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> Opinion On Which Scales To Use To Solo Over?
ChocolateThunda
post Apr 24 2015, 10:45 AM
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Hi troops.

I have a chord progression which is in the key of D with two dominant chords. The chord progression is Emaj - G - F#Maj.

Now my theory isn't great, so I'm struggling with which scales to use over the solo. My initial thought was the F# Phrygian dominant scale, but then I realised that the Maj 3rd in F# is also the blues note in the E minor pentatonic scale. I don't actually have my guitar atm as I'm at work, but would this possibly fit? I don't see why not...

Also, arpeggios... How can I start thinking about those? I think my ear for notes is actually pretty good, but I suck with arpeggios.

Any input greatly appreciated! biggrin.gif
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klasaine
post Apr 24 2015, 03:24 PM
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Hard to tell with so little info. But I will say this ...

That progression is neither in the key of D nor does it contain any dominant chords.
Dom. chords are 7th chords, short for dom.7 (as in F#7).

As written it's just 3 major chords - E, G and F#. *Writing Emaj is the same thing as writing 'E'.

As you have it, I like E minor penta, E blues and even E dorian (E F# G A B C# D) or F# phryg (which is the same as E dorian) and the F# phryg/dom will work too.

This post has been edited by klasaine: Apr 24 2015, 03:26 PM


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Kristofer Dahl
post Apr 26 2015, 10:38 PM
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Are you sure the progression is really Emaj - G - F#Maj ?

This is three major in a row - and since you have notated them differently (although they are in deed the same type of chords) I suspect that is not what you intended to write?


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ChocolateThunda
post Apr 28 2015, 10:06 AM
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Cheers for the replies guys! tongue.gif

Yes, my knowledge of theory, it seems is indeed a bit rubbish then.

The chord progression is indeed three Major chords in a row. Emaj - Gmaj - F#Maj. 1 Bar Emaj, 1 bar Gmaj, 2 bars F#maj.

I know that breaks a bunch of rules and what not, but I think it sounds cool!
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Kristofer Dahl
post Apr 28 2015, 10:46 AM
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Very cool progression indeed. I tried with the E minor scale and there sure are some clashes but I liked it. After all the progression is "clashy" by nature, since it does not stick to a key.

What do others think?

I threw in my quick backing in case anyone wants to have a go at it




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Attached File  chocolatethunda.mp3 ( 1.11MB ) Number of downloads: 41
Attached File  chocolatethunda_bt.mp3 ( 4.78MB ) Number of downloads: 28
 


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klasaine
post Apr 28 2015, 03:02 PM
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It bends rules but doesn't really break them. It's basically most of what's called a 'turn-a-round' - a progression that 'gets back to E'. If there was an F major chord in there between the F# and the E it would be a really standard progression in a lot of jazz, R&B, blues and soul music, *especially if you made them all dom.7th chords.
E minor, E dorian, E minor penta, E blues all work pretty well.
Because it's relatively chromatic (chords moving by one fret and/or closely) and parallel (same shape/quality) you have a lot of leeway and options with how you can improvise over it.

This post has been edited by klasaine: Apr 28 2015, 03:09 PM


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