Posted by Charlie on April 07, 2000 at 06:46:15:
In Reply to: Re: soloing posted by Me on February 16, 2000 at 22:47:56:
: Thanks Cameron
: The G Major Pentatonic scale (also known as the E minor Pentatonic Scale) works very well as it is very similar to the E Blues Scale (no b5). The F# arpeggiated triad would sound sort of 'outside' as you would be implying the 9th, #11th, and 13th of the chord. It would certainly 'brighten' things up. The last idea works well because the top notes of those triads (C#, C, and Bb) are E#(F), E, and D, then resolving to the C# of the A Major (or A7). Great ideas!
:
: : Let's say you're soloing over an E7 chord and you have run out of ideas using a blues scale in E.
: : Try playing a G major pentatonic scale over the chord. This scale includes the 1,2,3,5,&6 of the G major scale.
: : Try also playing a F# triad arpeggiated over the E7. (This one also works if the chord is an Emaj7)
: : In quick succession, play a C# triad, then a C triad, then a Bb triad just before the chord changes to an A7. This works better if the top note of the triad is the third of the chord
There are all kinds of ways of superimposing harmony over harmony to creat extensions and tensions. Here's a couple of my favorites
1. over E7 : play all the harmonic possibilites of the altered scale by superimposing the arpeggios of the F melodic minor scale.
(Fmin, Gmin, Ab+, Bb, C, Ddim, Edim) Use 7ths too!!
2. Do the same thing only use melodic minor arpeggios up a p5th= Bmel. min
= E lydian b7
3. Try cycling a progression of major triads over the vamp. 1. E to Ab to C to E (maj 3rds)
*Do the same with other intervals such as 4ths, aug 4ths, 2nds, 5ths.