Hi everyone. I have a question that i never get an acurate answer. Somy question is how to solo on the song rigth when hords are changing? Lets say that we have song based on chod who are going like this - Dm G C Em
The pint is that chords going kind a wide scale. I'm playing solos at full pentatonic scale and that doesn't matter. I can't play what i want. When i'm listening songs of a good artists i can hear that when guitar plays solo it maches all theme of song. That means that the solo maches chords of song. It doesn't matter whatis the key of song (om my shown chords it's G), solo maches every chord. I have some questios and thinks howi should play solo on those chords.
Lets say that on song comes the part for solo and i should play pentatonic scale (1) of Dm or play in G scale anyway? After the chord changes should i change scale from Dm to G or i need to play always in G? I'm not talking about pentatonic scale that is jus in G and looks like this:

Full scale looks like this:

So what i want to say.. How to play solo who maches every chord?

I have one more question. As we see there is some minor chords. My scale is in G major. How should i play minor solo when scale is major? I mean the key is G major and i'm playing in that scale so sometimes it doesn't mach when goes minor chord. What should i do when minor chord goes? Change scale to minor from major just for that chord? And again should i move scale for every chord or play on same key listening how song goes?

Need some advice cause i can't find answers to my questions. If you can make some examples how to play on these cords are wrong and how is right.
You're making it seem a little more difficult than it is.

Quite simply, if your progression is in G major, you play the G major scale over it. Of course you can play other notes over it too, but if you want to stay in key you play the G major scale. It will fit every chord derived from the key of G major, even the minor chords. If there are chords that don't fit in the key of G major, you can change certain notes if they clash with the chord.

To find notes that match the chords, you should aim on some chord tone. For example, if you have a G major chord in the background you might want to focus landing on the notes G, B and D. It helps to be able to find these notes on the fretboard. Experiment playing a solo with just those chord tones maybe and listen to what it sounds like.

If your progression is in G major, you might not want to play the G minor pentatonic scale over it (there are exceptions like blues), but maybe the G major pentatonic scale. I think, I never really think in pentatonic scales
well to your first question, chords can be played in multiple positions- so the "chords going in a wide scale" shouldnt be an issue. if it is a problem, maybe change the chords so they are more tightly knit and closer together.

your chords (Dm, G, C, Em) are not in G major OR G minor, so you may not be using the right scale.. these chords dont really go together too well in a key. I would suggest finding new chords.

Also, if your chords are in G major, you shouldnt be playing a G Minor scale over it. If in G major, play in G major.

Try this: G, D, C, Em.. this is now in G Major (Or E Minor).. Now as every chords changes there is no need to change to a new key, just keep playin the E minor pentatonic. you should see that it works more nicely

The Major/Minor worry you have, ie- playing a major solo over minor chords, thats ok! as long as you just emphasise your root note (keep hitting G on every few strong beats) you should be fine!

my advice- keep trying, however you may want to go and get lessons purely for theory. the theory of harmony (chords and stuff) and scales will really help your playing
Last edited by Finlers at Sep 12, 2011,
You could play in E minor or E pentatonic too (that really doesn't matter because E minor has the same notes as G major).
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G scale was jus example. I can play any scale it's not a aproblem. I have some more questions.. I never get that.. For what are those "root notes"? And what should i do that my solos wouldn't be always like the same? I mean most of the playing it sounds in the same style or something..
Root note is the note that the chord or scale is built upon. For example, in the E major scale E is the root note. The root note of a B minor triad is B. Those are good notes to land on if you feel unsure of where to go next.

As in to why your solos sound the same, it can be because you're accustomed to certain shapes (such as the first position of the pentatonic minor scale). Don't get me wrong, it's not just you, a lot of people tend to get stuck on those. You should be playing what you want to hear, not what your fingers want to do, so a good thing is to come up with a melody in your head and replicate it with your guitar. Singing something and trying to play it with the guitar as well is a good exercise (learning to sing is very beneficial for any musician, trust me). Rhythmic variance can do wonders for your progression or melody.
In free playing i can play a lot better. I mean that if i play where is no chords, nothing,lets say just drums to stay in rithm, i can play really nice. But whe chords comes up i can't play in that melody. And its strange... I can repeat any short melody in few seconds since i heard it but when i need to play on song that i heard a lot i just can't play on it. I'm playing, i'm fitting most of the time, but i sound the same on most of the songs.. There is something what i can do about this?
The short answer is that you've got a lot of options.

Let's take your chord progression:

Dm G C Em.

You could just play the E minor scale over it, and that's fine. Em pentatonic would also work fine.

Another option, however, is to play the appropriate pentatonic for each chord. This requires some work and real knowledge of the fretboard and how the scales relate to each other, but you could play the Dm pent scale over the DM chord, the G maj pent over the G chord, the C maj pent scale over the C chord, and the Em scale over the Em chord.

