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TesttubeMammoth
post Jan 5 2012, 08:30 PM
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Hi Ivan!

Was wondering if you could help me puzzle something out.
I am in the process of learning new scales at the moment - it's a bit hit and miss because I want to try and learn scales that will be useful to me but at the same time you don't know if they're useful until you know them... rolleyes.gif

So, I heard this solo recently which has the kind of sound I want to achieve - not necessarily the speed but the feel of this solo really appealed to me. That kinda fusiony thing that I can never quite put my finger on...

Would you be able to shed some light on what scales are being used here please? Just a general idea of how to achieve this sort of feel would be really useful.
I found a guitar pro file for the song too, the solo in the video is about 3:10 and starts at bar 76 in the guitar pro file. (the rest of the song is pretty crazy too) file removed


Thanks! smile.gif

Frankie.

This post has been edited by Kristofer Dahl: Jan 6 2012, 09:57 AM
Reason for edit: Famous song tabs aren't allowed for copyright reasons


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Ivan Milenkovic
post Jan 5 2012, 09:32 PM
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Hey Frankie smile.gif

Dear God, this piece is awesome biggrin.gif You sure picked the right piece for learning something fresh, I might "steal" your idea as well, and check out something like this, sounds awesome wink.gif

This little solo is relatively simple, harmony has two alternating chords, with two alternating keys/scales: G major & C# major:

Bar 76-79: We have G major-based scale here, you can see that the chord is Gsus2 with E added, which makes it Gsus2+13 or something like that. Anyway, it's G major basically, without the third, but you can find B it in the scale, in the first arpeggio:


Bar 80-81: Here, we have the same chord, C#sus2+13, and lead guitar uses it's scale - C# major smile.gif



Bar 82-85: Again, Gsus2+13. Melody here is mostly revolving around playing runs in seconds and consecutive 7th arpeggios..


Bar 86-87: C#sus2+13, again and C# major, in the first part there is descending using seconds and interval fractions, in the second part ascending run with 3nps blocks used and shifted diagonally upwards:


Simple but effective solo with straight major scales


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TesttubeMammoth
post Jan 5 2012, 10:56 PM
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wow, thanks mate - I really appreciate this smile.gif

I have a little free time tomorrow so I am going to analyse this in depth and try to replicate.
I think it is that shifting between different / unrelated scales that gives the sort of feel / movement I like in solos. It isn't something I have messed around with much but it seems to crop up in solos that appeal to me...
You never know - I might record something and post it here.

Thanks again!


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Ivan Milenkovic
post Jan 6 2012, 11:05 AM
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I'm glad to help you Frankie, cheers mate smile.gif

Like I said, it's not that difficult, just G major-C#major scale alternating couple of times.


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TesttubeMammoth
post Jan 8 2012, 07:25 PM
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Hey Ivan,

I have been looking at this idea of movement today and come across something strange.
I went looking for other examples and found one where there was a backing track that went Em7, Ebm7 and the scale was shifting with the chord progression but he was playing an A Dorian shape over the Em7 and an E flat Dorian over Ebm7. This had a really nice feel, lots of movement.

I guess what I want to know is why A Dorian works so well over Em7 but then you can also flit back to Eb Dorian over Ebm7.
Em7 doesn't even have an A in it!
I know A Dorian shares the notes of Em7 EGBD but is there something that makes this a better choice than some of the other modes below that share the same notes?

I wrote a program this afternoon that you can give notes to and it will tell you what scales contain them. It only knows about the modes of the major scale and the pentatonics at the moment but there are a lot of choices for the combination EGBD , probably loads more if I start adding more exotic modes to the library.

So much choice - so confusing!

Possible scales for chord : [E, G, B, D]

| C Lydian |c D E f# G a B |
| F Lydian |f G a B c D E |
| G Lydian |G a B c# D E f# |
| C Ionian |c D E f G a B |
| D Ionian |D E f# G a B c# |
| G Ionian |G a B c D E f# |
| E Phrygian |E f G a B c D |
| F# Phrygian |f# G a B c# D E |
| B Phrygian |B c D E f# G a |
| D Dorian |D E f G a B c |
| E Dorian |E f# G a B c# D |
| A Dorian |a B c D E f# G |
| C# Lochrian |c# D E f# G a B |
| F# Lochrian |f# G a B c D E |
| B Lochrian |B c D E f G a |
| D Mixolydian |D E f# G a B c |
| G Mixolydian |G a B c D E f |
| A Mixolydian |a B c# D E f# G |
| E mPentatoni|E G a B D |
| E Aeolian |E f# G a B c D |
| A Aeolian |a B c D E f G |
| B Aeolian |B c# D E f# G a |


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Ivan Milenkovic
post Jan 8 2012, 11:36 PM
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Well, it makes sense, cause Em7 chord appears in three keys: C major, G major and D major. In G major, it's based on Aeolian mode, and in the same key - you can find A dorian. In fact, A dorian has the same notes as E minor scale.

As for Eb dorian over Em7, that fits, cause it sounds bluesy probably.. Anyway, it's Dd major key.


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