#1
What chord progressions do you tend to roll with when you just pick up your guitar and jam. If you create a backing track what scale do you tend to jam over that track?

Just curious what most players habits are..

I like to use the Key of C Usually I IV V progression then C pentatonic major or minor to solo around in.

If anything could people list some cool chord progressions that aren't so typical? I would like something to just quick reference for different ideas so that might help me too thanks in advance!
#2
I use down-down up down up down--
I don't know much about scales though
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#3
12 bar blues-ish stuff mostly. that and just jamming out to a simple I-IV deal. those are if i'm just jammin by myself and have to supply both lead and rhythm. if i'm with other people i try to change it up a bit each time.
#4
Coltrane changes, or course.
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#5
i usually just put on my ipod or a cd and play along, making up my own parts. most of the stuff is blues based. i use the pentatonic a lot. i like to see it as a "base scale" and add in passing tones to fit the song.
#6
Quote by travislausch
Coltrane changes, or course.


i had no idea people actually USED that o.o
#7
Quote by motoko
i had no idea people actually USED that o.o

They do to show off.

Because my harmonica can only play two chords, I'm going to say the I-V progression in F major.
        ,
        |\
[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
#11
i don't know how to express it in terms of theory, but I LOVE the chord progression in the outro to Sir Psycho Sexy - RHCP
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#12
Any Dm chord progressions really, Dm and Bm (Sweep) arpeggios. the Am, Cm, Dm Pentatonics. I like playing in minor keys

On a separate note, C major modes Ionian and Dorian go with anything i write...for some ...reason. I make it work.
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#13
Cmaj7 Am7 Dm7 G7 is a cool progression I found on youtube to solo over.
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#15
Quote by isaac_bandits
I like a i - ♭VI - ♭III - ♭VII.


The less diatonic, the better?
#16
Quote by deHufter
The less diatonic, the better?


Its a very common minor progression....

Maybe you're used to seeing: i - VI - III - VII?

I just like to include the flats so people know that it is a major chord built on the flattened sixth rather than a major chord built on a natural sixth.
#17
Cmaj7-D7-Cmaj7
C lydian all the way feels soooooooooo nice.
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#18
Quote by deHufter
i - VII - VI - V

with just natural and harmonic minor
This. I love the dominant resolution in harmonic minor. Absolutely beautiful.
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#19
Quote by Baroque_and_Rol
Cmaj7-D7-Cmaj7
C lydian all the way feels soooooooooo nice.


I've been playing the crap out of that for the last couple weeks. Sometimes I'll also do Cmaj 7- D7, then D#dim7 - Eminor for a sort of key-changey thing.
#20
Quote by Don Rickles
I've been playing the crap out of that for the last couple weeks. Sometimes I'll also do Cmaj 7- D7, then D#dim7 - Eminor for a sort of key-changey thing.
Not really, just a chromatic movement. I think that's what you meant though.
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#21
Quote by isaac_bandits
Its a very common minor progression....

Maybe you're used to seeing: i - VI - III - VII?



Yup, i thought you flattened those within the minor key.
#22
Quote by deHufter
Yup, i thought you flattened those within the minor key.


Nope. I've always thought the standard was to write the accidentals as if it were major.
#23
Quote by isaac_bandits
Nope. I've always thought the standard was to write the accidentals as if it were major.
I think you're right. Think of it: If you use the major third or the major seventh in a minor key, you aren't going to write #III or #VII, because that's very misleading.
Only play what you hear. If you don’t hear anything, don’t play anything.
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#24
hmmm, I love the chords used in But, Honestly by the Foo Fighters, where its basically an E major played on the A string, with open strumming, then a variation on that creating a B, then again for an A. It just sounds so perfect, so complete. Anyone whos heard it will know what I'm talking about. For soloing you probably use the chromatic scale, because later on in the song thats basically what happens...
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#25
Quote by Fraydawg
hmmm, I love the chords used in But, Honestly by the Foo Fighters, where its basically an E major played on the A string, with open strumming, then a variation on that creating a B, then again for an A. It just sounds so perfect, so complete. Anyone whos heard it will know what I'm talking about. For soloing you probably use the chromatic scale, because later on in the song thats basically what happens...


chromatic scale over a major chord

genius
#26
Quote by isaac_bandits
Nope. I've always thought the standard was to write the accidentals as if it were major.


Frankly i dont see it that often. If i check musictheory.net, all-guitar-chords.com and wikipedia they use III, VI and VII in the minor key. Dolmetsch however says bIII, bVI and bVII.
#27
Quote by deHufter
Frankly i dont see it that often. If i check musictheory.net, all-guitar-chords.com and wikipedia they use III, VI and VII in the minor key. Dolmetsch however says bIII, bVI and bVII.


But if I don't say I'm in a minor key, then how do you know that i-VI-III-VII is a minor progression, rather than a major key, with the third of i lowered, the thirds of VI and III raised, and the third and fifth of VII raised?
#28
Quote by isaac_bandits
But if I don't say I'm in a minor key, then how do you know that i-VI-III-VII is a minor progression, rather than a major key, with the third of i lowered, the thirds of VI and III raised, and the third and fifth of VII raised?