#1
Hey guys.Not really good yet with theory and looking for a scale i can use to solo over the chord progression : Gmaj7/B , C , G/B ,A#6b5 ..Any suggestions?
#3
Quote by cdgraves
Write down all the notes in those chords and then put them in ascending order. That will be the scale. Except for that one chord that borrows from a different key.


That's what I told him on the other post on this subject :-)
#4
Quote by PSimonR
That's what I told him on the other post on this subject :-)


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edit: Also that "A#6b5" should be named Bb6 instead. Chords tend to make more sense with thirds and fifths than without.
Last edited by cdgraves at Feb 20, 2017,
#5
A#6b5... Or Bb6...

Is it A# 6 b5 (or Bb 6) ?
or
Is it A #6 b5 (or B b6) ?
Quote by reverb66
I'm pretty sure the Bible requires that you play through a tube amp in Texas.
#6
Quote by PlusPaul
A#6b5... Or Bb6...

Is it A# 6 b5 (or Bb 6) ?
or
Is it A #6 b5 (or B b6) ?


A #6 b5 would equate to A7 b5 not B b6 so I doubt that's what the OP means.

In reply to the original question, Cmaj would work over the first 3 chords. The notes from Fmaj would work for the other chord (Bb Lydian).
Last edited by Majicmanmaj at Feb 21, 2017,
#7
Well i analyzed the chords and got A#,B,D,F#,G which is a pentatonic scale way balcanic and eastern for what i want to bring out in the song.Is there any other way? I'll also check Majicmanmaj's way of Cmaj and Bb Lydian and see how it turns out.Thanks for the response guys.As for the last chord i looked it up online cause honestly i have no idea what it's name is :P ..its tab is
e---------x or 0 i don't play it at all in my picking so it could be both on the actual chord-------
b---------3----------------------------
G--------0------------------
D--------0---------------------
A--------1---------------------------
E--------x------------------------------
#9
Going with Gmaj7/B C G/B Bb 6...

If you play around with this you may notice that you can play the "tops" of Gmaj7/B C G/B Bb 6 by playing Bm Am G Gm

This movement is chromatic, which is always nice, and finding a solo based on Bm->Am->G->Gm may be easier to grasp.
Quote by reverb66
I'm pretty sure the Bible requires that you play through a tube amp in Texas.
#10
Quote by panoc1996
Well i analyzed the chords and got A#,B,D,F#,G which is a pentatonic scale way balcanic and eastern for what i want to bring out in the song.Is there any other way? I'll also check Majicmanmaj's way of Cmaj and Bb Lydian and see how it turns out.Thanks for the response guys.As for the last chord i looked it up online cause honestly i have no idea what it's name is :P ..its tab is
e---------x or 0 i don't play it at all in my picking so it could be both on the actual chord-------
b---------3----------------------------
G--------0------------------
D--------0---------------------
A--------1---------------------------
E--------x------------------------------


That seems excessively complicated. The first three chords are from regular G major, and the last one is borrowed from a G minor scale.

It will make a lot more sense if you try to maintain a clear relationship between the notes/chord tones and the key. The key being G, it's much simpler to relate a Bb to the key than an A#, because Bb is in G minor, while A# is not any key related to G. Even though they contain the same pitches, spelling it with an A# and a 6th creates a chord with a very different function. Plus, if I saw a chart with an A#6b5, I'd be a little wtf, while a Bb6 is much more sensible.
#11
Gmaj7/B ... G maj7 to either E minmaj or A Lydian Dominant (LD))

C ... A minmaj to F(LD)

G/B ... B aug to either E minmaj, or A(LD) as if over C# 7b5)

Bb 6 ... C#(LD) as if over G7b5

Since the original chords were supplied... could they be guesses?
If I was writing something that sounded like this it might look more like:

A13sus2/B -> Csus2 -> Em7 -> D#maj7sus2

Maybe looking at it this way helps find a melodic solo.
Quote by reverb66
I'm pretty sure the Bible requires that you play through a tube amp in Texas.
#12
Sorry, meant G major not C major.

