This is a multiple question problem, but I have to wait for the answer to each one before moving onto another, so please bear with me.

Question #1.

If Im playing the chord combo of G, C, and D...would the root note be G and if so, would the scale be in Gmaj

The root note of each chord is as implied - G is the root note of gmajor (I'm assuming you're talking about major chords here), C is the root note of cmajor, and d is the root of dmajor. The scale of g major has G A B C D E F#. So yeah it's g major.

But I'm not the resident theory instructor, and actually I'm pretty knew to it all myself so if I got anything wrong, please correct me

This post has been edited by JVM: Aug 14 2007, 10:44 AM

Cool - can't wait for the next question

(And I absolutely won't cloud the issue by saying it could also be A Dorian, B Phrygian, C Lydian, D Mixolydian, E Minor or F# Locrian)

JVM's answer was spot on, and you should ignore me I'm just trying to be clever ...

This post has been edited by Andrew Cockburn: Aug 14 2007, 10:46 AM

Well JVM, thats what I was thinking as well, so thats one up for me trying to figure out the root notes and therefore what scale to play. Now for Question 2.

Since the Gmaj scale consists of the notes of GABCDEF, am I strapped playing the Gmaj scale only, or can I play in the scale of, lets say, B or F?

Andrew, your advice is ALWAYS welcome for me. However, Im not ready for those scales just yet

This post has been edited by Travelin' Man: Aug 14 2007, 10:53 AM

Well, you can play in any scale you want, but if you want the theory answer, I'd guess your best bet is to look at and try out the scales that include the notes G, C, and D. Just taking a look at the major scale, with a formula of 2 2 1 2 2 2 1, C major is a good match with C, D, E, F, G, A, B. So is F major with F, G, A, Bb, C, D, E.

To be honest I don't know too much about keys etc yet, so I can't comment on that. Thats what I would try though.

Is it some kind of Modal Disease on GMC? Everybody is trying to talk in modes, solo in modes and so on

Your not limited to just G major! though that would be the most simple approach.

You could go for a modal approach (check Andrew's theory lessons), you could follow each chord with it's scale (Gmajor scale for G, Cmajor for C etc), you could make it interesting sounding using the relative minor (check andrew's lessons again) which in this case is E minor.
The possibilities are endless, just make sure you know why and to what effect your using what your using.

I think you might be onto something there Pavel. However, while I know B Phrygian mode is just the G Major scale. I do not think of them as the same thing, I try and think of them as entirely different scale, just like pentatonic major and pentatonic minor scales.

Put me down im sick!

This post has been edited by Hemlok: Aug 14 2007, 05:48 PM

Back on topic (and away from modes for now, though I'll get you in the end!)

First, the scale of G is not GABCDEF, you have to sharpen the F (or you WILL be playing a mode - the Mixolydian!)

So it should be: G A B C D E F#

The easiest is to stick with that scale and use only notes from it, that is how most songs are constructed. However, you can switch keys in the middle if you want a particular effect, its up to you and what you think sounds good.



Absolutely correct - either you actually read my lessons or someone else has been telling you stuff

Thnks everyone...I think it makes sense to me now.

If I'm not mistaken, would it be safe to say, that a root note could possibly be the lowest note of the chord set?

(e.g.) the chords of D,A,E would make the root note an E?

And, that a solo can be comprised of those scales?

(e.g.) playing the G,C,D chords...I can switch from the scales of Gmaj to a Cmaj and back again, according to how the chord progression thru-out the song?

This post has been edited by Travelin' Man: Aug 14 2007, 08:15 PM

i'm agraid its not that simple ... I jave to run now but i'll explain later of nophe else does in the meantime ...

Dang boy...looks like you could use somemore coffee...can you say that a little slower for me?

that was pretty bad andrew!

Heh, I typed it on my iPhone in a real rush ...

Ok, so:



You need to understand a little about key signatures to fully get this - I have a lesson on my board here.

Music is seldom logical, and one thing that is illogical is that all scales really derive from a scale of C major in that they have notes sharpened and flattened relative to that scale - you need to understand this so that you can think around scales and associated chords. Next, when you have that you can look at my chords for scales lesson here, which explains how we fit chords to a particular scale.

In answer to the exact questions you are asking - in the case of those 3 chords, there is only one major scale that they fit, which is A major, and the root note of A major is A. Those chords will fit well with a solo based on a scale of A major because they are all made up from notes in that scale - why that is is explained in my chords lesson above.

If you want to, you can do as you suggest - play a scale of G major over a chord of G, then a scale of C major over a chord of C, but that isn't really staying in key, and will probably sound a little wiered unless you are careful with your note selection.

I'm sorry to mention modes again, but what we all naturally do when playing different chords to a given key is use relative modes in passing, which is another way of saying we stick with the same major scale regardless of which chord we play. If you use your scheme and change the scale to fit the chord, you will in fact be introducing modal ideas into your playing by accident (an F major scale played against the key of C for instance gives you a selection of notes identical to C Mixolydian) which will give you a different feel, but may well be what you want, so try it and see if it works for you - at the end of this, there are no rules, and what you think sounds good is the most important thing

Thnx Andrew...I have read, over and over again, all of your theory threads of scales. Some of it I understand, some not so well. I guess Im still trying to figure out the root note or scale to play a solo in. Just when I thought I had the answer, you screwed me up again.
My thought process is attempting to minimize the complicated ordeal by trying to pick the simplest result, which in this case, was the lowest note of the lowest chord played. So much for that idea

This post has been edited by Travelin' Man: Aug 15 2007, 04:30 AM

It doesn't have to be complicated

As a basic rule try this -

1. Stick with the scale of your choosing (say G)
2. Figure out the chords that fit it (G Am Bm C D Em F#dim G)
3. Make a chord sequence out of the above
4. Play a melody based on the scale you first thought of.

Thats the basics, the theory just attempts to justify it

Now see..that wasnt so hard. Maybe you could put more of your lessons in ABC elementary fashion, so knot-heads like myself can grasp the reality of it all a little easier

Thnx Andrew...once again

This post has been edited by Travelin' Man: Aug 15 2007, 04:51 AM

Glad to help, sorry, I tend towards the complex given half a chance ...

I appreciate all that you have done for me in this 1st month here A.C....I wont forget you when Im placing my platinum and gold records on the wall

Cool - just a little insert in one of the discs is all I ask for









Oh, and a million bucks would be nice too when you can afford it