Is the solo from 'Sweet Home Alabama' in the WRONG KEY?!

Trying to find the answer to the great debate that once occurred in the studio between producer Al Kooper and guitarist Ed King: 'Is the guitar solo from Sweet Home Alabama played in the wrong key?'
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[@PaulDavids]

Some see G as being 'wrong' and therefor 'spicy' and D being 'right' and therefor 'boring'. It's great to see the opinions, however playing this in G is not wrong, or theoretically weird. Also, you can create tension or spicyness in D just as much. Maybe in my examples I added some extra spice when playing in G to exaggerate the differences between the two, but I could've done exactly the same in D. Besides that, thinking in 'right' = according to the 'rules' of music theory and ''wrong' is playing with feel, is a false contradiction. You can analyse 'wrong notes' perfectly with theory, and you can perfectly get to the core of why 'unlogical' notes can sound awesome in the right places. Music theory can describe everything and never tells you what to play. :) Cheers, and thanks for watching!

[@mumblbeebee6546]

Ah, hummm, I thought I had learnt something and now I feel cheated :) Could you redo the video with the same amount of spice in D and G? Trying to work out the actual difference.... 😂 But seriously, I enjoyed this video a lot, and your cat sweet. (Surely cats are not to blame for anything that happens to human stuff?) Many thanks for your channel!

[@tedgreen221]

I think the same thing is happening in Alex Lifeson’s solo in “Kid Gloves.” It sounds ‘wrong’ in spots, but so right overall.

[@Hicky33]

Jazz concept of playing in different interval of the key to bring out the color notes?

[@wordragon]

Steve Morse’s Highland Wedding goes to an inverted V7 of a II while in D, but in the analysis it is a foreshadowing of the piece’s modulation to the key of A and progressions in that key. I remember classmates pointing it out as an error, but upon understanding the later song structure and tone colors, it was brilliant.

[@frankrobinson8852]

Thanks Paul - interesting as always. Great comments in your blurb too. With this song, as it has such a satisfying riff that you always want to get back to, to play the solo in G works because it constantly wants to get back to D ( and back to the sweet sweeeeet riff ). If the song wasn’t so riffy then maybe playing in D would be best to enhance the music. In other words... I think a lot depends on the purpose of the solo

[@teaheadQ]

This is a like a musical version of the blue dress gold dress test. Once you hear it as G, it’s tough to hear as D.

[@markuskoelble]

I feel the same way

[@golfcoursemanager33]

agreed. After hearing the song so many times, the technically "right" key sounds wrong.

[@Cantstandtherock]

Technically right isn’t always the way to go. I remember when I heard Van Halen for the first time. I don’t think anything he did, to me as a kid, was technically right. All I heard was power and bad ass shit and as I got older and tried to cop Eddies licks I thought “ this guys insane”. The reality is EVH only had the root from the bass to really worry about. He had a ton of field to play on and he kicked the ball everywhere! That’s what made it so cool and different!

[@BrianBurgess]

Tea great comparison!

[@JamesOKlippel]

exactly a perfect metaphor for the experience... very similar to hearing songs that start syncopated (Tell Me Something Good, Number City by Coheed and Cambria is a good example, etc.) and when the band comes in you realize you're hearing it half a beat off or something

[@alltruenews]

Ed King and I became friends through the heart transplant community. He and I both had heart transplants. We talked guitar A LOT!! He co-wrote that song as well as playing the solo. The into and repeating lick is played wrong by most, and it drove him crazy. We had many discussions about it. That song was his baby. He was an encyclopedia of everything rock guitar... and more. He approached his bass and guitar parts like a technician. There wasn’t a lick or a pick that he didn’t think about and map out. I guarantee you that he played that in the key he meant to. I’d never heard about this discussion. I bet he got a kick out of it. Funny story; Ed used to by tubs of candy and beef jerky for the tour bus. The other guys never thought ahead, so he’d sell them food from his candy tub and make a ton of money when they toured.

[@AndyDay]

Best youtube comment I've read in a while. Thank you.

[@danielrossi9225]

What a stingy bastard

[@xx-ev2sq]

Most hobbiests/people who dont know any theory about how to harmonize a scale think its in D because its the 1st chord being played and the chord that gets resolved to. The song is a 5,4,1 progression

[@alltruenews]

@@xx-ev2sq, And being in G, you can play in the G major pentatonic . Which is what I think Ed did.

[@gwfhegel5045]

The key of g makes this more interesting. The key of D makes it sound like a standard blues rock solo

[@flash001USA]

Musically incorrect on paper or not the bottom line is original solo has a signature sound and a great big giant hook that gets people's attention when they listen to it. That's the most important thing right there.

[@plummetplum]

My thoughts precisely, G was the correct choice.

[@jimkyle8008]

Absolutely.

[@Lonech]

It’s a bit funny that through this whole debate we overlook what made it work for the solo to be in G. The big reason is because it’s contextualized for the accompaniment. It’s not playing in G per se, it’s playing in G with the rest of the song in mind.

[@AnAmericanComposer]

@@flash001USA There is nothing incorrect "on paper", it's just a matter of perspective.

[@baby-sharkgto4902]

I'm a well accomplished guitarist as I have played in many good bands for the past 30 years... but watching this guy play leaves me wanting to take lessons and a lot of lessons. He plays so effortlessly. He's simply amazing. This video was extremely interesting to me even if not for his excellent playing.

