Davenport "one Step Futhter" Adventure Options

[Darius Wave]

Ok mate. I went through some of Your playing and seems like Your pentatonic and aeolian minor skills are ok so we can do some very simple yet useful translations of how to adopt different scales. We will use some basic keys to get better understanding. I would like You to post here a few of Your favourite backing tracks so I could choose some to show You how to use some more scales but refering to the pentatonic /minor shapes You know well

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[Davenport]

Attached file is backing for an Andy James tune. or maybe Broken egg collab ?
Any suggestions is fine.

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[Darius Wave]

We can also work on the Broken Egg track. Most important to get start using modes is to always analyze track. You need to know what are the exact chords and the exact notes in each chord. I'll can write it for You but it would be better if You could do it by Yourself. Try to write down the chords in the bars from the Andy's track above

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[Davenport]

Torn in two....
##

(intro) /Bmadd11 / / D6add9 / Asus2 ://

Bmadd11 / / D6add9 / Asus2 ://
Gsus2 / /Asus2 / ://


Bm / D / Em / Gsus2 Asus2/
Bm / A / D/F# / Gsus2 Asus2/



B5 E5 / B5 Gsus2 Asus2 / B5 E5 / Gsus2 Asus2 ://

(Interlude) /Bmadd11 / / D6add9 / Asus2 /


Form is something like Intro ABABC Interlude ABC not sure if that's the correct way to write the form but that's how I remember it.

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This post has been edited by Davenport: Jun 6 2013, 03:19 AM

[Darius Wave]

Ok great! Form is something not necessary at the moment. We only need to know all the chords. Now I need You to look at those chords and write down every note of each chord. This will help to build the summary of notes that are always "in tune" with the backing track. We will compare this to some root minor or major key and this will help us to find any exceptions or would help us to use the "smart mode" of using different scales over each chord. You have to know one thing:

1. C-major and F-lydian are the same summary of notes but just starting from different root note. Why do I use this example? Go to the scale generator and see the notes for both scales on the entire fretboard. What You'll see is the exactly the same spots on the fretboard but...different notes highlighted as a root. This means that using F-lydian on C-major track will not make a fusion/ jazzy / outside sound. So...at the beginning You have to be very careful. Of course...there are much more modals but we're gonna go back to this later...

Example of what I need You to do:

Backign track : C | Am | F | G |

Notes for the chords : c e g | a c e | f a c | g b d |

Summary of notes: c e g a e f b d (only remove the repeating ones and correct the order) = c d e f g a b

Key detected.... - C-major


Example look pretty simple but It's not always gonna be that easy. Now...focusing on the notes in each chord will help us to analyze what scales we can use on each chord. Outside scales that will make the "weird, outside" feel but won't mess with the notes from the chords.


Waiting for You doing same as above with the backing track we'll work on

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[Davenport]

Bmadd11 - B D F# E
D6add9 - D F# A B E
Gsus2-G A D
Asus2- A B E
A- A C# E

Summary of Notes B C# D E F# G A

Key detected B minor

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[Darius Wave]

Great! Now. B D F# E are notes from the first chord. Try to find a name of any B-minor based mode that has all those notes but also include some different than other notes from B minor. Name the scales available What we're trying to find is how to add some outside taste to each chord. Scales You'll find can be used only as long as the Bmadd11 lasts in the backing track

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[Davenport]

Aeolian Dorian and Phrygian for Bmadd11

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[Darius Wave]

Now I want You to look at the scale generator ( Only if You don't know those modes already ) and try to figure out 2 or 3 simple lick based on the dorian mode. Now...try to use them only when the Bmadd11 lasts in the backing track. Record a sample. It can be only a minute long sample

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[Davenport]

Here are a couple of ideas.

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[Darius Wave]

Ok - You dig the idea. Now lets do some mix. Use the dorian mode only on the Bmadd11. When chord changes - go back to the aeolian mode. Record some example on the whole intro. Also...type the name of the chord (included in this progression) that can be also played with dorian mode on solo guitar.

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[Davenport]

we could use Dorian over Em

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This post has been edited by Davenport: Jun 9 2013, 01:59 PM

[Darius Wave]

And here is the problem. We cannot You B-dorian mode on E-minor chord because th 6th step of this scale (G#) is in conflict with minor 3rd in Em (G). At this chord we should go back to the aeolian mode. To make things clear...We'll be talking about the B modes. If You thought of E - dorian mode it ain't gonna add any extra flavor because E-dorian notes are same as B-aeolian minor. We are trying to add some extra flavor so we're not gonna think about parallel scales.

B-minor = D major = E dorian = F# phrygian = A mixolydian = G lydian = C# locrian

All mentioned above are a set of exactly the same 8 notes. It's only a matter of translation the names depending on the root note You choose.

But...I we try to experiment with different modes of B than we can test all the modes above...puttin always the B as a root

P.S Try B-mixolydian on the last few bars...We can "simulate a bit of major feel on the bars with B. - 4:38 in the backing. You can have some cool fun chnging the 3rd's of B from major to minor each bar

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This post has been edited by Darius Wave: Jun 9 2013, 02:11 PM

[Davenport]

yes was thinking E dorian over Em but didnt catch same notes as B aeolian.
here is what I have so far

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This post has been edited by Davenport: Jun 9 2013, 02:26 PM

[Darius Wave]

Nice work. You got pretty good sense of music / phrasing - the beginning lick...just tel the truth ...Govan inspirations ?

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[Davenport]

Thanks getting there slowly. Actually the lick comes from Joe Diorio I found a book a while back called 21st Century Intervallic Designs and that lick stuck and seems to pop up a lot.

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[Darius Wave]

I always liked to borrow some licks rather than learning the whole songs Wanna share some other cool concept:

When I was experimenting with diminshed scale I found that most of lessons and usage examples are done over major chords with minor 7. I was searching for how to use diminished shapes in the simple, straight chord progression with no fussion, jazz adds.

First of them was using the diminished half-step/whole-step scale on the minor chords (pure minor or add9). The must is that the chord doesnt have minor 7 inside of it.


For example if there is Am in the backing track try to use some shapes for the diminished scales starting from the G#. Try to experiment anr record some example.

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[Davenport]

Awesome I will give this a go tonight.

Ever tried dropping the root notes of a pentatonic scale by a half step
For example over an Am chord play Am pentatonic only drop the root notes to Ab

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This post has been edited by Davenport: Jun 11 2013, 04:22 PM

[Darius Wave]

Awesome I will give this a go tonight.

Ever tried dropping the root notes of a pentatonic scale by a half step
For example over an Am chord play Am pentatonic only drop the root notes to Ab

Yep - I tried it. It gives similar effect like playing augmented dominant chord notes on the root chord. Example - play E augmented on A-minor chord E G# B# © Also...You can Use harmonic minor mode on the major chord if there is no minor7 add in the backing

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