Conference napalm::guitar

When I write songs, I usually prefer the key of E. My songwriting 
technique tends to utilize a lot of open string chord patterns (such 
as playing a first position E chord form up the neck to play A and B 
chords, etc.).

Plus, this may be a personal opinion, but a lot of rock tunes just 
*sound* good in E. 

Besides, the singer I work with can really crank out a tune in the key of E!

-Dan

    C major (and derivatives: A minor, G mix, etc)
    
    	I also play keys and I just find that I recognize intervals,
    	scales, chords, etc much better in E.  If I'm playing a
    	linear type solo, it pretty much has to be C cause those are the
    	scales I'm most familiar with
    
    I also feel comfortable in E major/C#minor, G major/E minor and
    F major/D minor.
    
    As you can see, my music brain doesn't seem to make much of a
    distinction between a major key and its relative minor.
    
    I also have two modes of playing: In one mode, I'm very conscious
    of the key, and the notes I'm playing.  In the other mode, I'm almost
    oblivious to the  key and the notes under my fingers and I'm playing
    pretty much by instinct and finger patterns. 
    
    I view that latter mode is a very dangerous habit that's too easy
    to get into.  These days, when I learn a tune, I make a conscious
    effort to stick with the former mode, but it takes a lot more
    concentration and discipline than I can muster sometimes.
    
    On the other hand, if I tried to play a solo over something like
    "Take 5" without being aware of the scales involved or what not,
    I would probably play a solo overly laden with "wrong notes".
    
    But for easier tunes (most rock stuff) you get going in a solo 
    and the second mode just sorta takes over y'know...
    
    	db

    My favourite key for Blues is 'A'. This is because the A blues scale
    at the 5th fret is convenient for the 5th and 7th fret harmonics
    which I use a lot in my solos.
    
    Andy

    
    For pop sounding things I really like the sharp keys cuz they're
    so bright sounding.  F#, B, E, C# major are my favs.
    
    A and D major are my favs for bluesy rock ala Thin Lizzy or something.
    
    For darker stuff I like the flat keys, like F, Bb, Eb and Ab major.
    
    Buck

    I think it was Albert Collins who once said that playing in F
    will "drive the little girls wild".  Haven't verified this myself.
    
    /rick

    re .4
    
    so Buck, does something in C# sound sharper than something in 
    D flat? No keys really sound better to me than any others. I
    like C for blues, but just from a playability standpoint.
    
    -Dave (just curious)

    
    To me, C# doesn't sound `sharper', but brighter.  Keys definitely
    sound different to me.  For soloing, I LOVE to solo in D# minor...
    cuz the relative major is so bright sounding that the minor sounds
    bright as well.  A very happy key all over.
    
    Dorian and Minolydian are merry sounding as weel, but that's for
    another story
    
    Buck  

    
    
    	Buck, I've heard of Dorian and Aoelian mode in the pentatonic
    scale... but what's this Minolydian.. tell the next story please.
    
    Steve

    
    Hi Steve!
    
    Ok, lets say we're talking about the minor pentatonic scale here.
    Lets analyze them and see how they match up (I like to use a numeric
    analysis, ok?)!
    
    Minor pentatonic	1   b3 4 (b5) 5   b7
    
    Dorian mode         1 2 b3 4      5 6 b7 (major 6 is key note)
    
    Aeolian Mode        1 2 b3 4      5 b6 b7 (minor 6 is key note)
    
    Mixolydian mode     1 2  3 4      5  6 b7 (major 3rd is key note)
    
    Since it is so common in rock/blues playing to play both a minor and
    major 3rd with the blues scale (Hi Dave!), I have gone to superimposing
    the dorian mode or the mixolydian mode over the minor pentatonic for
    soloing. 
    
    Below is what I'm thinking note-wise when I say this:
    
    Dorian/blues mix:	1 2 b3 4 (b5) 5 6 b7
    
    mixo/blues mix:	1 2 (b3) 3 4 (b5) 5 6 b7
    
    with the added notes you may think "hey, the look almost the same?"
    Well, they are.  The trick being that in Mixo I emphasize the major 3rd
    to get the tri-tone with the b7, and in dorian I want the minor 3rd
    against the major 6th to stick out.  You get that minor/major sound
    that way.
    
    Buck