[@joelpanetta4449]

Him and Guitar Pilgram. Look his stuff up, you may like it too.

[@JWMCMLXXX]

G sounds like Skynnard. D sounds like Kid Rock.

[@wyattisrite5153]

Skynyrd*

[@fortiond3830]

For guitarists and musical purposes, a totally sufficient explanation. Albeit, succinct.

[@jamesjordan4796]

Skynyrd*

[@adamwarlock5286]

Pronounced leh-nerd skyn-erd

[@Darndiddlyarn]

@@jamesjordan4796 nazi*

[@seansweeney3365]

Studio tech: Yo, that’s in the wrong key. Guitar player: Maybe, but I just thought it sounded dope as f@ck.

[@nealmatthews3048]

Hmm. Might want to check out Al Cooper before describing him as a "studio tech" 😁

[@peterk8909]

Neal Matthews Granted. Doesn't mean someone else can't have a better idea, tho.

[@wrbutler3681]

Playing that solo in D makes for a boring song, and they would have named it "Sweet Home Rhode Island"

[@JoeCubicle]

That's funny. Your comment made me laugh. My family is from CT.

[@davidkelley9509]

Hey I’m from Rhode Island bud and let me tell you I’m extremely bored most days

[@rayray8687]

David Kelley: That’s because you’re playing in the wrong key! Try Key Largo!!

[@victorsavu]

"you get the idea..." NO, keep playing O.O

[@lovethesideways8]

@Tomas Aindrias Mac Unfraidh Rick Beato rules

[@JHBG1971]

To me, the G solo gives the melody its own path. It isn't in support of the chord progression. It is an independent voice screaming to be heard telling its own story and that makes it more poignant and meaningful. The D solo sounds perfect but because it blends in so effortlessly, it feels more generic. Amazing video Paul.

[@thebreakfastmenu]

D sounds "better." But G sounds like Sweet Home Alabama.

[@younkinjames8571]

Exactly

[@neosdarkness8014]

D sounds like an Allman brothers solo

[@thebreakfastmenu]

Jay Paul I can agree with that I think. I'm just suffering from serious Sweet Home Alabama burnout, so soloing in D is ironically refreshing for my ears.

[@mccalltrader]

I totally wanted to argue with you and be all like..nuh uh!! The song is written for G so its in G...but dam..you right, I was wrong..good call..and excellent analysis!

[@Chrispy_tV]

Sounds like sweet home Alabama. Nailed it. It’s hard to think of it in any other way.

[@boogey-gunman]

All the songs I play are in the wrong key, because I suck

[@nirmalsuki]

I don't play at all.

[@waylonmccrae3546]

Ahhhhh ....... The Key Of 'S' !!! 😕

[@JWMCMLXXX]

lol

[@joshm3915]

I believe in you, man. You can do it.

[@Marcus538]

Play the wrong notes in style , if theyre wrong play them again a few times like they were right, bluff

[@User-jk8wq]

Ed King was a brilliant guitarist even though he was often overshadowed by Allen Collins when he was in Skynyrd. He really deserves a lot more recognition for his work. Rest in peace dude

[@meauxjeaux431]

Steve Gains overshaddowed both Ed and Allen. When he came on board, he took the band to a whole different level. It's ironic that it took his sister, Cassie to constantly pester the band for them to finally give him an audition. I imagine that they were sorry it took them so long.

[@RockFan98]

Ed was amazing. I miss him like crazy, Gary Rossington and Allen were good to but to limited in knowledge/Regimated sometimes which is where Ed would pick it up and add to the sound, same with Gaines. Best three guitar army of all time

[@SIXSTRING63]

Ed was the most schooled player in the band other than Billy Powell. He had success before Skynyrd with The Strawberry Alarm Clock. Ronnie always trusted Ed's opinion on song writing. He also warned Ed of Gary Rossington being a back stabbing prick. Ed and Gary didn't speak since the 90's. Gary tried to keep Ed off the RRHOF induction. Thankfully the hall wouldn't have it without Ed. RIP Ed, great guitarist and human being.

[@RockFan98]

Brian Wilson he sure did, Sweet Home Alabama will always be the southern rock anthem of all time.

[@flyingburritobro68]

A.D Fairhurst Gary Rossington overshadows all of them. Check the album credits. He plays most of the solos and the bulk of the slide work. Has a Paul Kossoff style which is all anyone needs!!

[@johncarpenter440]

Playing in "D" sounds like an Allman Brother's song. Or at least that is how I heard it.

[@derrylremus7008]

that was my thought too!

[@Squirrelconga]

I was just getting ready to comment that! 💯🤑

[@stephendonovan9084]

Yeah, I was thinking sort of “Blue Sky”-ish

[@declanp1]

It's a southern rock staple.

[@juliusschwencke142]

...yup, that's what I heard too.

[@copych]

I like the idea of having 2 tonal centers here. Like Adam said comparing this to Guantanamera

[@thephalken]

However the greatest musicians are the ones that break the rules in style.

[@bobbyfikesmusicfun]

Eddie Van Halen plays lots of out of key notes that sound amazing

[@peterk8909]

Ali-C BINGO

[@vltjd]

In his autobiography, Al Kooper stated that Ed King said "the song is in G because it ends on a G chord." Both work, different feel.

