Scales To Chords |
Theory is something I'm definitely going to dwell more into. 
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May 27 2008, 10:15 PM
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When you play over the Aminor you have several options. A minor (as a triad) can be a chord within:
1. C major key: In this best case scenario you will play over Cmajor scale. As you may know Cmajor scale has 7 notes and seven modes(different scales), depending from what note you start. A is the 6th note and it builds natural minor scale. So If you play Fmajor then you are in the key of Cmajor again. Remember F is the 4th note in the Cmajor scale so, you can play F lydian mode over it. 2. F major key: In F major scale A is the 3rd note. So it builds a Phrygian mode. You can play Phrygian with no problem and when the Fmajor comes you stay in the Fmajor scale of course. So far we stayed within one key - but what if you want to mix them? You can mix them no problem because you are using a simple harmony that can use both notes from C major and F major. (just add a Bb to Cmajor scale and you can create some nice jazzy licks using a C Beebop scale). This is the easiest option you can use, because these 2 keys are very similar and also called "close" or "related" keys in theory, because there are a small number of # or b signs that make them appart. Also there are few more a little trickier options and those are: G major key: In G major there is A note on the 2nd position and it builds a Dorian scale. So in a blues context I suggest you use this scale to create some occasional blues licks. BUT in Gmajor there isn't any F major type chord - in fact there isn't F note at all! You have only F#, and that can be tricky. So I suggest using Gmajor only while on Am. B major: This key is very interesting because you can use it to create some diminished runs as note A is 7th here. It builds a diminished chord! That can be very interesting believe me, because diminished also have a minor 5th as the minor chord, but be careful not to overdo it with that b5 there... Also Fmajor here is on the 5th (dominant) position, so some nice bluesy licks can be very nice in that context. This post has been edited by Ivan Milenkovic: May 27 2008, 10:18 PM -------------------- - Ivan's Video Chat Lesson Notes HERE
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May 27 2008, 10:34 PM
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Some great answers here - I would just like to add that if you want to read a littl emore about the theoretical underpinnings of this, check out my Chords For Scales lesson - basically chords and scales are inseperable and you need to build them from each other as Ivan and Oxac said
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May 28 2008, 12:55 PM
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QUOTE (Oxac @ May 27 2008, 05:58 PM)  Yaay, do I get a cookie now? Definitely! -------------------- Check out my Instructor profile
Live long and prosper ... My Stuff: Electric Guitars : Ibanez Jem7v, Line6 Variax 700, Fender Plus Strat with 57/62 Pickups, Line6 Variax 705 Bass Acoustic Guitars : Taylor 816ce, Martin D-15, Line6 Variax Acoustic 300 Nylon Effects : Line6 Helix, Keeley Modded Boss DS1, Keeley Modded Boss BD2, Keeley 4 knob compressor, Keeley OxBlood Amps : Epiphone Valve Jnr & Head, Cockburn A.C.1, Cockburn A.C.2, Blackstar Club 50 Head & 4x12 Cab |
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May 28 2008, 02:21 PM
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Thanks everyone!
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May 28 2008, 10:37 PM
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When I learned this type of thing, It greatly improved my improv capability.
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