Advanced Soloing

Let's say I'm soloing over a piece in C Major. The chords are C, Am, F, G - a typical ballad/rock progression. I realized while improvising over this that I kind of think in three modes (which I don't really have names for, but I'll make some up for ease of understanding).

- I have Arpeggio Mode, where I play arpeggios that correspond to each of the chords, maybe spicing them up a bit like a Cmaj7b9, Am9, Fmaj7, and G7b9 with little runs to connect the arpeggios.
- I have Major Scalar Mode, where I just play away with the C Major, Bebop or Major Pentatonic scales.
- And finally Minor Scalar Mode, where I play C Minor Pentatonic or Blues scales.

I usually switch between these modes while improvising, but I realized that if I mix the modes (especially Major/Minor Scalar Modes) I come up with a scale kind of like this...
C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, B. Now, looking at this, I realize that this is the chromatic scale, so I come to the conclusion (which has taken me two and a half years to reach) that you can play ANY NOTE AT ALL over a chord progression. Now I feel like I've wasted my time learning all those scales and such, but then again, had I not learned those scales and such, I may have never noticed this...

Anyone that has something to add, something to correct me on, or if you want to tell me how you experienced a revelation due to my preaching above, feel free to comment.

could you use those notes to form other chords? i mean like use power chords chromatily or whatever...
This would explain alot of chrmoatic stuff hendrix used...

[Edited by educatedfilm on 05-30-2002 at 07:06 AM]

congradulations!!
2 and a half yrs to come up with that conclusion isn't bad.
You can play any note over any given chord as long as it is appraoched and resolved correctly. It really frees up your playing once you realize this.
You did not waste your time learning all those arp. and scales in the past, how would you realize what a major scale sounds like if you never played one. One of the best thing learning scales and arp does for you is to train your ear to these common sounds and make you learn how to create these sounds on your instrument. Good luck!!

In reply to educatedfilm's question, you can use chromatics in progressions, just use your ear to judge how something sounds. Check out this progression I wrote the other day. It has a chromatic descending bass line and a wide-spread arpeggio pattern.

Am, E/G#, G, D/F#, F, E

I'll tab it out, but please don't steal, ok? Feel free to comment on what you think about this song. By the way, this song is kind of hard to play, physically (moderate tempo)

Am E/G# G
|------------|------12----|------------|
|------13-15-|---------12-|------12-13-|
|------------|------------|------------|
|---14-------|---14-------|---12-------|
|12----------|11----------|10----------|
|------------|------------|------------|

D/F# F E
|------10----|------------|------797---|
|---------10-|------10-12-|----------9-|
|------------|------------|------------|
|---12-------|---10-------|---9--------|
|9-----------|8-----------|7-----------|
|------------|------------|------------|

Copyright 2002, Jared Wilson

P.S. - The tab won't line up right, so copy + paste into NotePad

Well crap... the chord symbols still didn't line up on the tab... there's one chord per measure, so you can figure it out.

Here's another example of using chromatics rather than scale tones in a progression.

Amaj7, Dm7#5/F#, Bm7#9, E7b9

Check the notes from this...
Amaj7=A, C#, E, G#
Dm7#5=D, F, A#, C
Bm9=B, D, F## (G), C#
E7b9=E, G#, B, F

Now, put all these together, you get...
A, A#, B, C, C#, D, E, F, F#, G, G#
Now, that's jsut one note away from the chromatic scale (missing the D#, but that could be added as a passing note between chords)

Tab (this time two chords per measure)
Amaj7 Dm7#5 Bm9 E7b9
|----------|----------|
|2----3----|2----6----|
|1----3----|2----7----|
|2----2----|0----6----|
|0---------|2----7----|
|-----2----|----------|

This one's not copyrighted. I got the idea from some old jazz ballad I heard on the radio (but this isn't exactly it, this has my own twist)

thanx :),
that's intresting...
MY next question:
With a chromatic progression, how on god's earth would you go about putting a vocal on such a thing? Would you just use a ONE of the three mode type aproaches... and maybe change once in a while?

