ok so i have a progression in Amaj the chords are Amaj, C#min7, G#min7, D9, D13, E9 back to Amaj so a 1, 3, 7, 4, 5. So what in the funk scale could i use to follow this progression i guess i could just use Amaj with a flat 7 for when i get to the D9 then when the E9 comes i could just continue using the flat 7th but also the maj7th as chromatic runs for the E9 and D9 chords.

But a even more important question is how do i go about the relative minor of Amaj witch is F# minor could i use the whole natural minor without flattening or raising anything or am i stuck with the F# minor pentatonic over the D9 D13 and E9 chords halp i am just trying to get more in to funk and dominant chord type soloing.
Last edited by Fourfourforever at Jul 5, 2013,
4/4 and idk be creative i mean the D9 D13 and E9 i am going to be funking around a lot on you know 2 beats of D9 1 beat of D13 1 beat of D9 sliding in to E9 for 1 beat back to D9 for 3 beats back to Amaj.
Chord scales will be a liitle advanced unless the ear is good enough to establish tonality quickly. Focus on developing motifs or short phrases, but change the notes to fit over G#m7 and D9.

A major scale works over everything but G#m7, and be careful to avoid G# over D9.
The only out-of-key note you have in there is the D#, the 5th of your G#m7. You can use A major or A lydian the whole time.

The D and E are a turnaround, so do whatever you want with them. In non-classical music, you can almost always analyze turnarounds as separate from the rest of the progression. In your chord sequence, the D and E are a mode change relative to the rest of it, so I wouldn't even try to find a single scale that covers all 5 chords. You should play to the chord tones, rather than using a mode/scale, for the turnaround.

More advanced analysis: You've actually got a cool kinda modal thing happening with the Amaj C#m G#m part. That's the meat of your progression; the D and E are just a turnaround. The A C# G# is in A looking just at the roots, but the G#m makes it ambiguous because of the D# it contains. It's got this non-resolving quality that begs for repetition.

You could, if you wanted, use the A lydian mode for leads/melodies - A B C# D# E F# G#. It would keep the Amaj7 unstable, while also make the C#m and G#m sound more stable. It also helps avoid clumsily switching modes to accommodate the G#m.
Last edited by cdgraves at Jul 5, 2013,
yes thanks guys this is it i got it, it sounds so good you hit the nail on the head cdgraves about the D9 and E9 and the major scale with a raised 4th over the Amaj and C#min7 and G#min7 chords sounds damnn good thanks both of ya.
Sounds like Jamiroquai style progression when played funk style. Especially if you add pushes on the "and" of 4, and when making the A chord maj7 and the two minor chords m9's.