Take the example you used before; play the C major scale over the “A minor” chord progression: Amin - F - G. This is going to sound like it’s in the key of C. The C major scale over Amin is definitely going to lend to a modal (often confused with a minor tonality) sound.

When playing a solo you should hear the melody in your head and play it simultaniously. It should not "sound" like C major because of the "pattern" you use. It should sound a certain way because of the notes you choose to use. I may want the solo to sound like Lydian and would therefore use the B-nat. note over the F chord.

I think one of the reasons my comments draw such strong criticism from other members is due to our differing approach to playing guitar. I don't use patterns to create sounds (neither did C. Parker). Mostly I use specific chord tones to produce sounds. (like lydian example above)

This is going to sound like it’s in the key of C. The C major scale over Amin is definitely going to lend to a modal (often confused with a minor tonality) sound.

How it sounds depends on which notes you stress from the scale. I agree that C major over Amin would sound modal..... like Aeolian. This is what I've been saying all along. Why would that be confused with a "minor tonality?" What is the difference between a "minor tonality," Aeolian mode, and C major scale over an A minor chord?

Open and closed position has nothing to do with inversions

No... it has everything to do with playing chords on the guitar that have dual functionality.

The reason for the chord ‘C6' is to name the chord (regardless of voicing) after the bass note.

Yes..... but this depends on function. Without context there is no difference between the two when played on the guitar. Hence C6 = Amin/C.....


I'm not fighting with people about this topic for conclusive right vs. wrong. I'm hoping people who read this will open their theoretical minds up to other ways of thinking about "theory" in relation to playing the guitar.


C major and all of it's spawned modes are in essence the SAME. It is only context and the postion of notes over chords that change the tonality of the melody/solo.