In the case of Amaj7, Dm7b5/F#, Bm9, E7b9, the progression is chromatic, but the obvious tonal center is A, and the progression sounds like a major progression, so you can use A Major over the whole thing. Another way to look at this is stripping the chords of all their extensions. This leaves you with A, Ddim, Bm, and E. The D diminished can be seen as a substitute for G# diminished. Now, you have A, G#dim, Bm, and E. This correlates to A Ionian, in modal terms, once again allowing you to use A Major for the whole thing.

For the progression in my earlier post, Am, E/G#, G, D/F#, F, E, one can see the progression as a combination of chords derived from the Natural, Harmonic, and Melodic Minor scales. A Natural + Harmonic + Melodic Minor = A, B, C, D, E, F, F#, G, G#, so you can use A Aeolian (A Minor), or A Harmonic Minor, or A Melodic minor for lead over the whole progression.

But, once again, use your ears as the final judge of what you should do or not. Listen for the tonal center, then listen to see if the progression sounds major or minor or diminished (diminished tonalities are rare), then just use modes based on that tonal center and tonality. If the progression sounds major, and the tonal center seems to be A, try out A Lydian, A Ionian, and A Mixolydian (or A Bebop). If you want to stay safe, you can use A Major Pentatonic, because it doesn't contain the 4th or the 7th (which are the two notes that change between the major modes). If it seems minor, try out A Dorian, A Aeolian, or A Phyrgian. A Minor Pentatonic would be safe, because it doesn't have the 2nd or 6th, which are the two notes that change between the minor modes (you can also use the A Blues Scale). Finally, if it sounds diminished, use A Locrian, but this will rarely be the case.

I would agree that after visualizing the different scales,the chromatic scale appears before us,we can conclude that any of the twelve tones could work.This is entirely true so skip back to how you identify these scales individually.
The major scale for all practical reasons has all the different sounds that a person might find handy.C major =cdefgabc // D dorian=defgabcd //E phygian =efgabcde //F lydian =f gabcdef //G mixlydian = gabcdefg // A aolein = abcdefga //B locrian = bcdefgab and so there are your 7 modes off the major scale.
From a starting point of say C major {ionian mode} you can build a major or none dissanant
sound.You can use this sound as a constanant,for continuance in motion,keeping an even texture in your sound.As your riff builds think of this building as levels of push and pull or constanance and dissanance or even tension and release.I personally feel this a choiuce by the artist themself to deside although schools of thought might lead you to believe a particular idea is better.
Starting at C-D this interval is called maj 2nd or whole step giving a sound that is constanant
in sound.You can then pull this sound to tension by dropping back a half step or one fret back to add tension.Also you can slide back up or drop back down one more fret to resolve this tension.
This brings us to our starting point again to allow us to end riff or build again more movement in our solo.Quickly jumping forward if you were to play your riff thru C major scale to alter the 7th
step down one half step this 7th step, B note, would become Bb giving us then the C lydian mode.
This is simply a tool for a sound nothing more unless you want to be so anal that there is only one truly perfect sound taught only one perfect way. Ikesws

hmmm... I do understand modes, but what's intreguied me is MIXING modes, not using different mored of chord progressions SEPERATLEY, but at the same time... so you could do quick run up a diminished sounding more, and run back up something spicied up by flatened 5th etc etc.

I practiced for a long time, this "mixing modes" thing, and I could never get the hang of it. After a while, though, in jam sessions, we'd play something in B Minor (Aeolian), and I'd unconsciously throw in the b9, which isn't exactly mixing modes, but it does imply a Phyrgian sound over an Aeolian chord progression. Then, two seconds later, I'd go back to using the normal 9. I'd run through B Minor Pent. and then do a little legato triplet thing (I'll tab it out... something I accidentally did one day, but it sounds cool) using the natural 6 of Dorian. I realized I was finally mixing modes, as I had wanted to do. I find it a lot harder to mix major modes, because most of the things we jam on are in a Minor key. Putting forth conscious effort to mix modes, I have found, doesn't work. It has to just flow... How can you get the flow? Not constant practice, but rather constant jamming. I've learned more in 10 minutes of loose jamming than in an hour of structured practice.