[@OverlandOne]

Ed King was one of the best. Ed had it right playing in G. RIP Ed. Thanks for the music. Another excellent video Paul. Thank you.

[@Larry_Mott]

I am pretty sure i heard Ed saying Sweet home is in G.. I think he should know :)

[@yeahhyouvish]

Sweet Home Alabama intensifies. *Like Literally*

[@palmtemple]

Thats the difference between an artist and a technician.

[@declanp1]

@MorbidManMusic I know quite a few technical artists.

[@peterk8909]

palmtemple Damn! Great point!

[@scrapeyhawkins5299]

So Al being the producer is also a musician and a artist was in Blood Sweet and Tears

[@jonathanwright2705]

As a guitar player myself, who performed that song in many bars, I've always wondered what was "up" with that song. Even after I had it memorized, it still seemed like the solo came out of left field. Thanks for explaining why I always felt that way.

[@PhantomCounty]

“There are no wrong notes, only wrong connections of notes.” - John Petrucci

[@bonkeydollocks1879]

I think he played all of the right notes not nessacerally in the right order

[@BonafideToolJunkie]

The only improvement would've been more cowbell.

[@IamtheFerryMan]

Dude, thats Don't Fear the Reaper. Sheesh.

[@rahawk69]

Every song needs more cowbell

[@captainalex8003]

@@IamtheFerryMan Shush the sheesh!

[@captainalex8003]

@@rahawk69 No they don't.

[@oikkuoek]

The key change in the solo is brilliant. When played in "D" it sounded like the guitar was repeating the lyrics, but when played in "G", the solo guitar suddenly started to perform a dialog with the singer and rhytm guitar. Like a second point of view to the story of "Sweet home Alabama" When played in "G", the solos were important additions, when played in "D" they were mandatory stuffings. Would even argue, that the song couldn't reach the fame it has if the solos were played in "D"

[@Cozzmos]

Lead in G is better... Like you said "more interesting".

[@seansweeney3365]

Yeah, otherwise it sounds too bright I think.

[@juancarlosnunezf96]

You've got to like this video instantly after the cat makes such a great appearance 😺

[@TheOnlineBusker]

I’ve always thought it was in G, as it resolves to the G chord when playing/singing.... but this is way above my pay grade. I love your cat! And your guitars, and oh well, you as well!

[@frankv91]

Absolutely! Accentuating the G notes over D and C make it extra nice when they finally do resolve.

[@Eddieshred]

But the D resolves just the same as G, as a plagal cadence. Moreover the harmonic rhythm makes the D weigh more.

[@frankv91]

@@Eddieshred Or you can look at it like it's the last 4 bars of a 12 bar blues (I I IV I IV IV I I V IV I I). I'd say the D resolves to G, only it does so through C.

[@Eddieshred]

@@frankv91 That's a really good one! A vamp made out of the last 4 bars of a traditional blues, I hadn't thought of that yet.

[@TheRSFelon]

frankv91 That’s a good point. The C chord does sound natural and pleasing to me, but it does firmly establish it as being G Major key because as we know, D has a C#, not a natural. However, thinking of it as the end run of a blues does help somewhat “free it up” I suppose. Even though at the end of a blues I like to hop from the tonic to the 5 augmented. 😉

[@Beebo]

1:11 holy crap, ur amazing! So effortless; one fluid motion!

[@timorochademacher1080]

Not seen much of his videos yet hu?😂

[@elvieja3448]

In D sounds more blusy, but in G sounds more country

[@RockFan98]

Both solos came to him in a dream the night before the recording and were done in one take. It was just meant to be. Also the bridge and middle position is the sound! He was also an old freind RIP

[@KC97220]

Great video. It sounds logical in the key of D no question, but a bit bland compared to the way it was recorded in G. It sticks out more in G in my opinion. Just shows how music isn't all cut and dry!

[@leonardjohnny67]

You are fantastic player and an absolute natural for presenting and teaching Paul. Kudos.

[@dougbrett-matthewson2640]

I've always heard SHA as being in G. To me, those chords sound like V... IV... resolving onto I (and the fact the riff sits twice as long on the G as either of the other two chords reinforces the impression)

[@theoriginalhowardho]

Exactly!

[@johndennis9838]

That’s how I have always thought of it, and during the song, when it goes to the “G” it’s where there is no singing and that’s where he throws in all the little guitar riffs. If he did the solo in “D” it would ruin the vibe set by the rest of the song.

[@taylorpike1191]

From the time I started learning guitar and this song, I always thought the same thing as you.

[@JeffLearman]

Me too, but I learned better from Adam Neely. Answer: "It's complicated." The best argument for D is the melody, which resolves to D. Pretty much just three notes: 3,2,1 in D. But when I play it on piano I solo in G blues because it feels right (and LS ends the song in G!)

[@Eddieshred]

@@JeffLearman Besides the melody, the harmonic rhythm is the determining factor. If you would take the progression, but begin on the G chord instead, the key would definately be G.

[@jason6string]

Both keys have their sweet spots, thats the beauty of blues music, just play whatever sounds right to you, no definite answer really. Thanks for another inspiring video Paul!

[@jackbard2623]

stepsister: "what D?" *sweeeet home alabamaaa*

[@biwarayoganata]

Where's the FBI when you need 'em!

