![]() The classic Rod Serling–created series specialized in stories just askew from reality, tales of the uncanny that felt like situations an ordinary person could stumble into with a few wrong turns. If you’d like to learn more about music theory for guitar, or maybe back up and fill in gaps in your playing so you can play better at this level, check out the instruction available at this website.One reason The Twilight Zone works so well is that it always feels just a couple of steps removed from the reality we know. So that’s how the song “Twilight Zone” by Golden Earring works. The nice thing about this music is that you really can’t hit a bad note if you stick with the pentatonic. You can look up the tab to learn how the solo is specifically played, or you can simply improvise using B minor pentatonic scale patterns. It sounds like most of the solo is played using pattern 1 here in the 7th position and a little bit of pattern two above it. The guitar solo makes use of the B minor pentatonic scale. While the music is on Bm, you hear the lead guitar play a very common pentatonic lick that involves you alternating between a bend on the third string and a root and 5th double stop on strings 2 and 1. The E minor chord is played with a surprise syncopation on the “and” of beat 4. The chords in use here are G and Em before returning to the tonic chord, Bm. The chorus finishes with a strong vocal hook. This creates a strong dominant push back to your tonic chord, Bm. Normally, the F# chord is minor, but here you make use of the raised 7th from B harmonic minor to change the F# chord from minor to major. Next, in the chorus, you play a chord progression that follows a descending B minor scale and features a major V chord from harmonic minor. The 3rd of Bm, D, on the string three is replaced with a 4th, E. For a slight change midway through the verse, and to lead you into a repeat, you play a Bmsus4 chord. I’m going to play the same chords up here in the 7th position. You continue to play a minor 1-4-5 chord progression uring the song’s verses. In minor keys, chords 1, 4, and 5 are all minor. So this is a 1-4-5 chord progression in a minor key. When you count B as 1, then Em and F#m are chords iv and v. But since the music centers on Bm, it’s best to think of the scale as starting on B. ![]() Bm, Em, and F#m are chords vi, ii, and iii in the D major scale. B minor is relative to D major, so you might think of the chords in the D major scale first. The chords in use here, Bm, Em, and F#m, fit together in the B minor scale. If you find this riff too difficult to play, you can simplify it by leaving some notes out. I like to use my thumb to play this part. For the next chord, F#m, you play a slightly different version of the riff transpose to F#. ![]() This riff is worked into the next chord, Em. “Twilight Zone” begins with a guitar riff in B minor that makes use of the root, minor 3rd, and 4th out of the minor scale. They call this model the “Coupe.”įor my amp, I’m using the Kemper Profiling Amplifier and a Fender Tweed Deluxe profile from Tone Junkie. ![]() To get my sound for this song, I’m using a Telecaster-type guitar made by Bluesman Vintage Guitars in Spring Hill Tennessee.
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