Key: B Minor, Implied Mode: B Dorian
(only pick first note. All the rest are hammer-ons and pull-offs)
e|----------------------------|
B|10-9-7-10-9-7-10-9-7-10-9-7-|
G|----------------------------|

I commonly pull off (no pun intended) this lick on the high e string, hitting the 1, 2, and b3 of a minor key, but I accidentally missed and did the lick on the B string at a jam, and it sounded cool. I later dissected the notes and found I was hitting the 5, natural 6, and b7, implying the Dorian mode.

That is cool that you learn more from jamming because is my point.The idea of turning the guitar neck into your own vision is both our points.Ultimately it comes down to letting go of all your favorite songs and tearing torwards your own sound.

What I also agree with is the fact that all those different
tools we use to find our sound are in the mixing of the illusive scales and chords.So I made the point of looking at your choice of scales and chords as a way of discovering a sound.Lets use the key of E.

My song is about the demise of a relationship so I could have the softer section reflecting happy thoughts while agression is reflected by power chords or faster double timing.So when playing the E maj chord you might arpeggiate
the softer mellower section.Now to allow for some dissonance of memory add a little Gb mote while accentuating
it as you feel.Maybe be even throw in a Bb to move that even futher away from your root.

Take that thought past the developement of your riff to the point of the turn around.

For the more agressive side of the riff I would take flat 5
of the scale {Bb} to build my riff.This is totally optional at this point but this is my example so that is my choice.I can at this point use the diminished arpegio building tension to slam into the Bb maj scale over the E chord.Look at the E chord = E-G#-B...The Bb maj scale = Bb-C-D-Eb-F-G-A-Bb THEN CONVERT IT TO SHARPS FOR THE G# IN THE E CHORD...
You see F = flat second,G = flat third,A = fourth,Bb = flat fifth,C = flat sixth,D = flat seventh,Eb = major seventh.

I would consider the sus 4 chord for power and the dom 7 chord for push off towards another sound...It is about texture,dinamics of the song,feel,grove.....

For tension the FLAT NOTEs EQUAL TENSION over the riff/motif allowing you what ever expression you wish.

But lest we not forget that the major tone intervals inside of the Bb major scale equal consonance inside of your dissonant part of the riff.

I simply would say that I am playing a Bb scale over the E maj chord emphasizing the most power on top of the Esus4 s'
double time rythme while you could try out this Bb maj scale.

I could record a version of my idea if that could help you.
IKe

I like the idea, the way you describe it as a story. That's what art is all about, right? Telling people your story through whatever means you can. Some can sing, others paint, and we can play guitar. I would like it very much if you would record this idea. Either send me the MP3, or you can post it on the net and place a link to it. Thanks in advance.

As I jam or try to create a good solo (good is really subjective!) I never think of modes. I know about modes and understand them but I never seem to rely on them. It's all about sound for me. Maybe it's because I lack a crazy amount of theory but I never say I'll put a C Dorian over this progression. It's more about trial and error for me.

I must admit I do often rely on Pentatonics. Easy to remember I guess.

Do you guys really know how it's gonna sound if you put this mode over that chord progression? Maybe it's because I'm too lazy to sit and try to remember these modes. I'm pretty much to type of guy that goes "Let's play this and I'll try to come up with something that fits your progression".

Well, I don't think, "Hey, I should use C Dorian over this!" either. What I do is just play over chord progressions while jamming, record this jam session, and analyze the notes/scales/chords I used afterwards. After studying modes while practicing at home alone, I just automatically pick the right modes for the sound I'm trying to get without thinking about it when jamming. And, as I was saying, after a couple years of jamming I'm growing away from this modal/scalar playing and I'm striving torwards the sound I wanted to get. This whole post is about how I've realized you don't need the modes/scales, because you can play ANY of the twelve western notes over ANY chord.

I do pretty much the same thing when I'm working on harmonies. Tape the main riff then analyse it afterwards.

the gift of the guitarist is not how many technics he performs but the joy of how much he loves to play....but then again this is how i woukd use these modes .