#1
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,
#3
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.
#4
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.
#6
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,
#7
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.
#8
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.