introduction. This piece speaks to our focus on the Em scale, which is the relative minor for G. You can consider this tune to be written in either G or Em, as they both have one sharp.
The G major scale: G. A. B. C. D. E. F#. G
1. 2. 3. 4. 5. 6. 7. 8/1
If you check the intervals you’ll see that this follows the pattern of WWHWWWH
Now, if we leave the scale as-is and shift the beginning note to the 6th degree (E) something wonderful happens. We are playing the relative minor of the G Major scale, so starting and ending at 6. This is the pattern for playing any scale modally, btw- play the scale, starting and ending on a number other than 1. Here we start on 6 (E) and that gives us the relative minor.
1-2: whole step
2-3: half step
3-4: whole step
4-5: whole step
5-6: half step
6-7: whole step
7-8: whole step
E F# G A B C D E
6. 7. 1. 2. 3. 4. 5. 6
See? All we did was to start counting from 6 instead of one. The intervals are the same. They don’t change, only the note we start on. This is the 6th mode of a major scale, also called the “Aeolian” mode. Very handy for rock music based in classical theory!
Here is the introduction and we’ll look at what’s happening here with the power diads and choices of using notes in different places on the neck to get the effects we want. The first section has individual notes, the second uses power chords. You can play along with the 3X intro recording, below.