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Are Slayer songs out of key?

Discussion in 'Miscellaneous [BG]' started by Vacume, Dec 27, 2006.

  1. Music is all about tension and release.
  2. Sounds like life to me.
  3. Could very well be!
  4. slapslappopslap


    Nov 22, 2006
    something i found amusing was one of the hal leonard books which was a breakdown of fleas basslines in their most recent greatest hits. it was very detailed about all the scales and theory behind what he was doing, where as far as i'm aware flea knows very little theory???
  5. Matt Till

    Matt Till

    Jun 1, 2002
    Edinboro, PA

    That's what's funny though, the traps/riffs/licks Flea (and Slayer) fall back on... theroy. When Slayer creates a riff, it is in a scale... if they don't know the name of the scale, that doesn't take away from the fact that it is in a scale.

    So yes, Slayer uses theory in their songs, do they know "theory?" My guess... no.
  6. Bruce Lindfield

    Bruce Lindfield Unprofessional TalkBass Contributor Gold Supporting Member In Memoriam

    Well Flea did learn trumpet and in interviews he has mentioned how he is studying Jazz. :)

    From Bass Player.com :

    "Flea’s band is the Red Hot Chili Peppers, one of the most creative and successful in rock, and Flea himself is one of the genre’s most revered bassists. He found his playing voice melding funk’s techniques and groove with punk’s intensity, but his initial musical fascination was with jazz, a passion that has stayed with him decades after commending himself to a life in rock & roll. Five years ago, inspired by how his own youthful musical experiences spared him from delinquency, he founded the Silverlake Conservatory, a Los Angeles music school that offers free music lessons to children who can’t afford them."

    F: It’s hard for me to fathom: not only that level of musical sophistication, but the depth of feeling. And to step so far beyond what had ever been done before on an instrument. Maybe Mozart, Bach, and other classical cats had some deep concepts of music, but improvising like that and inventing an entirely new language of music is stunning to me.

    I feel bebop is the greatest gift this country has given to the world, with the possible exception of basketball. If they look back in 2,000 years and ask what the great contribution was, that’s got to be it. It’s not just an intellectual achievement; it’s a spiritual and emotional achievement of unfathomable depth.

    When I was a kid, I had such an opportunity to get that education through my step-dad, who was a jazz bassist. I was 12 when my parents divorced, and all of a sudden I was living with a jazz musician who was having jam sessions at the house all the time. It changed my life. I would roll around on the floor laughing because I couldn’t believe the sound that was coming from guys blowing and hitting and plucking. My goal was to become a jazz trumpet player, but then I got into my early teens and I had to rebel against my parents. All I wanted to do was be a punk rocker and play the bass. I went completely in the other direction from jazz, and now I’m trying to catch up on what I missed out on. I’m studying theory and trying to play along over bebop changes with the Jamey Aebersold books and everything.

    On trumpet and bass?

    F: Mostly on trumpet, but on bass, too. I regret not learning that stuff when I was young, but my path is my path and it’s been really good for me.

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