judge_gideon
11-30-2005, 11:47 AM
I use two approaches when selecting a particular scale to play over a chord.
One, is considering a single scale over many chords. This makes soloing easy when the rhythm players are active and changing chords during your solo.
The second method is to see a single chord and play different scales over it while the chord remains the same. This works great when there is a droning or repetitious rhythm focusing on a single chord for an extended period of time.
******* SINGLE SCALE, MANY CHORDS *******
The following chords can be played underneath a C major scale:
Cmaj, Dm, Em, Fmaj, G7, Am, Bm7b5
For example, your rhythm player is emphasizing a Cmaj chord, you are playing the C major scale. But, if the rhythm player decides to switch to any of the other "diatonic" chords found in C major, he won't throw you off a bit. In fact, it will sound like you both planned it!
So, you can be playing along in C major, and he plays a D minor chord, then automatically, you're playing D dorian.
• If he plays an E minor chord, you're automatically playing E phrygian.
• If he plays an F major chord, you're automatically playing F lydian.
• If he plays a G major, or G7 chord, you're automatically playing G mixolydian.
• If he plays an A minor chord, you're automatically playing A aeolian.
• If he plays a Bm7b5, you're automatically playing B locrian.
All of this happens without you changing your scale - you stay in C major.
There are 12 keys, which means there are 12 major scales. Each has a chord "set".
A: Amaj (I), Bm (ii), C#m (iii), Dma j(IV), E7 (V7), F#m (vi), G#m7b5 (viiø7)
Bb: Bbmaj (I), Cm (ii), Dm (iii), Ebmaj (IV), F7 (V7), Gm (vi), Am7b5 (viiø7)
B: Bmaj (I), C#m (ii), D#m (iii), Emaj (IV), F#7 (V7), G#m (vi), A#m7b5 (viiø7)
C: Cmaj (I), Dm (ii), Em (iii), Fmaj (IV), G7 (V7), Am (vi), Bm7b5 (viiø7)
Db: Dbmaj (I), Ebm (ii), Fm (iii), Gbmaj (IV), Ab7 (V7), Bbm (vi), Cm7b5 (viiø7)
D: Dmaj (I), Em (ii), F#m (iii), Gmaj (IV), A7 (V7), Bm (vi), C#m7b5 (viiø7)
Eb: Ebmaj (I), Fm (ii), Gm (iii), Abmaj (IV), Bb7 (V7), Cm (vi), Dm7b5 (viiø7)
E: Emaj (I), F#m (ii), G#m (iii), Amaj (IV), B7 (V7), C#m (vi), D#m7b5 (viiø7)
F: Fmaj (I), Gm (ii), Am (iii), Bbmaj (IV), C7 (V7), Dm (vi), Em7b5 (viiø7)
Gb: Gbmaj (I), Abm (ii), Bbm (iii), Cbmaj (IV), Db7 (V7), Ebm (vi), Fm7b5 (viiø7)
G: Gmaj (I), Am (ii), Bm (iii), Cmaj (IV), D7 (V7), Em (vi), F#m7b5 (viiø7)
Ab: Abmaj (I), Bbm (ii), Cm (iii), Dbmaj (IV), Eb7 (V7), Fm (vi), Gm7b5 (viiø7)
(*btw, the viiø7 is half-diminished 7, also called minor 7 flat 5)
The most common chord progressions are based on, or are an alteration of what's called a "circle progression". This allows you to foretell the flow of chords and gives you a feeling that the chords are moving somewhere and yet you can stay playing a single major scale.
362-5147 is the phone number you never want to forget - it's the basis for circle progression with ascending 4th's/descending 5ths.
the iii progresses to the vi, which progresses to the ii, which progresses to the V7, which progresses to the I, which progresses to the IV, which progresses to the viiø7
iii-vi-ii-V7-I-IV-viiø7
in other words...
Em - Am - Dm - G7 - Cmaj - Fmaj - Bm7b5
They can wrap around too - like: 2514736251 or anything following the phone number order.
You'll find that some chords can be substituted for others. Like when you play the typical I-vi-ii-V7 (C-Am-Dm-G7) you could substitute a IV in place of the ii. It would be something like I-vi-IV-V7.
With real chords, that would be Cmaj - Am - Fmaj - G7
All of this can be happening while you solo in one major scale. Very cool and flexible.
******* SINGLE CHORD, MANY SCALES *******
If you are selecting a scale to solo over a single chord, things are much easier. You can switch scales while playing over the same chord.
You have the choice to play a variety of scales for each chord. The one(s) you choose depends upon what you want to hear happen in the song.
All scale examples here are for "A" chords.
