#1
it really confuse me whenever i try to think, how do they know what scales or modes are better to use in a certain chord progression?
lets say for example in the key of C with a progression of Cmaj and Gmaj:

Cmaj - Dmin - Emin - Fmaj - Gmaj - Amin - Bdim - Cmaj

so can i use the Cmaj, Dmin, Emin, Fmaj, Gmaj, Amin, Bdim scales when soloing?
how bout modes?
#2
Just play what sounds right to you.

A solo should be played with emotion, not equations.
#3
Quote by the_maestro
Just play what sounds right to you.

A solo should be played with emotion, not equations.


Don't listen to that.

If you were playing something that contained all of the chords you listed, then you would be playing (most likely, but depending on the organization of those chords) the C major scale.

In a solo, two things are very important: One is the harmonic texture, or how the notes you are playing relate to the chords over which you are soloing. If you are trying to not clash between your solo and the backing, then try not to play any notes that are a half step away from the notes in the backing chords.

The other aspect is the melodic texture of it, or how well the notes you are playing in succession relate to each other. By this, I mean that you wouldn't really want to play a bunch of chromatic notes in a row over a power chord, just because none of those notes you are playing would clash with the notes of the power chord. (Then again, you might want the melodic dissonance of chromatics for certain desired effects.)
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#4
Well, you have lot of possibilities, nevertheless some fit more than others.
But a progession like this limits you, because thise are standard chords.
you can use major scale and of course its modes.

you could make it sound more interesting e.g. playing Amin with a maj7. So you can play harmonic minor when this chord is played.
#5
if its in the key of c you can use the c pentanoic scale


e-------------------------------8-11--
b-------------------------8-11----------
g-------------------8-10-----------------
d-------------8-10-----------------------
a-------8-10-------------------------------
e-8-11-------------------------------------


use anynote from this cale and it will sound right as long as ur in the right key
#6
here i posted this in another thread it is the major key and scale EDIT learn this to start and listen to seedmole

ok i'll start but i am only doing major

you start wi the major scale

you make it by counting tones W= whole tone H= half tone

a whole tone is 2 frets

a half tone is 1 fret

the formula to make the major scale is :

WWHWWWH

we will use C maj for simplicity. the bold is the scale

C Db D Eb E F Gb G Ab A Bb B C
WWHWWWH

or
C C# D D# E F F# G G# A A# B C
WWHWWWH

so the Cmaj scale is CDEFGABC

this is what is know as a diatonic scale. meaning there is 7 notes and each note must be a different letter. there are only 7 different letters but 19 notes in the cromatic scale

intervals

intervals represent a note. and define what is hapening to a note within a scale.

the intervals for the major scale are

CDEFGABC
1234567

when speaking in proper terms we would call these the following

C-1-perfect prime
D-2-major second
E-3-major third
F-4-perfect fourth
G-5-perfect fifth
A-6-major sixth
B-7-major seventh
C-8-perfect octave

and octave is the same note played 1 pitch(i think that is the right word) higher

sometime we augement (sharpen, #) or diminish (flatten, b or bb) various notes to make chords or fit the scale to a chord

C = perfect prime or diminshed second
C#/Db =augmented prime or minor second
D = major second or diminished third
D#/Eb = augmented second or minor third
E/Fb = major third or diminished fourth
E#/F = augmented third or perfect fourth
F#/Gb = augmented fourth or diminished fifth
G= perfect fifth or diminished sixth
G#/Ab = augmented fifth or minor sixth
A = major sixth or diminished seventh
A#/Bb = augmented sixth or minor seventh
B/Cb = major seventh or diminished octave
C = perfect octave or diminished ninth

these intervals continue over and over technically

you will notice the perfect intervals 1 4 5 8 are only flattened(b) once to become diminished where as the major intervals 2 3 6 7 are flattened(bb) twice to become diminished

there is a general rule that you do not double augment an interval. it is ok for a note such as F# to becaome aumented or sharpend to F## but we do not want it to be F###

general chords for a mojor progression are

Major(M) always capital when writing
minor(m) always lower case when writing
diminished(dim0) always lower and supposed to be followed by a degrese symbol but my comp can' do that


now for chords

this is how you form the simple triad chords we will be using staying wiht the key of C

Major intervals 1 3 5
minor intervals 1 b3 5
diminished 1 b3 b5

you must remember that when making a chord in the key of Cmajor only a C chord will use the C major scale. if you wanted Dmin for example you would need to forn the chord with the intervals listed above from the Dmaj scale, b3 giving it the minor tonality


to stay in key with Cmaj we must use the same notes as Cmaj in all our chords(for now cause we are just learning)

there is also a formula to stay in key in a major progression it is

Major minor minor Major Major minor diminished

so to stay in key we would use the chords

CMaj Dmin Emin Fmaj GMaj Amin Bdim0

so using these chords resolving back to Cmaj you would use the Cmaj scale

i hope that helps a little
__________________
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Last edited by lbc_sublime at Jun 1, 2008,
#7
Quote by cgroom11
if its in the key of c you can use the c pentanoic scale

e-------------------------------8-11--
b-------------------------8-11----------
g-------------------8-10-----------------
d-------------8-10-----------------------
a-------8-10-------------------------------
e-8-11-------------------------------------

use anynote from this cale and it will sound right as long as ur in the right key


It should be C major pentatonic dude. Or A minor pentatonic. The key is C major not C minor.