#1
I've been getting into composing my own music and have been making some decent riffs, but I lately have been noticing when I try to create a solo it either falls into a shitty piece, or a shitty chromatic piece. I've learned other scales other than the chromatic, but I always seem to fall into a chromatic scale.

I know what I'm asking isn't clear, but how do I sway away from this "habit"?
LARGE TEXT
#2
experiment with phrasing the notes from the minor and major scales differently.
Quote by steven seagull
There are no boring scales, just boring guitarists.

Quote by convictionless
dude calebrocker, that first song on your list almost made me cry
11/10
you win my good sir

^ My For Mom cover

Check out my MP3s!!
#3
Try just sticking to the notes inside the chords you are using to keep it simple. Also resolve to the next chord you are going to be playing also sounds nice.
#4
Maybe you've been practicing with a chromatic exercise? Why don't you practice scale shapes for a while to sway from chromatics and listen to what sounds good. Heck, try a minor pentatonic.
If you play guitar, please don't waste your time in The Pit, and please instead educate yourself in the Musician Talk forum, where you can be missing out on valuable info.
Quote by DiminishedFifth
It's like you read my mind!

I got meself a self-approving sig. Kick. Ass.
#5
thios may seem strange but try taking two (or even three) diffrent scales and try mixing them thats how i make unique riffs
#6
learn music theory, when you say you're using the chromatic scale that just means you're hitting every note on the guitar. If you learn the circle of fiths, and basic music theory, you'll be able to look at the chords you're playing over and determine what selection of notes will sound good over them, instead of trying to play every note on the guitar over it.
#7
Technically Everyone is always playing in the chromatic scale because every note is part of the chromatic scale am i right?
Try practicing the major/minor modes.
The neoplitan is a scale ive been dabling in lately.
Basicly is the Phrygian mode with the 7th interval moved up a halfstep.
#9
The above is good advice, but don't forget that chromaticism, when used tastefully, can just sound awesome.

Check out this riff from Guthrie Govan's Fives:


-20-16-------------13-16-15----13----------------
-------20-16-13-14----------16----16-15-14-13----
----------------------------------------------15-
-------------------------------------------------
-------------------------------------------------
-------------------------------------------------


The first 4 notes is a quick G#maj7 arpeggio followed by a bit of diatonic stuff ending in a little chromatic line.
#10
Using notes outside the scale isn't unusual. I'll bet there's still a key center, a note that sounds "right." I'd be amazed if you were actually playing atonally.
This space foreclosed, due to the ailing economy.
#11
Hey man! too much of one thing kills the mood.

Chromatics played all the time will become overbearing.

I agree about mixing them up with diatonic scales.

Try new things out and use your ears. Compose a melody that sounds good and "fresh" to you and dont wory about theory and all that stuff... that comes later.
#12
There's whole books written about the use of chromaticism in "normal" music. Look up chromatic harmony, chords with foreign notes. If you're making just a solo, I would say try putting chromatic tones between significant scale degrees. This is evident in the blues scale, which has an added chromatic tone between the subdominant and dominant, also makes it a tritone.