Very nice. And the same overtones/harmonics happen when overdriving the signal. The first 5 overtones make a major chord, the first 7 a flat 7. I believe the blues comes from simple string divisions. Cutting a string in half, in thirds and so on. 1,2,4 are the octaves and 3 is the fifth and 5 the third. But the third is higher than the fifth so you might also look at it as a reversed circle of fifths, quarter harmony: minor.
We think major is the base but the minor can also be seen as the base for everything. Reversed harmony which somehow seems to be more simple to digest. A lot of jazz players use this method for soloing, treating everything as a minor relationship snd using pentatonics. For example playing dm,fm and em penta to solo over dm, g7, cmaj.
Very nice. And the same overtones/harmonics happen when overdriving the signal. The first 5 overtones make a major chord, the first 7 a flat 7. I believe the blues comes from simple string divisions. Cutting a string in half, in thirds and so on. 1,2,4 are the octaves and 3 is the fifth and 5 the third. But the third is higher than the fifth so you might also look at it as a reversed circle of fifths, quarter harmony: minor.
We think major is the base but the minor can also be seen as the base for everything. Reversed harmony which somehow seems to be more simple to digest. A lot of jazz players use this method for soloing, treating everything as a minor relationship snd using pentatonics. For example playing dm,fm and em penta to solo over dm, g7, cmaj.