A Emaj7 Emaj7 A Emaj7

Bm A D Bm A D

And you keep going and going and going, like an energizer bunny.

It can be really stretched out as you modulate from the E to A major scales on the two chord sequences.

PostPosted:Fri Jun 20, 2008 9:29 am
by warrenMFKNhaynes
Alright i posted this when I was looking at the tab. when I'm by my computer trying to play softly. when I plugged in today Emaj worked great, but you guys are right, there are certain notes you must stay away from.

PostPosted:Fri Jun 20, 2008 12:33 pm
by acidrain30005
I just use an E mixolydian. And for the solos in between verses I combine E major/mix, and B dorian. It's not exactly on but its pretty close.

PostPosted:Fri Jun 20, 2008 12:52 pm
by tigerstrat
acidrain30005 wrote:I just use an E mixolydian.
How's that D natural working out for ya?

PostPosted:Fri Jun 20, 2008 1:08 pm
by Chuckles
tigerstrat wrote:
acidrain30005 wrote:I just use an E mixolydian.
How's that D natural working out for ya?
Ew. :x

PostPosted:Fri Jun 20, 2008 1:55 pm
by myoung6923
It's E major (ionian) during the Emaj7 jam at the intro and end. Then during the middle jam it's also ionian during the Emaj7 chord but then switches to B dorian during the Bm - on the versions where it then goes to A you can hit the A notes over either B dorian or E ionian. So - it switches modes over the chord change. The reason that the e maj doesn't work is because of the D in the Bm - it's not in the E ionian scale. E pentatonic - and mixolydian sort of work but they are missing the maj7th that really gives it the Eyes flavor.

PostPosted:Fri Jun 20, 2008 9:39 pm
by Billbbill
I play E Ionian over the Emaj7 with smatterings of E Pentatonic.

B Dorian (same notes as E Mixolydian) over the Bm with smatterings of Bm Pentatonic.

A chord tones at the end of the Bm when it suits me.

PostPosted:Sat Jun 21, 2008 8:13 am
the jam after the 2nd verse (Emaj7 bm A) is a great exercise in changing scales back and forth

because, I'm sure you'll find, you cannot play the same scale over those 3 chords

I play:

E F# G# A B C# D# (over Emaj7)
E F# G# A B C# D (over bm & A)

all the while paying attention to what chord is being played and trying to stress that

then I get drunk and play the whole song in Gb on my kazoo

PostPosted:Sat Jun 21, 2008 6:53 pm
by Rev_Roach
as mentoined before, playing the changes is probably hte best. But you can get pretty close to it by altering only one note (I am assuming you are talking about the instrumental breaks)

Use E Major (E F# G# A B C# D#) over E or A.

Use E mixolydian (E F$ G# A B C# D) over Bm.

The only difference is D# changing to D so make sure you emphasize the D when the Bm hits.

PostPosted:Sun Jun 22, 2008 8:23 am
by BlobWeird
I agree with what was stated. For the E i use E major hittin mostly on the 7th. Then for the Bm I use B minor hittin on the D alot. Then for A I use A mixo hittin mostly on A and C#