If you can make the transitions flow, this can sound really beautiful and melodic. It can also have a hendrixy-like vibe. You're basically playing the chord tones with a few additions (the two and the 6 on the major, the 4 and the 7 on the minor) - so you may find it easier to think of it relative to your chord shapes than relative to the pentatonic boxes.

Worth pointing out something here, though:
E minor scale: E F# G A B C D
Dm Pent scale: D F G A C
C maj pent: C D E G A
G maj pent: G A B D E
Em pent: E G A B D

In other words: only one note in those pentatonics is out of the diatonic scale. So for the most part you're really just restricting yourself to subsets of the Em scale which are more-closely related to the chord. This can add a lot of melodicism to your leads, but can also be limiting, so don't slave to it too tightly all the time.
I'd suggest stopping thinking in terms of scales and begin thinking in terms of chord tones and, more generally, melody. Becoming aware of the chord tone approach would help. If you know the distinct notes of each chord, you know that you can hit those notes in conjunction with the chord. So let's take your chord progression: Dm G C Em, which is a II V I VI in the key of C (a very solid, standard kind of harmonic movement).

We can break down each chord into the notes that constitute it, and when soloing, we know which notes strongly work with each chord as it comes up. We get this:

Dm: D, F, A
G: G, B, D
C: C, E, G
Em: E, G, B

With basic theory, you already know what notes work perfectly for each chord because you understand the construction of the chord. And since the key is C major and there's no chromaticism here, those notes will all come from the C major scale. The trick is to hit different areas of C major that fit with the chords. With a progression like this, it is not necessary to think of yourself as switching to something special over each chord, beyond specific notes from the key.

So my answer would basically be: play the C major scale over the whole thing, but with a sense of what notes are consonant with the chords. Those notes are your target notes or guide tones. After a while, this should intuitively become a matter of your ear.
Last edited by Brainpolice2 at Sep 12, 2011,
I've had a question similar to this. If a chord in a song is held out for quite a while in a tonal song, you could play the major or minor scale of the chord over it to get an interesting effect, right? Sort of like in blues? So, say the chord progression is Bm, A, G. You could play the B minor scale over the first chord, the A major scale over the second, and the G major over the third chord?
"To this day I don't have a guitar idol. I have people who are my favorites." - Randy Rhoads
Last edited by fretmaster13 at Sep 12, 2011,
Quote by fretmaster13
I've had a question similar to this. If a chord in a song is held out for quite a while in a tonal song, you could play the major or minor scale of the chord over it to get an interesting effect, right? Sort of like in blues? So, say the chord progression is Bm, A, G. You could play the B minor scale over the first chord, the A major scale over the second, and the G major over the third chord?

You *could* do that, but I don't personally think it would sound that good. It would effectively be acting like you're changing key over each chord, but the chords themselves suggest B minor.

If I saw a progression of Bm, A, G, I would immediately think of it is as I, VII, VI in B minor, and hence I'd just play B minor over the whole thing, simply shifting to different areas over the chords.
That is true, but if you were to ask AlanHB, he would say that you're simply playing in B minor with accidentals. I think it would sound good.
"To this day I don't have a guitar idol. I have people who are my favorites." - Randy Rhoads
Last edited by fretmaster13 at Sep 13, 2011,
fretmaster13: Contextually, you would absolutely be playing in B minor with accidentals, since each of the chords have a functional relationship to Bm in the progression you've mentioned. Like Brainpolice2 has said, the progression and each of the chords in it will harmonically function as a i VII VI in the key of B minor.

You'd be hard pressed to establish each chord as a new tonal center or point of reference as they each occur, though can certainly imply or allude to neighbouring tonalities by borrowing notes; but again, it would ultimately still be considered in the key B minor with accidentals employed, in the vein of Chord Scale Theory employed in contemporary jazz.

The method you've mentioned is absolutely viable though, and I'm by no means dismissing it! But you will have to pay particular attention to any common tones between successive chords if you do wish to sub-modulate or pay tributes to other keys, in order to maintain a consistency and unity about the chords' natural harmonic functions.
You could start out by writing the notes for the - in this case - B minor, A major and G major scales, and look for shared tones between them.
There's no reason for this method to not sound good, but to accustom your ear to this approach, start off slowly with a single note sustaining over each of the three chords to hear how it affects the harmony, and repeat this for all notes in the B natural minor scale.
You can try the same method with the accidentals employed from each chord's respective ''key'', and I'm sure you'll spot some dissonances (which isn't particularly bad, but it's important to know when to use them).
From here, play chord tones over each chord in a simple, consistent rhythm to hear the viable consonances. Add extensions and repeat for each.
The next step would be to link each chord with common/shared tones by combining the preceding two steps, to get an ear for harmonic relationships. From here, you'd be pretty well-acquainted with this facet of playing, so employing the suitable accidentals shouldn't be much of a hitch - just keep an open ear and it's bound to sound good after some more familiarisation.

/thread de-railing