[@casperes0912]

You’re too much on por hub, mate

[@davijazzz]

@@casperes0912 lol

[@diveinstructordaniel1095]

Jack Bard hahaha 😂

[@SteveH4es]

But all of you knew what he was talking bout 🤷🏼‍♂️

[@nicolassaadjian]

Paul you are by far one of the best guitarists I've ever seen. The way you play is probably the sweetest and smoothest I have listened to in my life -not to mention knowledge, tone and major stuff that goes on within your mind-.

[@wellsroadband]

Plot twist: it's in E minor

[@micooms]

Wells Road Band but then also B minor?

[@CesarDainezi]

Plot twist: it's is C Lydian

[@jochem420]

Plot twist: its jazz scale

[@penttikoivuniemi2146]

Seeing the solo being played and assuming these are the same fingerings used by the original guitarist, it definitely looks like he just went "ehh, all of these chords are in E natural minor, I'll just play E minor stuff on top of it."

[@_r4m0n]

Plot twist: it’s a un discovered scale

[@ghostbaum]

I learned my modes scaling around the natural major and minor. D mixolydian to my shorthand brain means G major/E minor. Especially since it ends in G it’s not hard to see why he did GM. The starting note doesn’t always represent the key of the song.

[@rat4spd]

Yngwie has a good saying regarding playing in key. "If it sounds good, it sounds good."

[@skiptracer2988]

Yngwie doesn't know much about sounding good though, as all his music is about as interesting as watching paint dry.

[@elvisosmanovic4846]

@@skiptracer2988 then u dont know much of yngwies work

[@kjsummerville8791]

Great commentary, as a country rock ld player, I’ve had this discussion many times. Considering these may two of the most listened to solos in rock history and they’re in G… Plus that F# in D major will make the G chord..er..interesting

[@Zelomeisterdude]

The irony is that in D the solo sounds 'sweet' like the song title, in G it sounds like a rusty pick-up truck, which is what the band always makes me think of (should add, I mean that in a good way).

[@Cantstandtherock]

Skynrd was a southern rock band, right? Not Yngwie Malmsteen

[@josephalbatross5961]

Excellent video on this topic Paul, thanks for your hard work on those solos!!

[@shakeyourguitartutorials]

True : mix your scales . I'm glad he did this G solo too. cheers.

[@sebmusic1633]

I was hoping for this kind of video for a long time. Thank you for answering one of my big questions of all time !

[@samimaentausta5960]

Playing the solo in d makes it sound mellow or boring. Playing it in g makes the solo pop out more, adding more interesting tension around the notes.

[@nicknchrist]

sami maentausta exactly my thoughts

[@marcobinaglia7856]

Now listen to Steve Gaines' solo starting at 4:44 here kzbin.info/www/bejne/bHjbiKCJi9tgmbs and you tell me if you are bored with a solo in D key ;-)

[@PaulDavids]

I appreciate your opinion, but I really think there is a placebo thing going on... You can make playing around in D sound just as spicy as G! Just depends on how much spice you add.

[@jamstonjulian6947]

@@PaulDavids Not really. The fact that it is not the natural key/mode to solo in over these chords is what brings the spice. There's a reason this song has been a classic for 40 years and the brilliant first solo is a part of what makes it so memorable. Even before I picked up a guitar I could hum that solo note for note. The entire song is just D, C and G with a standard rhythm so just soloing over it in the standard key is pretty vanilla no matter how nice the licks are.

[@johnnysparks44]

Usually I choose Key by the Vocal Ability... a Cover song Doesn't have to Be the same Key as the original Singer... The Singer's Range is How I Determine Key... I also Structure Songs by Lyrics within Rhythm of the Melody... vs Style of Writing like Blues or country... i'm not Really That Interested in Theory beyond Ability to Create what I Wanna Create. Key Changes During songs and all That Theory... Ha h ah ha haaaaaa im Not Writing Classical... it's Pop Rock Blues or Country... not so much Academic" Ha h ah ah a haaaaaaa… it just doesn't Matter That much... if it sounds Good and makes you Dance... i'm all Good with it.... Mistakes" Don't even Bother me ok... not Even in my Studio... Sometimes I just let it go... it is what it is... I Don't have to Splane it... though I can comprehend Theory... it ain't my Go to inspiration. Basic Theory without too much Critical Thinking Works for me... Gotta Have a Melody for Copyright Bra... for a Performance... all you Gotta do is Play.

[@jameswedeking4380]

Very well done video, Paul. Great explanation, as I've wrestled between the two keys when covering. Thank you for reintroducing a tune that easily tossed aside as a "three chord song". There's so much going on in this tune that is often overlooked. (the female back up singers are amazing, the counterpoint between the two rhythm guitars, the piano filling in the gaps, the ridiculously well choreographed solos, etc.). I'm hoping that Rick Beato will do a "what makes this song great" for a full breakdown of this seemingly simple composition.