If it's a MAJOR chord, you could use these scales:
• major (the I mode - ionian - A,B,C#,D,E,F#,G#)
• lydian (the IV mode - A,B,C#,D#,E,F#,G#)
• harmonic major (A,B,C#,D,E,F,G#)
• major pentatonic (5-note scale - A,B,C#,E,F#)
• major blues (same as major pentatonic, but inserts b3 - A,B,C,C#E,F#)
If it's a MINOR chord, you could use these scales:
• natural minor (aeolian - vi mode, also called relative minor - A,B,C,D,E,F,G)
• dorian (the ii mode of any major scale - A,B,C,D,E,F#,G)
• melodic minor (natural minor with maj 6th & maj 7th -A,B,C,D,E,F#,G#)
• minor pentatonic (5-note scale - A,C,D,E,G)
• blues (same as minor pentatonic, but inserts the tritone - A,C,D,Eb,E,G)
• harmonic minor (natural minor with a major 7th - A,B,C,D,E,F,G#)
• phrygian (the iii mode of any major scale - A,Bb,C,D,E,F,G)
If it's a DOMINANT chord, you could use these scales:
• mixolydian (the V mode of any major scale - A,B,C#,D,E,F#,G)
• major pentatonic (5-note scale - A,B,C#,E,F#)
• major blues (same as major pentatonic, but inserts b3 - A,B,C,C#E,F#)
• minor blues (described above under minor chords)
• wholetone (6-note symmetrical scale of halfsteps - A,B,C#,D#,F,G)
• diminished (8-note symmetrical scale of alternating half & wholesteps - A,Bb,C,Db,Eb,E,F#G)
Master these scales and you'll be like a machine gun. :thumb:
judge_gideon
12-01-2005, 02:12 AM
jakerc, I understand what you're asking.
Yes, diatonic.
Diatonic: The scale which uses seven notes without chromatic alterations; 5 tones, and 2 semitones. The 5 tones comprise the basic pentatonic scale with intervals 1,2,3,5,6. The 2 semitones are the 4,7. The semitones in C are the second notes in the two sets of "white keys" on the piano which are adjacent to one another, having no black key between them; F & B.
The I - ii - iii - IV - V - vi - viiº
are all found in a single major scale.
Each chord (I,ii,iii,IV, etc.) is built by skipping notes.
Skipping one diatonic note creates the interval of a 3rd.
Skipping two diatonic notes creates the interval of a 4th.
Skipping three diatonic notes creates the interval of a 5th.
Watch how each chord is just a system of skipping notes in a simple diatonic scale. I am using 2 octaves of C major:
Cmaj (C,E,G) = C - D - E - F - G - A - B - C - D - E - F - G - A - B - C
Dm (D,F,A) = C - D - E - F - G - A - B - C - D - E - F - G - A - B - C
Em (E,G,B) = C - D - E - F - G - A - B - C - D - E - F - G - A - B - C
Fmaj (F,A,C) = C - D - E - F - G - A - B - C - D - E - F - G - A - B - C
Gmaj (G,B,D) = C - D - E - F - G - A - B - C - D - E - F - G - A - B - C
Am (A,C,E) = C - D - E - F - G - A - B - C - D - E - F - G - A - B - C
Bdim (B,D,F) = C - D - E - F - G - A - B - C - D - E - F - G - A - B - C
I know this is a cerebral hemmorage, because it doesn't actually show how to play them on the neck--how they relate to notes on your instrument. But, it does show you that all the chord tones in that particular chord set are found diatonically within C major.
With this system, you can play one scale - C MAJOR - and your rhythm guitar player can be banging out chords in that set:
Cmaj - Dm - Em - Fmaj - Gmaj - Am - Bdim
And those chords will sync right up with your scale, since they're all diatonically found within the scale ;)
Be the machine gun :thumb:
judge_gideon
12-01-2005, 10:23 PM
Ah, and if you wanted the Tetrads
Imaj7, ii7, iii7, IVmaj7, V7, vi7, vii7
Yeah - tetrads are the key to higher harmony - and chord extensions.
I have developed a system of managing maj7, m7, 7, ø7, º7
And I have compiled it in a VB6 program with a graphical pattern generator.
It's simple, but it shows virtually all the patterns for those 5 chord qualities.
I sometimes refer to the V as the V7 simply because this indicates it's function as a dominant chord. Because when using chord substitutions, someone might describe the chord as a I7, meaning, it functions as a secondary dominant progressing to a new tonic center - the IV chord.
Also, the m7b5 is more specific than just "dim" - because you're indicating that it is strictly diatonic. Because a fully-diminished 7th chord is not diatonic.
I personally like using 7ths whenever possible - with 9ths, 11ths, and 13ths.
Lots O' Color
vBulletin® v3.7.1, Copyright ©2000-2009, Jelsoft Enterprises Ltd.