#1
ok, i rarely ask questions on heer im usually ansering them in the recording forum but heer it is... in a song of mine i wrote a bridge that changes from Cmaj to Fmin, Cmaj - Fmin and so on... to place an improv solo over top, need i change my "box" from C - F every change, or can i stay in a single key and make it work?? btw i usually play Pent min and major scale if it matters
#2
Well, your ear is the final judge.
"The end result - the music - is all that counts"
#3
didn't give this to much thought but try a D major or B pentatonic.
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#4
My suggestion is to arpeggiate each chord. This is the safest way to avoid bad notes.
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#5
^gets very doring in the long run if you dont do something special about it or know how to work your way around the fretboard
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#6
Quote by backtothe70s
didn't give this to much thought but try a D major or B pentatonic.

There isn't an F# or a C# in the two chords being played.

My advice is to look at the notes being played in the two chords.

C Major: C E G (b)
F minor: F Ab C (Eb)

So you know the notes you can play that will sound nice will be C F G, and you can play chromatic lines with E to Eb, G to Ab, F to Eb. Experiment with those and try things out, see how it sounds.
#7
haha you are right^^ I remembered it as Cmaj F#m

and it was reaaaly wrong
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#8
Quote by Chris_Sleeps
There isn't an F# or a C# in the two chords being played.

My advice is to look at the notes being played in the two chords.

C Major: C E G (b)
F minor: F Ab C (Eb)

So you know the notes you can play that will sound nice will be C F G, and you can play chromatic lines with E to Eb, G to Ab, F to Eb. Experiment with those and try things out, see how it sounds.


These notes are both in F Harmonic Minor and F Melodic Minor scale!
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#9
play all in F minor pentatonic
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#10
Quote by browar
play all in F minor pentatonic


It would really not fit the somewhat exotic chord progression.
F Minor Pentatonic: F Ab Bb C Eb.
Notes in chords: C major C E G
F Minor F C Ab

Eb and E, G#(Ab) and G... note clashing?
And that Eb is in C Minor chord, so you would end up playing a C Major beneath a C Minor accenting scale.

I recommend choosing between:

F Melodic Minor: F G Ab Bb C D E

F Harmonic Minor: F G Ab Bb C Db E

in scalar choice and arpeggiating chords with added tensions. Fmmaj7 and C7 would fit in both scales, for beginning.
Quote by Johnljones7443
my neew year reslosutions are not too drikn as much lol.

happy new yeeae guyas.
#11
Quote by DarTHie
It would really not fit the somewhat exotic chord progression.


People thru years, are improvising this way, to the harmonic triad.
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Last edited by browar at Sep 14, 2007,
#12
Quote by -=Led_Hed=-

need i change my "box" from C - F every change, or can i stay in a single key and make it work??


Yes stay in the same key.
Changing the chords doesn't mean you have to change the pentatonic. Since the key of your song is in C you stay on C.
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#13
look you can play chromatic runs while switching scales. to make it interesting each change play a different scale to make modes come out
#14
I'd say just loop the bridge on itunes or a cd or something, and try soloing over it. You may find out it sounds awesome doing something you never thought of doing.

Don't overthink it, to be honest, try a few different improvs on it, see what sounds like what you're aiming for.
#15
Quote by SdKfz
Yes stay in the same key.
Changing the chords doesn't mean you have to change the pentatonic. Since the key of your song is in C you stay on C.


It is not in C.

C Major - F Major would be.
But C Major - F Minor isn't.

@browar

I know, but I'm just trying to explain that Cmaj - Fmin is not neither in C Major or F Minor. But no one seems to listen.
So I, without much thinking used ''somewhat exotic'' to describe it.
But it's certainly more exotic than Cmaj - Fmaj, what everyone seems to see.
Quote by Johnljones7443
my neew year reslosutions are not too drikn as much lol.

happy new yeeae guyas.
#16
sweet, thats more help than i need guys, Cmin pent sounds pretty reasonable, ill add demension buy trailing into F, but yeah ill record 10 or 12 measures of the change and see where i can rip it without clashing the notes,
im gonna post this song in the original song recordings when ive smoothed out the rough edges and hopefully u'll hear it on the radio one day
#17
Quote by -=Led_Hed=-
sweet, thats more help than i need guys, Cmin pent sounds pretty reasonable, ill add demension buy trailing into F, but yeah ill record 10 or 12 measures of the change and see where i can rip it without clashing the notes,
im gonna post this song in the original song recordings when ive smoothed out the rough edges and hopefully u'll hear it on the radio one day


C min pentatonic: C Eb F G Bb played over C Major chord: C E G would achieve pretty bluesy sound, but it would work over F min chord.
It could be pretty hard to achieve something good out of it.
Easiest way is F harm. minor or F mel. minor.

But it's your song, and it would not hurt to try both.
Quote by Johnljones7443
my neew year reslosutions are not too drikn as much lol.

happy new yeeae guyas.
#18
Or, to keep using both boxes, use the C major pentatonic starting on the 8th fret (low E) and the F min. pent. on the 13th fret.
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#19
Forget the concept of "boxes", all that does is limit your playing, approach the scales as the notes and start learning the numerous places those notes crop up. Look to see which notes are common to both scales and which ones are unique and look to move between them at the same position, also look at horizontal runs that will effectively take you through several box positions - if you use those cleverly you can flit between C and F on the way.

Learning scales as boxes has been crippling players for years, it might be a shortcut to making it sound nice but in the long run its chronically counter productive.
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