#1
ok, i have a chord progression. The chords are: E major, G#m, D#m6, C#m, A major, B major then it finishes back in E major. What scales can i use and what solo techniques would go well
#2
Emaj would work well over all chords except that D#m6 chord.

Over that D#m6 chord you probably need to change scales or play chord tones or whatever (don't know what your skill level is).
#3
What I would do is this. I just recorded the progression and it's quite interesting and I quite like it, so I improvised (Structured) over it.

(You can do what Demonofthenight said which works perfectly, but I played this progression like this, and I feel Just using E Major doesn't do this cool progression justice )

EDIT: I made a Solo over it, it's in my profile;


Bar 1 & 2
E - G#m (Emajor scale)
I used E major Line over this with a melodic motif, to make a nice starting

Bar 3 & 4
D#m6 - C#m (C#melodic minor scal with added F note in the chromatic run)
I began studying Serrana yesterday by Jason Becker, and he used a (Sort of)Diminished arpeggio/sweep which I liked, so I decided to stick it in here over the D#m6 chord. I ended the arpeggio with a small chromatic run for taste. Over the C# minor chord I play a small lick with a bend in C#m scale.

Bar 5 & 6
A - B E Major scale
Here I played an motif going up for anticipating the E major Chord, then I play a small humble e major arpeggio, and when I land on the.....

Bar 7 - (8)
E E Major Scale
....E note, I do a small improvised lick, then I slide down and end on a f# note to G# note, because it sounds cheesy but nice.

Basically I am following the chords, which is imo the most fun, and creative way of soloing.

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Last edited by xxdarrenxx at Dec 14, 2008,
#4
yeah use some eminor **** over that dsharp
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#5
Listen to the demonoftehnight.

D#m6 consists of notes: D# F# A# C.

You can play those chord tones.
Chord before that G#m has note D# in it so you can use it as a pivot tone.
Or you can use that chromatic line B C C# (in chords G#m D#m6 C#m).
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#6
Quote by xxdarrenxx
What I would do is this. I just recorded the progression and it's quite interesting and I quite like it, so I improvised (Structured) over it.

(You can do what Demonofthenight said which works perfectly, but I played this progression like this, and I feel Just using E Major doesn't do this cool progression justice )

Bar 1 & 2
E - G#m
I used E major over this cause this will most likely fit best.

Bar 3 & 4
D#m6 - C#m
I used C# Melodic minor. Cool contrast, but watch out on which notes u land and which u use as passing tones, cause this can easily make it sound "wrong"

Bar 5 & 6
A - B
This one is interesting. I played A Lydian over this. Bacause of the 2 bars before and using melodic minor, The B chord sound like "a new progression"; Lydian sounds imo very nice, and gives a quite cool contrast with melodic minor. (I outlined the notes D# and A using a similiar motif with those notes over both chords)

Bar 7 - (8)
E
I played from the lydian scale and when this chord hitted I landed on an E note and placed a natural harmonic almost immediately on the 12th fret e string. Everything I played before this sound perfect in place because the resolution of the E Chord is so strong.
Interesting

I like the idea of partitioning the progression into little modal progressions (that's actually how I write some progressions, but never how I improvise). imo playing the changes is only a little harder and will sound alot better.
#7
Quote by demonofthenight
Interesting

I like the idea of partitioning the progression into little modal progressions (that's actually how I write some progressions, but never how I improvise). imo playing the changes is only a little harder and will sound alot better.


Yes I wrote a solo over it, it's in my profile, with a slighlty different approach lol. Gotta love music. I don't mean it's modal, but When I studied modal progressions, it helped me overal in soloing, cause it helps you understand how different notes work over different chords.

The "Re-incarnation of Plato" Award 2009
(most intelligent)
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