[@BaronMcCausland]

Paul, you play beautifully with a great touch and vibrato - a pleasure listening and watching you play. While D Mixolydian is undoubtedly the theoretical model key of the song, "G" as a tone-center for soloing works well here mainly due to the harmonic rhythm of the song; being: 2 beats D, 2 beats C, 4 beats G; whereas, IF the harmonic rhythm of the song was instead presented as: 4 beats D, 2 beats C, 2 beats G, then "D" would sound more natural as the tone center for the solo, and the "G", consequently, less so. How long the chord-of-the-moment lasts through the progression is what makes Sweet Home sound more like a V-IV-I in G to many people, instead of the typical I-bVII-IV hard rock song in D. One other factor is the +9 extension to the C chord (being an 8va D note), which serves to add fuel to the fight between D and G for control of the overall tone center. Sweet Home is such a perfect example of a hybrid situation. Super video!

[@dirkcrafford1814]

Still learning, so excuse. "instead of the typical I-bVII-IV hard rock song in D." Is it normal to have a flat seventh in the major scale? I know there are 'normal' deviations like a major V in the minor scale, but I'm still learning. Is it because there is a flat seventh in the minor blues scale? If it is normal to have a flat seventh, then I still don't hear a good enough argument for the key being D. I mean, you mention that IF the harmonic rhythm was different... but it isn't.

[@BaronMcCausland]

@@dirkcrafford1814 Hi Dirk. There is no b7 in the Major (Ionian) scale (1, 2, 3, 4, 5, 6, 7), whereas the b7 comes from the Mixolydian scale (1, 2, 3, 4, 5, 6, b7) - which you can think of simply as an altered Major scale with a flatted 7th, this is used to create a dominant 7th, blues/rock sound. So from a D Mixolydian perspective, you would be playing: D (I), C (bVII), G (IV); BUT if keyed to D (Ionian) Major, those same chords would then play out as: D (I), C# diminished (vii), G (IV). I know this can be confusing at first, but try to remember that D Mixolydian comes from the same notes as the G Major scale - Not the D Major scale, which has a C# note - and, by moving the Tone Center away from G and anchoring instead to D, we create the Mixolydian sound. To help put the whole "What key is Sweet Home in?" into perspective, the question really is: "Is Ed King approaching the song as D, C, G, with G as the tone center, or, D, C, G, in D Mixolydian with D as the tone center... or, is he superimposing one sound over the other to create one very unique solo ;-) One quick tip: When playing a chord progression in any key, and you have a chord appearing two frets down from the key chord, you cannot be in the "Major (Ionian) Scale"; as that next physically lower chord in the major scale would properly appear 1/2 step down from the main chord o your guitar neck... and be a diminished chord to boot! So anytime you have two chords a whole step apart (2 fret distance) and when the higher chord is the main (Tonic) chord, you are decidedly NOT in the Major (Ionian) scale. Or, ask yourself this question: "If the notes of D Major are: D, e, f#, g, a, b, c#; and the song you are playing is based off of a Dmaj chord and also uses a Cmaj chord, how then could you possibly be in D Major - which uses a C# note, not C natural note. Hope this helps. Good luck!

[@howardanderson3061]

Excellent video, really well done, I was lucky enough to meet Ed and know him as a friend. I was also fortunate to take over his guitar chair in his previous band "The Strawberry Alarm Clock". I've studied and worked out many of his leads and parts, Ed was a brilliant guitarist who had a god given talent for for creating Iconic lines, licks and solos. Thanks again for a vey thoughtful as well as insightful analysis of Ed's historic guitar solos on Sweet Home Alabama. Oh I almost forgot, he wrote the opening riff, one of the most recognizable guitar intros of all time!

[@jppagetoo]

I was part of an online discussion with him where we talked about this exact subject. So my account is firsthand, Ed said this to me and the others in that discussion directly. Ed said he was thinking the key is G. Ed wrote it, who am I to tell him he's wrong? Ed was such a nice guy and so open and helpful. He was always ready to show what he did and how he did it. I wouldn't say I was close to him, but I was allowed into his online world when he was alive.

[@markmalanaphy3374]

First off I just want to say wow, the more I watch you play, either the better you get or the more I learn. I am thinking of purchasing your next level course. I have been playing guitar since 1977 and played mostly rock ‘n’ roll and this song was very popular back then. If I knew what I know now I would be able to play it much better. Thanks again. Keep Rocking 😎🎸🎶🎶

[@TheZRyan]

I love the solo!.....and your jacket

[@4stringkingstf]

Awesome video. I enjoy when you encourage us to think outside the norm. Love your cat, BTW!

[@paracore4313]

342nd and it makes absolutely no difference. The video is still great

[@MikaelLewisify]

I’d always thought the solos in SHA were a bit odd, but could never put my finger on it. Great analysis.

[@cruxofdo6481]

Maybe the solo was played in the Key of G as it’s like, I don’t know how to explain it, but maybe it’s a style choice and sounds like a smal but on the side of the song to give it the flavour as it kind of sounds like something you would play at the end of a song but the deal is that it sounds good

[@Cantstandtherock]

The playing on the original was captured as it was and it will never be anything other than that. Let’s stop trying to change to coolness of how these songs would be if they were using the “correct” modes and just think about how cool they were done by these guys originally! They weren’t writing music thinking of modes, this was SOUTHERN rock and it kicked ass!

[@TehGoddamnBatman]

That cat was so unexpected it destroyed my sides (and also your furniture, apparently)

[@darrellrickles4365]

Great video, as a longtime player I never dissected the choice of key of the solo for this song.

