Members Verne Andru Posted July 17, 2006 Members Posted July 17, 2006 Excuse me if this has been answered before - feel free to point out the threads - but here's a Q I thought someone might be able to shed some light on. I read a while back in an interview with an old jazz player that one of the tricks for soloing over complex changes is to keep your fretting hand in one relative position and simply change the mode you're playing so it corresponds with the tune's changes. I've been playing with this with some limited success but would appreciate any insight others may have.
Members gennation Posted July 17, 2006 Members Posted July 17, 2006 Yep, that's a common approach...take a Blues Progression in the Key of G, I assume you are familiar with this progression already... For the G chord play a G Mixolydian scale: E----------------------------------------------------3- B------------------------------------------3--5--6---- G-------------------------------2--4--5--------------- D--------------------2--3--5-------------------------- A---------2--3--5------------------------------------- E--3--5------------------------------------------------ For the C chord play what people might call the G Dorian scale (is also a C Mixolydian since C is the chord): E-----------------------------------------------------3-- B------------------------------------------3--5--6------ G-------------------------------2--3--5----------------- D--------------------2--3--5---------------------------- A-------------3--5--------------------------------------- E--3--5--6---------------------------------------------- For the D chord, play a G Major scale (this is also a D Mixolydian scale since D is the chord): E-------------------------------------------------2--3-- B------------------------------------------3--5--------- G-------------------------------2--4--5---------------- D--------------------2--4--5--------------------------- A---------2--3--5-------------------------------------- E--3--5------------------------------------------------- Draw these pattern out on a blank fretboard and you'll see how the notes are getting re-positioned between scales/chords. And, you'll also see that the concept is not a "shortcut". So, it's not going to make you "play" better, it's just another option so to speak. But, if you can make music, it is a usable option.
Members Verne Andru Posted July 17, 2006 Author Members Posted July 17, 2006 Sweet - thanks. I was actually playing around with it in B flat using the Locrian mode as a starting point or root. I tried mapping out the B flat modes over a standard 3 chord progression -> B flat [root], E flat [4th] and F [5th]. Then I went down to the E flat and worked my way through the modes back down to the B flat to come up with a B flat Mixolydian for the 4th and did the same thing with the F ending up with a B flat Phrygian as the 5th. I started getting a bit muddled between the Mixolydian and Lydian. Any tried-and-true "formula" for working this stuff out?
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