That would mean G major for the first 3 chords then Bb Lydian for the the 4th.
#13
Quote by Majicmanmaj
Sorry, meant G major not C major.

That would mean G major for the first 3 chords then Bb Lydian for the the 4th.


Bb Lydian isn't going to happen with the already established tonal centre of G - like cdgraves said everyone is overcomplicating this - it's just going to shift between G major and G minor.
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#14
Just changing between G major and minor seems pretty easy/functional..and i can always have the pentatonic scale the notes of these chords created.So i guess i have what i need for the solo ..And yeah dont get so caught up on the name i guess ,i dont know how to call the last chord just see the tab i commented.
#15
Quote by steven seagull
Bb Lydian isn't going to happen with the already established tonal centre of G - like cdgraves said everyone is overcomplicating this - it's just going to shift between G major and G minor.


The problem with that is the Eb in the G minor scale may sound a bit weird. Bb Lydian works because all you are doing is changing the B natural from the G major scale to a Bb and the F#to F.

G major - G A B C D E F#
Bb Lydian - Bb C D E F G A

This would be less complicated than shifting to G minor.
Last edited by Majicmanmaj at Feb 22, 2017,
#16
Majicmanmaj if we have to use the modal names can we at least keep it in the tonal centre established and say G dorian?  Shifting the focus to Bb is definitely confusing the issue.
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#17
Quote by Zaphod_Beeblebr
Majicmanmaj if we have to use the modal names can we at least keep it in the tonal centre established and say G dorian?  Shifting the focus to Bb is definitely confusing the issue.


You say G Dorian, I say Bb Lydian.
You say A Phrygian, I say C Mixolydian.
G Dorian, Bb Lydian, A Phrygian, C Mixolydian.
Let's call the whole thing off.
#18
my take - keep it simple--its all in G Maj

.when played with the voicing noted it has a "led zep" kind of feel with the moving bass line

as mentioned there are no key changes..A# should be noted as Bb.... there are no modes used in this kind of a progression..as it is a chromatic bass line driving it .. play it .. B C B Bb ..

panoc..how are the other chords voiced ??

as for scales to use..start with pentatonics Gmaj and min .. see how they sound..

if the Bb needs to be named as a chord if would most likely be Bb6 - Bb D G D
play well

wolf
#19
wolflen how are the chords voiced? I dont get what that means..

As for the changing the last chord is pretty short on time so i don't think i could shift my whole scale on it.
#20
panoc1996

wolflen how are the chords voiced? I dont get what that means

in your original post,you show the chord in TAB...the order of notes on the fretboard..how the chord is constructed-which notes are used and in which order..that is also know as how the chord is "voiced"

quick example: C major chord has these notes C E G these are the notes..but they could also be called "voices" so you can play E C G and it will still be C major but you have moved the voices...in this case it is know as an inversion of C major

so I am asking what are the voicings for all the chords in your progression..you can use tab if you can copy paste or any method..

hope this is clear
play well

wolf
#21
wolflen oh i'll just post the tabs of the chords then.
e----x--------------0---------------------x---------------x
b----0--------------1---------------------3---------------3
G---0--------------0---------------------0---------------0
D---4--------------2---------------------0---------------0
A---2--------------3---------------------2---------------1
E----x------------x----------------------x---------------x
#22
Yeah, you can just G major for the first three and G minor for the last one.

It's really helpful to do the "math" of adding up what notes are in a chord sequence and deducing your melodic options on your own. "shifting the scale" becomes a non-issue with some practice. You don't have to change positions or anything. Using the smallest number of [sensible] changes, you'd use G dorian over the last chord. That means instead of hitting B you'd hit a Bb, and instead of an F#, an F natural. That change can be applied no matter where you are on the fretboard, it's just a matter of knowing where the notes are and knowing when to hit them. If you know the location of one note, then you already know locations of it's sharp/flat counterparts.
Last edited by cdgraves at Feb 26, 2017,