Printable Version of Topic

Click here to view this topic in its original format

GMC Forum _ THEORY _ Painting The Chords?

Posted by: dreadlocks Nov 16 2013, 11:01 AM

First of all im new to GMC and im super excited. (i was registered years ago for a short time)

Lately ive had alot of intres in Davids lesson "painting the chords"
I took alot of ideas from this lesson but i still get the result im looking for..

At the moment:
I play a simple Chord progression mostly I IV V.. uselay take a common shape of one chord try to play it alittle different.. and after that i add a lick from the Major scale Minor pentatonic scale defently some arpeggios of that chord maybe afew intervals (Becuase i realy struggle to fit them in) some runs etc... the thing it it dosnt sound like im ("painting") Decorating the Chords... its more like soloing.. and without backing track it sounds kinda stuck with no connection between the chords :\

What i want it to be:
well.. something like what SRV does and jimi hendrix.. mixing the rhythm and the solo

I guess my question is how can i imrove to that point? Should i focus on the 1-3-5 notes of the chord ? Intervals with the right characeristic? modes which fit better on major chords :S?

I hope its clear enough what im trying to say here..
I will appreciate any kind of guideness or maybe a link to a lesson( I just know the is one for me here!) Thanks in advance!

Posted by: The Professor Nov 16 2013, 11:49 AM

Glad you are digging into soloing and playing chords in that Hendrix/SRV style! Very cool way of playing, but you're right, it can be hard to "color" the chords as you're soloing.

One thing you might want to do is avoid the triad, 1-3-5, or arpeggios, 1-3-5-7, as those notes are going to outline the exact notes in the chords, but won't add any melodic "color" to your phrases or lines. When you use triads or arpeggios over a chord, it often sounds like you are just playing the same sound, but broken up, rather than adding new colors to the phrase.

You might want to start off by using the minor blues scale, as the #4 blues note brings some color to your lines in this type of situation, as well as the major blues scale, where the b3 will add some color in contrast to the rest of the notes in the scale.

See how those scales go, so using the minor and major blues scales rather than the minor and major pentatonic scales, as those small shifts in note choice, the blues notes, can produce a bunch of new colors in your lines when playing in a situation like this.

Posted by: dreadlocks Nov 16 2013, 03:15 PM

Thanks! Im on it!

Posted by: The Professor Nov 16 2013, 03:46 PM

Cool have fun!

Powered by Invision Power Board (
© Invision Power Services (