A Devil on One Shoulder and an Angel on the Other: The Story by Greg Prato

By Greg Prato

Some of the most tragic tales of the 1990’s rock global used to be that of singer Shannon Hoon, and his band, Blind Melon. regardless of scoring one of many decade’s so much enduring singles and movies, “No Rain,”and a quadruple platinum hit with their 1992 self-titled debut album (in addition to traveling along rock’s greatest names), Hoon couldn't conquer a perilous drug dependancy. in basic terms files right into a promising profession, Hoon used to be useless from an overdose on the age of 28. ‘A satan on One Shoulder and an Angel at the Other’ is the 1st booklet to inform the group’s story—culled from over 50 particular interviews (including the surviving band participants and people closest to the band) and that includes many never-before-seen images. “I am commemorated that Greg has painstakingly accounted for what the hell occurred in the course of these loopy occasions. He has summed up the entire chaos, jubilation, and paranoia that's Blind Melon.” -Brad Smith, Blind Melon bassist

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Configurations of C, E and G# (Caug, Eaug and G#aug) 2. “ “ D♭, F and A (D♭aug, Faug and Aaug) 3. ) 4. “ “ E♭, G and B (Where a chord can have two possible names in the above – say, C#/D♭ – I’ve only used one of them for the sake of clarity). Diminished Seventh Form: dim or ° (Ddim, E♭°, A°. In general, writers who use ‘aug’ for augmented chords use ‘dim’ for diminished sevenths; those that use + for augmenteds tend to use ° for diminished sevenths. Note: some writers use dim and dim7 to distinguish between the diminished seventh and the diminished triad – which is the same chord minus the double-flattened seventh.

We’ll look at some specific tips on how to do this in a moment. More broadly, there are three techniques you can make use of: experimentation, exploration and repetition. Experimentation is, in some ways, the simplest of the three. Sit at the piano, perhaps with some of the chord charts in this book in front of you, perhaps with some chordmarked sheet music. Play around: accustom yourself to the sounds of different chord in different keys. How does E♭ followed by A♭ followed by Gm7 sound? Construct some short sequences of your own.

If, practising the process described above, you end up playing the 12-bar sequence several thousand times, you’re doing it exactly right. Patience and application are the secrets here: deal with these processes until they become second nature. That’s the root of all improvisation – not just the blues. • As you start incorporating more notes of the blues scale, you’ll begin to notice that some work less well against certain chords. The most obvious example is the minor seventh (B♭), which doesn’t like being played as a prominent note against the chord of F.

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