[@haz9472]

personally i hear the song in g, when he hits that final g chord it feels like the pressure is lifted off of me only for the d chord to re apply that suspense, but maybe my ears are wrong, :)

[@vent676]

No they are not wrong. Al Kooper, Adam Neely and Paul Davids are wrong. A rare occasion for sure, but thank God Ed King held the guitar when that tape was rolling. I think these guys are pulling some kind of prank here. They really go out of their way not to mention the massive G- enforcing triad line between the verses. Or the piano that keeps running towards G. On top of that Adam uses an incorrect rule to establish D as the key: the notes of the melody. While the vocal ends on a d, in rock and pop the melody is generally considered too high and too prone to change to overrule other harmonic content. In other words, when the bass, the guitar and the piano are all thundering G, it's G. Van Zant can be singing VII-VI-V in G just as good as III-II-I in D. This is different in jazz, where the melody often outlines the harmony, and lines are explicitly written to highlight harmonic content. Maybe that threw them off?

[@jimijack100]

I agree with 'suffering'.

[@nicholasrossmusic6317]

I made a similar video a few days ago. I mention that if you were to improvise over the song in D or G that it would still ‘work’. Overall it depends on which chord tones you highlight and emphasise. I would personally choose D mixolydian and emphasise D as the root note because it gives that classic blues rock feel. Hope this made sense. Thanks for the informative video as always Paul!

[@yosemitesam4549]

This was "the anthem" of my mid to late teens. The first time I heard the opening three notes the hair stood up on the back of my neck. Anyway, the song truly doesn't know what key it is in. My sheet music has a key signature of G but there is a little asterisk at the top of the first bar... follow it to the bottom and it says *D Mixolydian. It sounds like you know the whole story but Gary and Alan tried to play a solo in D since Kooper didn't agree the song was written in G. Neither of them could do it. Clearly, you could have. Ed, Gary and Alan probably didn't know a Mixolydian from a hole in the ground. I didn't and other than a vague idea, I still don't.

[@JeffLearman]

Key signature and Key are two different things! What's the key signature for Toccata and Fugue in D Minor? F major, simply because the convention is to use the major key to identify a key signature.

[@lovethesideways8]

Key and key signatures are interchangeable but for convention.

[@yosemitesam4549]

Jeff Learman Contrarian?

[@nbrowser]

I can't really say what sounded better...but I will say this, your knowledge and want to share it...priceless to us kinda new to guitar. Thanks so much!

[@zerosiii]

Aren't D mixolydian and G Ionian (G Major) the same? As in, the same notes? I'm not sure I understand the concept of a solo, or a lick being in D mixolydian, or G major, or in any key/scale. Rather, the chords (the harmony) is what defines the key/mode, together with the solo/lick/melody It's a bit tricky for me to understand this

[@PaulDavids]

G major has the same notes as D mixolydian. But give an instruction to solo in both keys, and something totally different comes out. There are different blue notes, different target notes, different interpretations, etc. :)

[@KasperViggoJensen]

zerosiii Yes, they are the same. They just have a different starting note. D Mixolydian is G Ionian, but using D as a starting point.

[@zerosiii]

@@PaulDavids Ahh I see... Usually what I do when I try to solo, is figure out the key/mode from the chords, and then navigate to the relative minor/aeolian, since I have that pentatonic box over there. And then I fill it up with other notes in between

[@zerosiii]

@@PaulDavids Woah hold, now I need more explanations. I tried playing a D minor pentatonic over this, and it just sounds so good (and fresh)! Usually I would start with E minor pentatonic. Is this what you're referring to? Also, there was this song by Chikenfoot, Future in the Past, with the same chord as Sweet Home Alabama, where Joe Satriani busts a smokin solo in the live version. I always wondered what is he playing there, as I couldn't understand, but now this seems to fit

[@SorenJulienov]

I agree, but a solo can hint a key as well. As Paul said, Ed King targets the G, which means he's thinking "in G", instead of targeting the D. If you're soloing in G, the D note is your sixth, the A note is your third, while in D mixolydian it's respectively the root and the fifth. Long story short, that's all the connections between the notes you're thinking , in your head and on your fretboard. You have an example in Comfortably Numg: the first solo is in D major, the second in B minor. Same notes, but vastly different feeling.

[@jimmymarchisotto8152]

I LOVE the comparison examples that you show. It's mind bending how approaching from a different key makes it sound completely different as far as the attack is concerned great video thanks

[@KabobHope]

Next, would you mind rewriting "Stairway To Heaven"?

[@Guitarplayer724]

Yeah make it sound like the key of Taurus.. 😃

[@laigleducaucase8705]

Stairway is perfect.

[@Cantstandtherock]

Stairway.....DENIED!

[@Cantstandtherock]

This guy loves to rethink shit that’s been classic for over forty years. I’d love to hear how he can screw up a Rush song!

[@TylerLL2112]

Richard Wallace He better not dare!🤣 “Alex shouldn’t have used this key in LaVillaStrangiato”

[@anthonymitchellalice]

I have been thinking about this for a long time, getting very confused! Your video is very helpful, and amazing playing in all your videos.

[@delesdog]

The key of g is interesting... the key of d sounded plastic. They were smart

[@deadpatriot8047]

Love your concept for this video I never thought to play over this in anything but G. Thanks bro and keep em coming.

[@CinderB]

I literally just came out of the shower singing this. Lol

[@PaulDavids]

tmi

[@nateF888]

youtube is listening

[@unclepodger]

How's yo sista?

