-
The notes could be either C or G (key of) because there are 2 notes left out, the F (or the F#), and the C. Now, in the key of C, you are leaving out the 1 and the 4, which is an interesting choice, but possible. However, again, let’s remember Tony does major and minor, never other modes. So, if you think of the key of G, you are leaving out the 4 and the 7, which is exactly what you leave out of pentatonic scales. Or, from the point of view of the minor root, E, you are leaving out the 2 and 6. Again, exactly what is left out in pentatonic scales.
So, part of the difficulty of analyzing songs is that there are different ways to label and understand the same music. Let’s remember the music is always the same, it’s the words that are different. So who really cares?
You want to see this as the D shape, using the key of F, having the 7th degree note the tonal center, and leaving out the C and the F, or the 5th and the 1st? That’s fine. Is it typical? No, but that makes no difference in music. Of course, it won’t “sound” very Locrian by leaving out those 2 notes, but it doesn’t matter.
Or, you could use the A shape and see it as the key of C, leaving out the 1st and the 4th and using the Phrygian root as your tonal center. Again, you’ll have trouble hearing Phrygian without the 4th.
So, here’s a suggestion. Play the full scale and the pentatonic scale of all three possible keys, and see which sounds like the Tuesday lick. Play G/Em pentatonic. Play F/Dm pentatonic. Play C/Am pentatonic. Then play the same keys with the full, diatonic scale. Then play all three with just the C and F/F# left out. See what has the same sound as the lick with the low E drone.
I already know what you’ll hear. That’s why I have chosen the labels I have. But ultimately, you can call it whatever you want.
MG 😀