#1
pretty self explanatory, i know it should be minor, but i don't know what scale to use. Ideas?
Up the Punx!
#3
I'm gonna go ahead and say it doesn't matter what scale you use for a sad solo... more the emotion you use while you're playing it.
#5
Probably something not pentatonic, it's so overused these days, and there's only 5 notes to work with. I like using something in C or G key for sad sounding solos, I don't know why, the notes C and G just remind me of something sad.
#6
yeah id agree with khann, its about how ur playing it, i suggest some sort of a minor or adorian scale as it gives it that melodic, depressing sound. I also suggest using a range of 1/2 or 3/4 bends or unison bends to also add more feeling into the peice.
#7
Quote by Khann
I'm gonna go ahead and say it doesn't matter what scale you use for a sad solo... more the emotion you use while you're playing it.



Exactly, and the emotion of the song. Knocking on Heaven's door is all Major chords and you usually solo on it with major scale. And i've made people cry while soloing on it.
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#8
First of all, the chord progression you're playing needs to sound sad. It's hard to play a sad-sounding solo over really happy-sounding chords. Also, it's okay to shift out of your scale a bit for the sake of getting a few more flattened notes from the point of view of the tonal center. I like playing something that sounds a bit ambiguous, only having the root, 2nd, fourth, fifth and minor 7th, and filling in the missing notes with the augmented or natural possibilities, and then switching those that are not covered in the chords to the flattened versions. It sounds a bit un-jarring.
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#9
^ could you explain that a little more? i'm not so great with theory
Up the Punx!
#10
Quote by Dvnc
^ could you explain that a little more? i'm not so great with theory
He won't, but this will. Read it, ask us questions, and then be able to figure stuff like this out on your own.
#11
Quote by Dvnc
^ could you explain that a little more? i'm not so great with theory


I probably will get lost myself, trying to explain it, but I will try, hehe.

What I mean, is you play a little riff or something, one that would fit in one or two measures and repeats. When making this riff, if you use a certain mode, only use or truly emphasize certain scale degrees. That is, if you're playing in A Aeolian (which has the same notes as the A natural minor scale, ABCDEFG, or the C Major Scale, CDEFGAB) you would want to only really use certain notes of it, for example A B D E G (1 2 4 5 b7, the pentatonic neutral scale)

By using that scale, you can mix and match different sounds. You could use A Aeolian (1 2 b3 4 5 b6 b7, A B C D E F G), A Dorian (1 2 b3 4 5 6 b7, A B C D E F# G), or A Mixolydian (1 2 3 4 5 6 b7, A B C# D E F# G), and all of them would sound good. The Aeolian would sound the most sad, then the Dorian, then the Mixolydian. You should be able to find out methods to find the notes of each of those on the fretboard easily online.

You could also remove the b7 (G) from the riff and add a natural 6th (F#), changing the choices from Aeolian, Dorian and Mixolydian to Dorian, Mixolydian, and Ionian. Also, you could remove the natural 2nd and play a b3 instead, making the choices change to Phyrgian, Aeolian, and Dorian.

All I'm doing here is just changing which pentatonic shape a little rhythm part is based around. If you do that, you can then add in the notes that are in between the ones you are playing, and by making as many of them natural as possible, you sound happier, and making as many flat as possible makes it sound more sad.

Sorry about the lag in writing this, I got distracted and lost my train of though. But I hope that helps.

Edit: I just elaborated. If you really know very little about music theory, then bangoodcharlote's link will definitely help you. Go look at that.

And to anyone else who gets what I'm saying, do you think I've got a good idea here about switching between modes in a song, by subtly adding or remove flats from the key signature in the song, and playing around the same tonal center?
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#12
Quote by seedmole
And to anyone else who gets what I'm saying, do you think I've got a good idea here about switching between modes in a song, by subtly adding or remove flats from the key signature in the song, and playing around the same tonal center?
Kinda-sorta, but Mixolydian isn't a minor scale.
#13
Quote by bangoodcharlote
Kinda-sorta, but Mixolydian isn't a minor scale.


True. I guess my second example would be a bit more fitting for what he wants. Between Dorian and Phrygian, you have a couple good varying degrees of sadness, and then you can try to make it resolve to the Aeolian toward the end for a more stable form of sadness.

I'm a tad intoxicated, so if this makes sense, I will consider it a victory.
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#14
Quote by Tzeel
Exactly, and the emotion of the song. Knocking on Heaven's door is all Major chords and you usually solo on it with major scale. And i've made people cry while soloing on it.

Wow! That bad, huh? :P
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