[@Pennygrove]

@@PaulDavids I don't think it was tmi dude...If they'd said 'I literally just came out IN the shower' that would be defo tmi ;)

[@no.7711]

This is something I did not realize needed so much discussion. The solo sounds great, and it fits the context.

[@thepsychicalliance]

In D, the solo sounds like standard bar rock. As soon as it switches to G it sounds like a hit. The tension of the dissonance grabs your attention and holds it.

[@JakeSpeed1000]

Brilliant. Being an Alabama boy this song is an anthem. I've grown up loving this song but never really thought about what key the solo is in. I have a whole new appreciation of the song and your genius. With a beard like that, you've go to be right!

[@peterverhoeven2173]

D sounds like a guitar player. G sounds like a musician.

[@declanp1]

Guitar players are musicians.

[@ianwilliams7364]

This perfectly explains to me, for the first time, what makes the song so unique. Thank you for another perfectly presented ( and played ) insight into guitar playing. I think you have opened a door to a whole hidden world for young guitarists. the comments from some very experienced guitarists reflect this Great video

[@briank8809]

music theory is the rules - making music is about breaking the rules creatively; which lynyrd skynyrd did masterfully.

[@j.justinzimmerman9836]

Paul, your cat has real star quality! Thank you for saving it’s moment in the spotlight. This Lynyrd Skynyrd discussion is interesting to me considering the weight the song carries in in the Pop Music World, even still, today.

[@gene42]

To my ear, in D it sounds like every other blues/minor pentatonic D solo ever played...cliche. I think Ed King's solo in G sounds more hillbilly/country and far more quirky and interesting. RIP Ed!

[@gabrielperrymusic]

What a fun and interesting video. Paul provides a great analysis of a deceptively "simple" tune. (It's more complicated than it appears.) I think what we can all take from this is that there are at least 2 ways to interpret the chord changes: In the key of G: V, IV, I (solo around G) and in the key of D Mixolydian: I, bVII, IV (solo around D) and that both of these interpretations or approaches can create different sounds which is very interesting! I think one of the reasons why blasting G major pent over the D and C chords works so well is because the tempo of the tune is pretty quick and we don't stay there for very long over those changes. Yes, G major pent. over D and C creates tension and suspensions but they get nicely resolved when the progression comes back round to G. A soloist can just stay in G pent the whole time which actually takes a lot of the "thinking" out of it... which is why this approach can work so well and why Ed King's solo is actually quite brilliant. For someone who likes to think of himself as educated musically, this video opened my mind and gave me much to think about. Music is so cool. Thank you, Paul!

[@flaevorflav]

In D forgettble in G iconic. Right or wrong is irrelevant.

[@My-Channel_forever]

I love that you leave kitty bloopers in your videos. ❤️

[@theatremusician]

The entirety of the song resolves directly to G major.

[@geralr]

I really like the fact that you gave Adam Neely credit that he already spoke about that. I love it when two different KZbinrs talk about a similar topic, hearing opinions and analysis from different experts gives us a more wide sense of knowledge. Great job, and incredible playing! Thanks Paul.

[@1wretchedsoul]

Well, that’s why he was the lead guitarist playing the solo on one of the greatest southern rock tunes ever, and none of the armchair critics have that plaque on their wall.

[@donatocolonna2430]

Thanks Paul, every one of your videos make me want to grab the guitar and play!

[@MultiWellyson]

Make a video explaining "I Guess I Just Feel Like" solo by John Mayer

[@PaulDavids]

I did that. 'what makes a good solo'

[@Richard-Ellis]

also the solo is in B Mixolydian - there's not really any general disagreement over this

[@tomglanville]

What a great video Paul! You are a great teacher.

[@RC32Smiths01]

I've said it before, but I firmly believe that it's in the Key of D, no doubt. I am no musical theory genius, but everything, from the chorus to the melody, is all based on D Major as the foundation. That is my opinion of the day lol. But I am quite interested in your take for the song!

[@PaulDavids]

This video isn't really looking for the key of the song. It's about what we play over it when we solo :)

[@RC32Smiths01]

@@PaulDavids Ahh I gotcha haha. I misinterpreted then, my sincere apologies

[@KasperViggoJensen]

RC32 Semantics really, but it’s not in pure D as it has a C chord in it.

[@seanflanagan9766]

Great analysis on what appears to be a simple progression. It also opens the mind to the underlying theory. Thanks again.

[@halstead3962]

G feels like the tonic to me.

[@chrisrodriguez5408]

Thanks Paul, this is a great breakdown! It’s interesting how the emphasis makes such a difference even though the notes are all the same! Playing in D Mix almost sounds predictable where playing in G Maj creates a subtle tension that keeps me guessing, even though I know the solo by now. Maybe that’s why we love the solo and want it to keep going...it’s always on the edge of “resolving” our ears. Such sweet sounds!

[@loadsamonkeys]

The producer is wrong, Ed is right, it's in G.

[@loadsamonkeys]

When you play the starting D chord, it "feels" like you're playing the dominant chord, not the tonic. When you get to the G it resolves i.e. it's "feels" like the tonic. that's why I'd say it's in G, no matter what notes are in the melody. Have a listen to "What Goes On" by the Velvet Underground. Same chords but clearly in D this time, a completely different feel to each chord.

[@deanguida]

Crack's a helluva drug

[@jeffbeck6501]

It is obviously in G.

[@jeffbeck6501]

It is obviously in G.

[@jeffbeck6501]

It is obviously in G.

[@sjohnson4985]

I know this discussion was many years ago, but I wanted to put in my two cents. First, thanks for posting this video and for the thought-provoking content. My thought is that since there are equal amounts of G, C, and D, G major is a good a choice as any. The D may be the first chord in the rhythm, but it isn't dominant IMO. If it were dominant, then D mixolydian would be the way to go. Anyway you look at it, it's the notes of G major. I do like it when an artist plays loose with the scale and not always feeling it's necessary to accent every chord change. Anyway, great video and one that gets us thinking.

[@BishopBigans]

Why would anyone think it's in D? It's a V-IV-I progression in G. I've always assumed it was G.

[@TheMrMurtle]

The melody centers around the note D, so its considered to be the D mixolydian mode of G major

[@ryanking8559]

Watch adam neely's video

[@lancelotlink6545]

I think it's strange that someone would use the vocal melody to determine this. When in doubt go with what the bass player is doing. It's G!

[@jamstonjulian6947]

I guess it's because it doesn't really resolve on the G chord, it keeps tugging itself back to the D. The whole chord sequence is unresolved tension.

[@MaggaraMarine]

Because keys don't work like that. If I write a chord progression like Am G F and repeat it over and over again, you could say it's "vi V IV" in C major, but that wouldn't be correct - it's in A minor. Keys are all about what chord/note sounds resolved. You can't just look at what chords it contains and decide the key based on that. You need to listen to the progression and find the resolution. In this case it may be a bit ambiguous, because it's not a very strong progression tonally (it lacks strong resolutions - and actually, whether you hear it in G or D, the strongest resolution in both progressions is IV - I). What makes it even more ambiguous is the fact that it starts on D, but spends twice as much time on a G chord. So, the beginning of the chord progression suggests D as a stronger tonic, but it spends more time on G. I - bVII - IV is a really common rock progression that you can find in probably hundreds of rock songs. Some examples: Back in Black, Jailbreak, It's a Long Way to the Top, Hey Jude, Sweet Child O Mine, Sympathy for the Devil, Your Time Is Gonna Come, Thank You, Good Times Bad Times, With a Little Help from My Friends, Who Are You, All Right Now... I would actually argue that it is THE rock progression. I hear Sweet Home Alabama similarly as I hear Sweet Child O Mine (I - bVII - IV in the key of D, not V - IV - I in the key of G). What makes these progressions different is only the time spent on each chord - Sweet Child O Mine returns back to the D chord in the end of the progression, whereas Sweet Home Alabama stays on the G chord.

[@TheCmajorguitar]

I think that the subject for the wrong or right key in this case is interesting. I think it would be more appropriate to talk about pentatonic substitution. There are three sometimes four minor pentatonic scales that can be used in every major key. You can use B minor pent over D, A minor over C, and E minor over G. Focusing on anyone of these scales will ad color tones over the other chords. For example, holding the G note over the D chord is a 4th or 11th chord tone adding suspension . That same note over C is the 5th. Resolving to G. This is a classic example of tension and resolution. I love the video Paul you always do a great job. Lots of way to approach soloing in the genre!

[@yonikup2865]

*Adam Neely has entered the chat*

[@unclepodger]

Adam and Paul have been dabbling around on SHA for 3 videos now, combined

[@RammTammTilda]

Adam coverd the topic 8 days ago! Anyways, thanks for your Videos!!! Really dig them

[@PaulDavids]

Adam made the video as an answer to a question I asked ^^ Just sayin'

[@RammTammTilda]

@@PaulDavids didnt know that, sry!

[@Yunyopern]

Great video dude. I liked How you combine them.

[@sound-wizzard]

Not sure it matters. i think its putting too much emphasis on what should be "logical" i dont think music needs to be logical.

[@PaulDavids]

It matters when you wanna jam, or write a cool melody, and don't know what to play... Or if you're just interested in things.

[@sound-wizzard]

@@PaulDavids you are probably right in those regards 😅 I tend to not play with other musicians verry often so they don't pop up much. But what I meant was that if it sounds good it dosent matter if it's in the "wrong" key 🙏 ..... I didn't mean I disliked the upload. Ps Keep the videos coming i always look forward to the next one (Still learning cumulus 🤤 slowly). Peace

[@7775Kevin]

Great video. Thanks for doing this. Makes me look at the song in a new way. Music never ceases to fascinate me in the way it affects people. Thanks again.

[@AnujPoudel017]

D : I'm the home. G : I'm the home. C : Am I a joke to you?

[@lovethesideways8]

STFU AND GTFO, C.

[@mickeyrube6623]

F: I’m cool as long as I can come along out of nowhere...

[@lovethesideways8]

Em: Hey guys! It's me, G! Honest!

[@donniekellerman5833]

It may or may not be in the wrong key but what's more puzzling is why you included everybody in the band EXCEPT the songs actual writer in your picture for this video? People always forget about Ed King. He along with R.V.Z. wrote there most popular (or hits if you will) songs. Eddie King....a HIGHLY UNDERRATED guitar player & songwriter if there ever was one! R.I.P. Eddie, you haven't been forgotten.